There are concept albums, and then there are Alice Cooper concept albums. Other than The Who, I can’t think of another artist that is Cooper’s peer with regard to his superior capability of telling stories through music. Naturally, I’m being obtuse for the list of concept albums and artists that have explored this idea is extensive, to say the least. I could list all the best ones, but this is an Alice Cooper review and such a list would be better suited to the Ranked area of Subjective Sounds; a place where From The Inside will reside as one of the best albums released in 1978.

From The Inside tells a series of interconnected stories from Cooper’s time in the Cornell Medical Center, a sanitarium that would ultimately help him break the chains of substance abuse. It gives those of us an insight into the inner workings of such a place and in particular the people that co-inhabit the space and their associated psychologies. Of course, Cooper’s story couldn’t have been told as eloquently without the inclusion of the great Bernie Taupin and while there are other notable writers collaborating on these songs, From The Inside is very much a Cooper and Taupin collaboration. In fact, From The Inside could almost be classed as an album whereby Alice Cooper meets Elton John for Davey Johnson plays lead guitar throughout while Dee Murray plays bass on the title track. Even Kiki Dee is involved as a backing vocalist.

Looking through the liner notes, you’ll come across a who’s who of the music industry at the time for there are some heavy hitters involved in the production of From The Inside and it’s, therefore, no surprise that this album has endured throughout the decades. Is it Alice Cooper’s greatest album? No, but it’s up there! While this review will largely focus on the lossless Apple Music stream, I want to bring your attention to the physical counterpart before we look at the music itself.

The 70s was potentially the greatest time for physical media, as it pertains to album artwork, for the designs, from various artists, are simply incredible. From The Inside visually took you within the asylum as the vinyl cover opened out from the centre, gatefold style, as if the doors were opening up and we were going into Cooper’s psychotic mind, thereby living virtually through his experiences. However, many of the reissues have lacked the hidden flaps, thereby limiting the impressive, almost origami-styled, design of the original pressings. Nevertheless, the design elements are utterly incredible and there isn’t a streaming platform on earth that can compete with that. 

While Music On Vinyl (MOV) would reissue the album in 2014, partially replicating the original artwork, I never really connected to the mastering of that particular reissue. The artwork, however, was impressive. It didn’t replicate everything perfectly, but what it did do was enough to please the modern music collector who didn’t wish to track down original pressings. Nevertheless, for this music lover, the music still comes first and if I’m not going to play the record, because of the sonics, I would prefer to sell it and let someone else enjoy it for we all appreciate music differently. 

The pressing itself was flat, with a low noise floor, but I found it lacked emotion. In fact, I found more sonic pleasure was achievable from the lossless streaming counterpart; a CD equivalent. While a few adjustments to the EQ dial were able to bring some life back into the presentation, it just never quite sounded right. Granted, Music On Vinyl reproduces their records from high-resolution digital sources, rather than analogue masters, but I have plenty of their releases that are warm and enveloping. It’s on a case-by-case basis, obviously, but in this particular instance, it just didn’t work for me. That said, I’ve no doubt there will be plenty of fans who will be happy with the clean and crisp reproduction.

For those of you that enjoy the CD format, most editions have been released sans the intricate and expansive artwork, but Warner Bros. Records in Japan released a mini-LP replica in 2012 that included some of the gatefold goodness. The smaller canvas, naturally, makes it a little more difficult to reproduce on mass and, unfortunately, it’s no longer available and fetches a pretty penny on the secondhand market but if you can get it for the right price, it would be a perfect addition to any Alice Cooper collection. Similarly, The Studio Albums 1969-1983 box set, released in 2015, replicates the artwork nicely, even if not completely, but has also been out-of-print for a while thereby making it difficult to come by. Either way, the artwork is done so well that you should try to track down a physical release if you’re a fan of this classic Alice Cooper album. 

