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Blue Öyster Cult|Blue Oyster Cult

Blue Oyster Cult

Blue Oyster Cult

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Two years before Kiss roared out of Long Island with its self-titled debut, Blue Öyster Cult, the latest incarnation of a band assembled by guitarist Donald "Buck Dharma" Roeser and drummer Albert Bouchard in 1967, issued its dark, eponymously-titled heavy rock monolith. Managed and produced by the astronomically minded and conspiratorially haunted Sandy Pearlman, BÖC rode the hot, hellbound rails of blistering hard rock as pioneered by Steppenwolf, fierce mutated biker blues, and a kind of dark psychedelia that could have only come out New York. The band's debut relied heavily on the lyrics of Pearlman and rock critic Richard Meltzer, as well as Pearlman's pioneering production that layered guitars in staggered sheets of sound over a muddy mix that kept Eric Bloom's delivery in the middle of the mix and made it tough to decipher. This was on purpose -- to draw the listener into the songs cryptically and ambiguously. From the opener, "Transmaniacon MC," the listener knew something very different was afoot. This is dark, amphetamine-fueled occult music that relied on not one, but three guitars -- Bloom and keyboardist Allen Lanier added their own parts to Roeser's incessant riffing: a barely audible upright piano keeping the changes rooted in early rock and the blues, and a rhythm attack by Bouchard and his brother Joe on bass that was barely contained inside the tune's time signature. From the next track on "I'm on the Lamb But I Ain't No Sheep," elliptical lyrics talked about "the red and the black," while darkening themselves with stunning riffs and crescendos that were as theatrical as they were musical, and insured the Cult notice among the other acts bursting out of the seams of post-'60's rock. Other standouts include the cosmic "Stairway to the Stars," the boogie rave-up "Before the Kiss, a Redcap," that sounded like a mutant Savoy Brown meeting Canned Heat at Altamont. But it is on "Cities on Flame With Rock & Roll," that the Cult's sinister plan for world domination is best displayed. From its knotty, overdriven riff to its rhythm guitar vamp, Vox organ shimmer, its crash cymbal ride and plodding bass and drum slog through the changes -- not to mention its title -- it is the ultimate in early metal anthems. Add to this the swirling quizzicality of "Workshop of the Telescopes" that lent the band some of its image cred. [The 2001 remastered edition by Legacy gives punters four bonus tracks in the form of demos recorded by the band's first incarnation as Soft White Underbelly. These are not merely throwaways: it is readily apparent that by 1969, BÖC was well on their way to creating something new and menacingly different. The only questionable item is the last track: a cover version of Bobby Freeman's "Betty Lou's Got a New Pair of Shoes," that is utterly devoid of interest.]
© Thom Jurek /TiVo

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1
Transmaniacon MC
00:03:20

Blue Oyster Cult, Associated Performer, Main Artist - Donald Roeser, Guitar - Eric Bloom, Composer, Guitar, Keyboards, Lyricist - Albert Bouchard, Drums - S. Pearlman, Composer, Lyricist - Joe Bouchard, Bass - A. Bouchard, Composer, Lyricist - D. Roeser, Composer, Lyricist - Allen Lanier, Keyboards - Murray Krugman, Producer - Sandy Pearlman, Producer - David Lucas, Co-Producer, Engineer - Bill Robertson, Engineer - Vic Anesini, Mastering Engineer

(P) 1972 Columbia Records, a division of Sony Music Entertainment

2
I'm On the Lamb but I Ain't No Sheep
00:03:10

Blue Oyster Cult, Associated Performer, Main Artist - Donald Roeser, Guitar - Eric Bloom, Composer, Guitar, Keyboards, Lyricist - Albert Bouchard, Drums - S. Pearlman, Composer, Lyricist - Joe Bouchard, Bass - A. Bouchard, Composer, Lyricist - Allen Lanier, Keyboards - Murray Krugman, Producer - Sandy Pearlman, Producer - David Lucas, Co-Producer, Engineer - Bill Robertson, Engineer

(P) 1972 Columbia Records, a division of Sony Music Entertainment

3
Then Came the Last Days of May
00:03:31

Blue Oyster Cult, Associated Performer, Main Artist - Donald Roeser, Guitar - Eric Bloom, Guitar, Keyboards - Albert Bouchard, Drums - D. Roeser, Composer, Lyricist - Joe Bouchard, Bass - Allen Lanier, Keyboards - Murray Krugman, Producer - Sandy Pearlman, Producer - David Lucas, Co-Producer, Engineer - Bill Robertson, Engineer

(P) 1972 Columbia Records, a division of Sony Music Entertainment

4
Stairway to the Stars
00:03:43

Blue Oyster Cult, Associated Performer, Main Artist - Donald Roeser, Guitar - Eric Bloom, Guitar, Keyboards - Albert Bouchard, Drums - R. Meltzer, Composer, Lyricist - Joe Bouchard, Bass - A. Bouchard, Composer, Lyricist - Allen Lanier, Keyboards - D. Roeser, Composer, Lyricist - Murray Krugman, Producer - Sandy Pearlman, Producer - David Lucas, Engineer - Bill Robertson, Engineer

(P) 1972 Columbia Records, a division of Sony Music Entertainment

5
Before the Kiss, a Redcap
00:04:58

Blue Oyster Cult, Associated Performer, Main Artist - Donald Roeser, Guitar - Eric Bloom, Guitar, Keyboards - Albert Bouchard, Drums - S. Pearlman, Composer, Lyricist - Joe Bouchard, Bass - D. Roeser, Composer, Lyricist - Allen Lanier, Keyboards - Murray Krugman, Producer - Sandy Pearlman, Producer - David Lucas, Co-Producer, Engineer - Bill Robertson, Engineer

