The band got its start in the late ’60s on Long Island, New York, as the Soft White Underbelly, but each member had been involved in bands previously in high school and college, before ending up in the “right place at the right time” to create the beginnings of Blue Öyster Cult. Spanning three decades, Blue Öyster Cult has a long and storied history. Produced by Murray Krugman, Sandy Pearlman, David Lucas Recorded October 1971 at The Warehouse, New YorkĮngineered by Bill Robertson, David Lucas Add to this the swirling quizzicality of 'Workshop of the Telescopes' that lent the band some of its image cred.“ (Thom Jurek, AMG)Įric Bloom, stun guitar, keyboards, vocalsĭonald 'Buck Dharma' Roeser, guitar, vocals 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. But it is on 'Cities on Flame With Rock & Roll,' that the Cult's sinister plan for world domination is best displayed. 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. 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. 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 opener, 'Transmaniacon MC,' the listener knew something very different was afoot. This was on purpose - to draw the listener into the songs cryptically and ambiguously. 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. 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. „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. The aforementioned 'She's as Beautiful as a Foot' is downright eerie, while 'I'm on the Lamb, But I Ain't No Sheep' is an early version of the band's later standard 'The Red and the Black.' Blue Oyster Cult remains one of hard rock's finest debuts. fans (such as the rockers 'Transmaniacon MC' and 'Cities on Flame With Rock and Roll'), the more obscure selections are just as exceptional. While several tracks are well known to most B.O.C. While distorted guitar riffs hint at the band's future hard-rocking direction, the songs have a dreamy quality and sport such mysterious titles as 'Before the Kiss, a Redcap' and 'She's as Beautiful as a Foot.' But Blue Oyster Cult's first three releases, (1973's „Tyranny and Mutation“, 1974's „Secret Treaties“, and their self-titled debut), proved to be an important influence on a wide range of future bands, such as punkers the Minutemen and headbangers Metallica. 's Blue Oyster Cult would become one of the top rock bands of the '70s with such metallic radio hits as 'Don't Fear the Reaper' and 'Godzilla,' the band began as a spacey psychedelic band, as evidenced on the group's self-titled debut from 1972.
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