While I’ve discussed the sonic reproduction of the vinyl reissue, the lossless Apple Music stream is respectable. You may find that you need to boost the mid and low end a smidgen, but it retains the emotion that I feel was missing from the vinyl reissue. Is it the final word in sound quality? No, but it will suffice until a high-quality remaster is undertaken and if one is never done, I could listen to the stream, without issue, indefinitely.

Moving on to the music, while many who adore concept albums may be looking for a detailed analysis of each and every tune, here at Subjective Sounds the focus is on the music, and the emotion it evokes, more so than the lyrical interpretation. No doubt countless others have explored the lyrical greatness of From The Inside in great detail; a Google search will likely point you in the right direction.

From The Inside is a solid opener. Davey Johnson’s addictive guitar licks are of particular note and while not an immediate hit, this is one tune that will most certainly grow on you.

Wish I Were Born In Beverly Hills kicks things up a notch. It’s got a classic Cooper band feel to it with a modern twist, for the era, but you’ll also hear a little Saturday Night’s Alright For Fighting influence; not that that’s a bad thing. Wish I Were Born In Beverly Hills is classic rock 101; no bells, no whistles, just a rocking tune.

The Quiet Room is where I truly feel From The Inside begins. It is the more mellowed approach that I appreciate and while the first two songs needed to be a little more rocking, The Quiet Room is simply stunning and showcases Cooper as more than just a shock rocker for his vocal is extraordinary. While I could point to numerous songs, The Quiet Room is one that truly highlights Cooper’s vocal prowess and is, in my opinion, one of his greatest recordings. The musicality is also second to none with a mix that is a musical wonderland for each time you listen, you’ll hear different audible elements; pure magic! 

Nurse Rozetta is head-bopping toe-tapping gold and its tempo shifts are the key to its success; an exceptional tune by any standards. 

Millie And Billie flows beautifully from Nurse Rozetta and while not billed as a duet, Marcy Levy’s duet-styled vocals are magnificent; what a performance! The symphonic styling of the musical backing is equally impressive and while Millie And Billie isn’t the most well-known Cooper track, those who haven’t heard it are missing out for it’s one of his greatest.

Serious is considerably more frantic and while you wouldn’t think it would work, being positioned between two ballad-styled tunes, it doesn’t cause this listener’s mind to miss a beat. Admittedly, it is the Side 2 opener and while streaming doesn’t permit a delay in the playback of the music, as vinyl does, it remains seamless. Ultimately, it isn’t a song you’re likely to seek out on its own, but as part of the concept album experience, it works.

How You Gonna See Me Now is a stunning power ballad that will appeal equally to Barry Manilow fans as much as it will to Alice Cooper aficionados. 

For Veronica’s Sake is a raw rocker. It sits perfectly within the tracking of the album, but it’s more filler than a highlight.

Jackknife Johnny is a much better album-filling tune than For Veronica’s Sake ever could hope to be. That said, Jackknife Johnny has something about it that makes it an intriguing deep cut within Cooper’s back catalogue, yet I can’t quite explain the appeal. Take a listen for yourself and see if you thoroughly enjoy it, for no reason at all. Sometimes that is the magic of music as we don’t necessarily need to analyse why music appeals to us. As long as it moves us, then sometimes it has done its job.

Inmates (We’re All Crazy) would be an ideal song should Cooper ever choose to perform with a symphony orchestra. That said, I can’t help but declare that Inmates (We’re All Crazy) is perfect as it is an example of an ultimate closing tune; one that encourages repeat plays.

From The Inside is one of those albums that can be difficult to get into, especially if you’re not a fan of its story-driven style, but if you let yourself get drawn into the psychology, as well as the music, there’s little doubt that it becomes a therapeutic musical experience. 

The songs, either on their own or as a collective, are amongst Cooper’s greatest and while they may get displaced in his illustrious back catalogue, if you take the time to listen, you’ll likely position them more prominently in your own Alice Cooper playlist as From The Inside is an exceptional, but criminally underrated album.