(P) 1972 Columbia Records, a division of Sony Music Entertainment

6
Screams
00:03:10

Blue Oyster Cult, Associated Performer, Main Artist - Donald Roeser, Guitar - Eric Bloom, Guitar, Keyboards - Albert Bouchard, Drums - J. Bouchard, Composer, Lyricist - Joe Bouchard, Bass - Allen Lanier, Keyboards - Murray Krugman, Producer - Sandy Pearlman, Producer - David Lucas, Co-Producer, Engineer - Bill Robertson, Engineer

(P) 1972 Columbia Records, a division of Sony Music Entertainment

7
She's as Beautiful as a Foot
00:02:56

Blue Oyster Cult, Associated Performer, Main Artist - Donald Roeser, Guitar - Eric Bloom, Guitar, Keyboards - Albert Bouchard, Drums - R. Meltzer, Composer, Lyricist - Joe Bouchard, Bass - A. Bouchard, Composer, Lyricist - A. Lanier, Composer, Lyricist - Allen Lanier, Keyboards - Murray Krugman, Producer - Sandy Pearlman, Producer - David Lucas, Co-Producer, Engineer - Bill Robertson, Engineer

(P) 1972 Columbia Records, a division of Sony Music Entertainment

8
Cities On Flame with Rock and Roll
00:04:03

Blue Oyster Cult, Associated Performer, Main Artist - Murray Krugman, Producer - A. Bouchard, Composer, Lyricist - Donald Roeser, Guitar - Sandy Pearlman, Producer - D. Roeser, Composer, Lyricist - Eric Bloom, Guitar, Keyboards - Albert Bouchard, Drums - Joe Bouchard, Bass - Allen Lanier, Guitar, Keyboards

(P) 1972 Columbia Records, a division of Sony Music Entertainment

9
Workshop of the Telescopes
00:04:01

Blue Oyster Cult, Associated Performer, Main Artist - Donald Roeser, Guitar - Eric Bloom, Composer, Guitar, Keyboards, Lyricist - Albert Bouchard, Drums - S. Pearlman, Composer, Lyricist - Joe Bouchard, Bass - A. Bouchard, Composer, Lyricist - D. Roeser, Composer, Lyricist - Allen Lanier, Keyboards - A. Lanier, Composer, Lyricist - Murray Krugman, Producer - Sandy Pearlman, Producer - David Lucas, Co-Producer, Engineer - J. Bouchard, Composer, Lyricist - Bill Robertson, Engineer

(P) 1972 Columbia Records, a division of Sony Music Entertainment

10
Redeemed
00:03:51

Blue Oyster Cult, Associated Performer, Main Artist - Donald Roeser, Guitar - Eric Bloom, Guitar, Keyboards - Albert Bouchard, Drums - S. Pearlman, Composer, Lyricist - Joe Bouchard, Bass - H. Farcas, Composer, Lyricist - A. Bouchard, Composer, Lyricist - Allen Lanier, Keyboards - A. Lanier, Composer, Lyricist - Murray Krugman, Producer - Sandy Pearlman, Producer - David Lucas, Co-Producer, Engineer - Bill Robertson, Engineer

(P) 1972 Columbia Records, a division of Sony Music Entertainment

Descriptif de l'album

Two years before Kiss roared out of Long Island with its self-titled debut, Blue Öyster Cult, the latest incarnation of a band assembled by guitarist Donald "Buck Dharma" Roeser and drummer Albert Bouchard in 1967, issued its dark, eponymously-titled heavy rock monolith. Managed and produced by the astronomically minded and conspiratorially haunted Sandy Pearlman, BÖC rode the hot, hellbound rails of blistering hard rock as pioneered by Steppenwolf, fierce mutated biker blues, and a kind of dark psychedelia that could have only come out New York. The band's debut relied heavily on the lyrics of Pearlman and rock critic Richard Meltzer, as well as Pearlman's pioneering production that layered guitars in staggered sheets of sound over a muddy mix that kept Eric Bloom's delivery in the middle of the mix and made it tough to decipher. This was on purpose -- to draw the listener into the songs cryptically and ambiguously. From the opener, "Transmaniacon MC," the listener knew something very different was afoot. This is dark, amphetamine-fueled occult music that relied on not one, but three guitars -- Bloom and keyboardist Allen Lanier added their own parts to Roeser's incessant riffing: a barely audible upright piano keeping the changes rooted in early rock and the blues, and a rhythm attack by Bouchard and his brother Joe on bass that was barely contained inside the tune's time signature. From the next track on "I'm on the Lamb But I Ain't No Sheep," elliptical lyrics talked about "the red and the black," while darkening themselves with stunning riffs and crescendos that were as theatrical as they were musical, and insured the Cult notice among the other acts bursting out of the seams of post-'60's rock. Other standouts include the cosmic "Stairway to the Stars," the boogie rave-up "Before the Kiss, a Redcap," that sounded like a mutant Savoy Brown meeting Canned Heat at Altamont. But it is on "Cities on Flame With Rock & Roll," that the Cult's sinister plan for world domination is best displayed. From its knotty, overdriven riff to its rhythm guitar vamp, Vox organ shimmer, its crash cymbal ride and plodding bass and drum slog through the changes -- not to mention its title -- it is the ultimate in early metal anthems. Add to this the swirling quizzicality of "Workshop of the Telescopes" that lent the band some of its image cred. [The 2001 remastered edition by Legacy gives punters four bonus tracks in the form of demos recorded by the band's first incarnation as Soft White Underbelly. These are not merely throwaways: it is readily apparent that by 1969, BÖC was well on their way to creating something new and menacingly different. The only questionable item is the last track: a cover version of Bobby Freeman's "Betty Lou's Got a New Pair of Shoes," that is utterly devoid of interest.]
© Thom Jurek /TiVo

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