“When I went into the hospital, I’d had four big hits the were ballads. People thought that I’d gone totally crooner. What really happened was that the only thing they were playing on the radio was disco. If you were a rock band like Kiss or Aerosmith, you were up against that. That’s what led to the birth of the power ballad, and I had four of them. I was still rock ‘n’ roll, and the rest of my albums were rock. But radio would only play the ballads.
“When we did Constrictor, I had found Kayne Roberts, who is probably the funniest human being I’d ever worked with. I always said that he had Stallone’s body and Jerry Lewis’ brain. I never laughed so hard as when I worked with Kayne. But we both had something in common: We loved the slick new ‘80s metal. The songwriting was strong, the melodies were brilliant. Kayne could play anything that Eddie Van Halen or Steve Vai could play, but he was so imposing with his body and his stage look, people forgot to listen to him. But he was a great writer, a great player and a great singer.
“I wanted to come back hard and slick on this record. I think there was even a sticker on it that said, ‘Contains No Ballads.’ The important thing about it is, when I did my re-emergence as Alice Cooper, I realized that the Alice who was an alcoholic was an outcast victim; he was always the whipping boy. I said, ‘This Alice is going to be the ultimate villain.’
"This Alice had broken out of his cocoon, and now he’s this really dangerous butterfly. I wanted him to wear all black leather, and I wanted his posture to be straight up. And I wanted him to have a kind of Alan Rickman arrogance. It was going to be fun to play that character. Doing Constrictor and Raise Your Fist And Yell, the idea was to really establish myself as ‘hard, hard Alice’ – but slick.”