| Books |

Dick Wagner: Welcome (Back) To Alice Cooper Guitarist's Nightmare

Keep Houston Press Free
I Support
  • Local
  • Community
  • Journalism
  • logo

Support the independent voice of Houston and help keep the future of Houston Press free.

Not Only Women Bleed: Vignettes from the Heart of a Rock Musician By Dick Wagner Desert Dreams Productions, LLC/Amazon.com, $9.99

While the name Dick Wagner may not be recognizable to the casual classic rock fan, deep trackers might know the singer/guitarist from his work fronting two popular Michigan-based acts in the '60s (The Bossmen and The Frost), efforts on stage and in the studio with Lou Reed, Aerosmith, KISS, Peter Gabriel, and even Tim Curry, and a solo career.

But Wagner is probably best known for his collaborations with Alice Cooper as his touring and studio lead guitarist during the latter half of the '70s. He also co-wrote with the master of shock rock many of his biggest hits ("I Love the Dead," "Welcome to My Nightmare," "Only Women Bleed," "You and Me").

The 68-year-old performer is now getting back on track performing, recording, and writing after surviving a near-fatal heart attack in 2007, and has recently penned a memoir, Not Only Women Bleed, available as an e-book).

The 68-year-old performer is now getting back on track performing, recording, and writing after surviving a near fatal heart attack in 2007, and has recently penned a memoir, Not Only Women Bleed (467 pp., $9.99, available as an e-book).

Rocks Off spoke with Wagner from his home studio, Desert Dreams, about his survival, why The Frost never broke out nationally, and his snake-handling/golf-loving buddy.

Rocks Off: First I have to ask, how is your health?

DW: Well, it's very good. I made a very strong comeback and am getting ready to tour in the spring and summertime. I barely picked up a guitar for five years. And I'm going to Italy in a few days to produce a band. So I feel good and I'm being active.

RO: You started your career at a time when there really were regional music scenes, and bands - like the Bossmen and the Frost - could be hugely successful with hit singles and radio play in one area and then maybe spread. Do you think we miss something by not really having that anymore?

DW: Oh, absolutely. Everyone looks to radio, and to build a local scene, you had to have local radio support and you could gather up a fan base. It was exciting. With the Bossmen, we got so tight with the guys at the radio stations that we'd go in and make up skits right there in the studio with the DJs.

We'd do advertising, rent the halls, and put on our own shows. But that's impossible to do anymore. I was 21 and full of energy and was able to do all these things, but it was a challenge going to the cities and [starting all over] each time. You need an organization to pull it off.

RO: So many great bands came out of Detroit and Michigan during that time - The Stooges, MC5, Ted Nugent, Bob Seger, Grand Funk Railroad - and it was a tougher sound. How much was the music influenced by the geography?

DW: I think it wasn't necessarily the geography but the social network. The kids all came from blue-collar families, and it was an industrial area. That's reflected in the sound. We'd have national acts and acts from England come in to places like the Grande Ballroom, and the Detroit bands would open and blow them away.

The fans and the bands were all blue collar, and we liked to drink and party and get loud and crazy. It created an intense [music scene] that eventually broke through. It took Bob Seger 10 years to break through nationally.

RO: Of all the projects you've been involved with, I personally like the Frost.

DW: I wished that we had signed with a different record company. The reason we signed with Vanguard was that Sam Chartres pursued us. He wined us and dined us every week and we fell for it. Looking back on the contract we signed, it was pitiful. I've never made a dime on the Frost. I still get statements from them where I'm still in the hole for $30,000!

The only money I made was from live appearances. We sold 50,000 records in Detroit the first month with that first album, but we never made any royalties. We'd make records and then they'd charge us in their own studio, plus give us a very low rate on our publishing royalties.

RO: That sounds incredible. But wasn't another reason because Vanguard was a folk and blues label and maybe didn't know what to do with a rock band?

DW: That's exactly right. They got it right in Detroit, but everywhere else we went to play, you couldn't find a Frost record anywhere. San Francisco, Canada, New England. We were very disappointed. They didn't follow our tours or support us in any way.

I mean, the radio commercials for the first Frost record were ridiculous! It was two Eskimos talking to each other about the Frost! Mrs. and Mrs. Ugamonk talking about the record. It was a great band with great potential.

RO: At what point did you realize that "Only Women Bleed" was more than just a song and kind of this Big Statement?

DW: Alice and I knew that in the beginning. I had written the music back in the late '60s during the Frost days, but the lyrics didn't fit. He had the bright idea of the title, and it took us about 25 minutes to finish the song. It was written as a statement about domestic violence. I contributed some lyrics, but Alice did most of it and he's the greatest.

And Bob Ezrin's production is fantastic. To date, I think about 25 different artists from Carmen McRae to Tina Turner to Lita Ford have done it. And the royalties from that one song have supported me a lot through the years.

RO: What is one thing about Alice's personality that you think would surprise people?

DW: He's very bright and funny and he and I just laugh and laugh. It's a laughfest! We've got songs that will never come out that to us are hilarious, very off-the-wall humor. He wanted me to be [more involved] with [Cooper's recent] Welcome 2 My Nightmare record since I was such a big part of the first one, but my health at the time just wouldn't allow it. But I was able to be on there a bit with one song and played a bit of guitar. It was the start of my comeback!

RO: Finally, a lot of rock bios I've read recently are about the author's drug use. And while you've got that in there, yours is a lot more about how much sex you had! You proffer this gem: "Expect the unexpected, and humbly accept whatever pussy you get." Advice for the aspiring rocker, or just any young man?

DW: (laughs) Hey, I tried to be brutally honest. I figured if I was going to lay it out there, I should (laughs)!

For more on Dick Wagner, visit www.wagnerrocks.com.

To purchase Not Only Women Bleed, click here.

Follow Rocks Off on Facebook and on Twitter at @HPRocksOff.

Keep the Houston Press Free... Since we started the Houston Press, it has been defined as the free, independent voice of Houston, and we would like to keep it that way. Offering our readers free access to incisive coverage of local news, food and culture. Producing stories on everything from political scandals to the hottest new bands, with gutsy reporting, stylish writing, and staffers who've won everything from the Society of Professional Journalists' Sigma Delta Chi feature-writing award to the Casey Medal for Meritorious Journalism. But with local journalism's existence under siege and advertising revenue setbacks having a larger impact, it is important now more than ever for us to rally support behind funding our local journalism. You can help by participating in our "I Support" membership program, allowing us to keep covering Houston with no paywalls.

We use cookies to collect and analyze information on site performance and usage, and to enhance and customize content and advertisements. By clicking 'X' or continuing to use the site, you agree to allow cookies to be placed. To find out more, visit our cookies policy and our privacy policy.