Classic Rock: Blue Öyster Cult, Sci-Fi & Occult
Whether the “psychic veterans of rock” can be labeled as “classic rock” is easy to say. They are, and without any equivocation whatsoever. And this is not because “the internet says so”, but because Buck Dharma (vocals and guitar) and the mysterious American clique of BÖC have left to posterity, through a series of works, pages of authentically pure “rock” in the strictest sense of the term.
Dharma, pseudonym of Donald Roeser, is to date the only constant member of the incredible combo formed in the New York area in 1967, initially with the name of Soft White Underbelly. A story that could be determined also and above all thanks to the genius of the manager and producer Sandy Pearlman, destined to be passed down to future generations, as well as absolutely unique in its genre. Strong of a lyrical imagery with science fiction and esoteric tones, never lacking a good dose of wit to temper or embellish, depending on the case, their songs, the BÖC stood out both musically and for the visual arrogance perpetrated by the covers of their most historic albums, starting from that of the eponymous debut in 1972, where the particular swastika ascribed to the symbol of the group already appeared. A debut that, in addition to being a small marvel of rock ‘n’ roll, is still seen by many today as the group’s recording apex.
And if on this last point it would be fair to disagree, listening again to “The Last Days Of May”, “She’s As Beautiful As A Foot”, or the jagged and impetuous “Cities On Flame With Rock And Roll”, it is nevertheless a fact that already in that first test the qualities of the pioneers of hard & heavy were clearly outlined, who in addition to the aforementioned Buck Dharma were then the second singer (and guitarist) Eric Bloom, the keyboardist (and guitarist) Allen Lanier, plus the historical brothers Joe and Albert Bouchard, respectively bassist and drummer.
However, it was with subsequent recording projects that the Cult of the Blue Oyster began to show off a greater stylistic boldness, as well as a more evident cohesion in the material proposed to an audience that would grow disproportionately over time. Evidence of this was the set of songs on the second “Tyranny And Mutation” (1973), which among the various “The Red & The Black”, “Hot Rails To Hell”, “7 Screaming Diz-Busters”, also included the track “Baby Ice Dog”, written together with a Patti Smith who was not yet known to the world as such. The involvement of the future performer of “Because The Night” found a reason in her relationship at the time with Allen Lanier, but it is said that the whole band, attracted by her poetic abilities, wanted her presence to the point of wanting to entrust her with a permanent role as frontwoman. This could not materialize, but Patti later provided other contributions to the Blue Öyster Cult cause. He wrote the lyrics for “Career Of Evil”, the stellar introductory track on the band’s third album, ‘Secret Treaties’, released in 1974 and packed with hits like “Flaming Telepaths” and “Dominance And Submission”, but was again present on the band’s 1976 follow-up ‘Agents Of Fortune’, securing a duet with Eric Bloom on “The Revenge Of Vera Gemini” (the lyrics were a direct reference to her solo debut, ‘Horses’, which had meanwhile seen the light of day at the end of 1975: “No more horses, horses / We’ll swim like fish / There in the hole where you meant to leave me”). “Agents…” effectively became BÖC’s first platinum album, partly due to the presence of the single “(Don’t Fear) The Reaper”, in itself one of the most significant sonic prototypes in the history of “classic rock”, and partly thanks to the quality of sound numbers such as “ETI (Extra Terrestrial Intelligence)” and “This Ain’t The Summer Of Love”.
In 1977, with the fifth “Spectres”, Eric Bloom and his companions opted for a less visceral and more radio-friendly sound, with variable results and in general, with the exception of what remains to this day the other great classic of the group, “Godzilla”, not very satisfying. A version of ‘Godzilla’, better than the studio version, would appear a year later on the live album ‘Some Enchanted Evening’ (the second in order of release, after the first live “On Your Feet Or On Your Knees”, three years earlier). The cover of “Some Enchanted…” was particularly notable for the subject depicted in the center, that is, a disturbing Grim Reaper riding a black horse, equipped with a cape and a large scythe, and with a desert landscape mixed with a blue sky behind him.
With the end of the decade that had made them a widely resounding name, BÖC returned to the studio but for the first time renounced the industriousness of their manager, Sandy Pearlman, the same one who until that point had taken care of producing their material himself, sometimes dividing himself with the able Murray Krugman. They chose instead the future producer of Mötley Crüe and Poison, Tom Werman, a choice that however resulted in a mostly mediocre work entitled “Mirrors”, and which led if anything to an even more disappointing result than “Spectres”. However, the quintet was shrewd enough to quickly find its bearings, and between 1980 and 1981 they produced two largely respectable works, first the underrated “Cultösaurus Erectus”, then the throbbing “Fire Of Unknown Origin”, which included the fiery single “Burnin’ For You”.
Both of these albums were produced by the esteemed Martin Birch, who in parallel with BÖC worked with the post-Osbourne Black Sabbath on two classic heavy metal monoliths, “Heaven And Hell” and “Mob Rules” (Birch’s name remains strongly associated with the history of Iron Maiden, however – his fruitful collaboration with the Iron Maiden ranges from the never-forgotten “Killers” to the already lackluster “Fear Of The Dark”, released in 1992). Since in those early 1980s Pearlman was simultaneously managing both Sabbath and BÖC, the manager had the brilliant idea of organizing a co-headlining tour for the two bands called “Black And Blue”. The operation was a huge success, and the footage that was filmed during two of the live dates was made into a concert film – which was released first in cinemas and then on various media – with the same title as the successful tour. Much like Tony Iommi’s immortal creation, Blue Öyster Cult’s journey would continue through ups and downs and line-up changes, but if their name has been able to stand the test of time, it is only thanks to ‘Secret Treaties’ and the other works highlighted here.
