Trash is the 18th studio album released by Alice Cooper in 1989. The album featured "Poison", Cooper's first top ten hit since his single "You And Me" in 1977. After Alice's return to the music industry in 1986 with the successful tour "The Nightmare Returns", Cooper had sought assistance from Desmond Child to create a comeback album. Trash became one of Cooper's biggest albums, accompanied by music videos for "Poison", "Bed of Nails", "House of Fire", and "Only My Heart Talkin'". A successful year-long worldwide concert tour in support of the album was documented in the home video release Alice Cooper Trashes The World. Additionally, much of the album conveys a sexual theme.
Though Alice Cooper's 1989 comeback gave him his first hit album in over a decade, the Trash record left some diehard fans disappointed, as did 1991's Hey Stoopid. Many listeners felt that Cooper had sold himself short, now completely focusing on sleazy sexual anthems, making him just another face in the heavy metal crowd. By the time The Last Temptation was released in 1994, the hair band fad that had fueled Cooper's return was dead, and Cooper was obviously aware of its downfall – the album sounds almost nothing like its two predecessors. Instead of relating to such albums as Motley Crue's Dr. Feelgood, Last Temptation seems more similar to Ozzy Osbourne's No More Tears.
For the Alice Cooper fans who feel his output was spotty before and after the 1989 classic Trash on Epic, Brutal Planet is a cause to rejoice. It is a solid hard rock offering. Cooper is in great voice, and he sounds mean and spirited. The title track would be a blessing on radio today. It has great bottom, sizzling guitars, and wonderful backing vocalists. The most impressive thing about this album is Cooper's lyrics. "Sanctuary" could be Lou Reed meets Deep Purple in their heyday. Back in 1987 Cooper performed with an unruly band all over the map. It was very uncomfortable and a far cry from his heyday of "I'm 18" and "Under My Wheels": guitars too loud, and an artist obviously struggling with his personal demons.
Give him points for persistence: Alice Cooper just won't quit. He's seen it all from the bottom to the top – and done the trip more than once – but still continues on his merry-morbid way, punching out albums like a spry young'un. The first thing one has to say about The Eyes of Alice Cooper is thank Jehovah and all his witnesses that the Mascara'd One has grown out of his metal/industrial phase. That look just never took. Discs like Brutal Planet (2000) and the somewhat better Dragontown (2001) offered little to his legacy or his legion of fans – aside from nascent headbangers discovering the Coop for the first time. Eyes harks back to Alice's overly maligned early-'80s discs Special Forces and Flush the Fashion – albums that suffered by comparison with his landmark '70s releases but remain far more musically appealing than the aforementioned new-millennium fare.