Review Summary: Alice Cooper's most overlooked album of any era and one of his best
1994’s The Last Temptation has a rather strange status in Alice Cooper’s larger discography. It has almost nothing in common with Hey Stoopid despite only two years between them and instead seems to have much more of a throwback appeal behind it. The less decadent attitude and almost breezy musicianship almost invoke the original band circa Billion Dollar Babies while the Faustian narrative helps reconnect that sweet Welcome to My Nightmare melodrama. This all being punctuated with some choice nineties-isms, most notably contributions from Chris Cornell, that give it an appeal unlike anything else Alice has ever done.
This mesh of elements comes out well-integrated with the album’s first half presenting some of its most direct numbers. “Lost In America” was an especially effective choice for lead single as its AC/DC-esque stomp and start-stops run perfectly with a blunt set of lyrics that brilliantly sit on the line between stupid and profound. “Sideshow” also makes for a soaring opener without getting too grandiose while “Nothing’s Free” and “Bad Place Alone” hit catchy swing shifts that are as snazzy as they are diabolical. “You’re My Temptation” may be the closest things get to the glam years with its sensual lyrics and especially heavy riff set, but the rather rigid structuring effectively portrays the almost adversely forbidden aspect in the theming.
Things get a little more experimental from there, still offering some solid hooks but generally focusing more on the atmosphere. The two tracks with Cornell’s input work well as “Stolen Prayer” is driven by a stripped-down approach indicative of the era with some trade-off vocals during the choruses giving it that extra spark while the riffs on “Unholy War” include that Soundgarden-esque quirky timing. “Lullaby” and “It’s Me” play more on the narrative side with subtler deliveries, the former putting in an almost bluesy shuffle and the latter offering a threateningly pleasant refrain.
It all culminates in one of Alice Cooper’s strongest closers, “Cleansed by Fire.” The track is driven by another heavy riff set ala “You’re My Temptation” but applies a much more sinister outlook with its ominous builds at the start, an almost taunting chorus that triumphs in the face of adversity, a climax that sees the vocals in full spitfire mode as the protagonist tears down his demons in grandiose fashion and closing on a sound collage ala Queensryche’s “Eyes of a Stranger.” Considering how Alice’s other concepts tend to end on some sort of whimper or fakeout, it’s great to see this one out with full fanfare.
The worst thing you can really say about The Last Temptation is that it feels like a missed opportunity in some regards. Label troubles led to Alice prioritizing tours over studio output, resulting in a lengthy six-year gap until his next album. While I can’t imagine anything too dramatic happening in that time, there are still some interesting what ifs that could’ve been. Could the grunge inflections be further implemented? Could his early 2000s industrial phase be introduced earlier? Could we have ever gotten a full reunion with the original band?
Overall, The Last Temptation is easily Alice Cooper’s most overlooked album of any era and perhaps second only to Welcome to My Nightmare in quality when it comes to his solo efforts. Despite the abrupt change in style, it continues the elder statesman image that he had accrued with Hey Stoopid and applies it to moral platitudes, thankfully never losing sight of tight engaging songwriting. The blend of styles works perfectly, and the concept is well-developed without getting too overblown. The label bungling may have made it hard for anyone to have actually heard this one back then, but I wager that it’s essential listening.
