Classic Feature: When guitarist DICK WAGNER opened up on underrated ALICE COOPER album 'DaDa'

Published August 21 2024 at 20:00

The early 1980s were a turbulent period for ALICE COOPER, often referred to as his "blackout years." This term encapsulates the years from 1980 to 1983, a time when Cooper's career and personal life were engulfed in chaos due to severe alcohol and drug addiction.

During those years, Cooper released four albums - 'Flush the Fashion' (1980), 'Special Forces' (1981), 'Zipper Catches Skin' (1982), and 'DaDa- (1983) - but they were marked by erratic performances, a lack of commercial success, and a fog of substance abuse that left the singer with little recollection of the era.

Of these albums, 'DaDa' stands out as the most enigmatic and perhaps the most reflective of Cooper's troubled state.

Released in 1983, 'DaDa' was produced by Bob Ezrin, who had previously worked with Cooper on some of his most successful records, including 'Billion Dollar Babies' (1973) and 'Welcome to My Nightmare' (1975). But the main creative mastermind behind the songs on that album was legendary guitarist and songwriter Dick Wagner.

Ezrin's and Cooper's reunion for 'DaDa' was surprising, especially considering Cooper's deteriorating condition. Yet, the collaboration resulted in an album that is as haunting as it is overlooked, offering a glimpse into the singer's fractured psyche during one of the darkest periods of his life. 'DaDa' is often described as one of Cooper's most experimental works. The album diverges sharply from the mainstream rock and metal trends of the early 1980s, delving instead into surreal, avant-garde territory. The title itself, a reference to the Dadaist art movement, signals the album's embrace of absurdity and disorientation. This is mirrored in the music, which ranges from the eerie, synthesized opener "Da" to the nightmarish narrative of "Former Lee Warmer," a track that tells the story of a man who is literally and figuratively kept in the attic.

Lyrically, 'DaDa' explores themes of madness, identity, and alienation - recurring motifs in Cooper's work but rendered here with a darker, more personal edge. The song "Scarlet and Sheba" touches on themes of temptation and guilt, while "I Love America" offers a satirical take on American culture, albeit through a lens that seems both bitter and detached. The album's closing track, "Pass the Gun Around," is perhaps its most poignant, dealing with alcoholism and suicidal thoughts in a manner that feels uncomfortably autobiographical. In this song, Cooper's voice carries a weary resignation, a far cry from the defiant sneer that characterized his earlier hits.

Despite its artistic merits, 'DaDa' was a commercial failure, largely ignored by both critics and fans at the time of its release. The album's lack of promotion - Cooper did not tour to support it, and interviews from the time are scarce - further contributed to its obscurity. It was also the last album covered by his contract with Warner Bros, and they basically buried the album without putting any promotional muscle behind it.

However, in retrospect, 'DaDa' has gained a cult following, with many fans and critics viewing it as a misunderstood masterpiece that captured the essence of Cooper's troubled years. The "blackout years" ultimately marked a low point in Alice Cooper's career, but they also served as a turning point. After the release of 'DaDa', Cooper sought treatment for his alcoholism, and by 1986, he had re-emerged with the successful comeback album 'Constrictor'.

'DaDa' remains a haunting testament to a period when Alice Cooper's demons were at the forefront, influencing his art in ways that were both disturbing and compelling.

In 2022, Dick Wagner guested the Decibel Geek podcast, where he was interviewed in-depth about the making of 'DaDa'. This 1 hour + long interview offers a fascinating insight into the making of the album, and if you were ever curious about the background of this somewhat mysterious album, then you will be enlightened by the interview.

You can listen to that full interview with Dick Wagner here: