BLUE ÖYSTER CULT
''CULTÖSAURUS ERECTUS''
JUNE 1980
41:53
1 Black Blade
Eric Bloom / Blue Öyster Cult / Michael Moorcock 6:41
2 Monsters
Albert Bouchard / Jeff Bouchard / Duane Peters 5:08
3 Divine Wind
Donald Roeser 5:09
4 Deadline
Donald Roeser 4:29
5 The Marshall Plan
Blue Öyster Cult 5:25
6 Hungry Boys
Albert Bouchard / Jeff Bouchard 3:39
7 Fallen Angel
Joe Bouchard / Marty Robbins 3:13
8 Lips in the Hills
Eric Bloom / Richard Meltzer / Donald Roeser 4:26
9 Unknown Tongue
Albert Bouchard / David Roter 4:00
Eric Bloom /Composer, Guitar, Keyboards, Vocals
Albert Bouchard /Composer, Drums, Guitar, Harmonica, Vocals
Joe Bouchard /Bass, Composer, Guitar, Piano, Vocals
Karla DeVito /Vocals
Ellen Foley /Vocals
Allen Lanier /Bass, Guitar, Keyboards, Vocals
Mark Rivera /Saxophone
Donald Roeser /Bass, Composer, Guitar, Keyboards, Synthesizer, Vocals
REVIEW
by William Ruhlmann Signing on with Deep Purple/Black Sabbath producer Martin Birch, Blue Öyster Cult made more of a guitar-heavy hard rock album in Cultosaurus Erectus after flirting with pop ever since the success of Agents of Fortune. (They also promoted this album by going out on a co-headlining tour with Sabbath.) Gone are the female backup singers, the pop hooks, the songs based on keyboard structures, and they are replaced by lots of guitar solos and a beefed-up rhythm section. But the band still were not generating strong enough material to compete with their concert repertoire, so they found themselves in the bind of being a strong touring act unable to translate that success into record sales.
------------------------------
''The Cult are still going strong with ex-Sabbath producer Martin Birch forging
a brisk sound to match their mighty dynamics"
-Steve Sutherland, Melody Maker
"Eddie Van Halen may think he can play a guitar. But lead guitarist Buck Dharma and his gang are the best thing going in this country."
- Kelley Bass, Arkansas Gazette
Billboard's Top 200 albums:
16 weeks on the chart.
Entered Jul 12, 1980, last appearance Oct 25, 1980
Peaked and held at #34 for two weeks: Aug 23 & 30, 1980.
7" single:
Here’s Johnny (The Marshall Plan)/ Divine Wind
(did not chart on Billboard Hot 100)
Video:
Here's Johnny
(released as part of the "Black and Blue" movie).
Black Blade (Eric Bloom, Michael Moorcock, John Trivers)
Monsters (Albert Bouchard, Caryn Bouchard)
Divine Wind (Donald Roeser)
Deadline (Donald Roeser)
The Marshall Plan (Blue Öyster Cult)
Hungry Boys (Albert Bouchard, Caryn Bouchard)
Fallen Angel (Joe Bouchard, Helen Robbins)
Lips In The Hills (Donald Roeser, Eric Bloom, Richard Meltzer)
Unknown Tongue (Albert Bouchard, David Roter)
------------------------------
From the Beginning…
by official site
Spanning three decades, Blue Öyster Cult has a long and storied history. 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.
The threads that eventually wove together to create Blue Öyster Cult got their start in upstate New York.
Long Island native Donald Roeser and Albert Bouchard (of Watertown, New York) met at Clarkson College, in Potsdam, NY. The two were introduced by a mutual friend, Bruce Abbott (who later co-authored “Golden Age of Leather” with Donald). With Abbott and two other friends, they formed “The Disciples” and played college parties and local beer halls. The next year, the band reformed and played the same circuits as “Travesty” (named after the Blues Project album). Through all this, their studies fell by the wayside, and both Albert and Donald decided to quit college to concentrate on playing music full-time.
Eventually “Travesty” broke up, Donald and Albert took seperate paths for a while. Donald went back to Long Island, and Albert took a musical opportunity in Chicago. After moving there, though, the band fizzled, and Albert returned to NY and joined Donald. In the meantime, Donald had been jamming with local musicians, and had met a person that would become very influential in their future: Sandy Pearlman.
Sandy Pearlman became interested in rock music around the time of the British Invasion, and was a pioneering voice of rock criticism, opening a new field for creative writers like Lester Bangs. Both Pearlman and his friend Richard Meltzer were contributors for seminal magazine “Crawdaddy!,” the first magazine that dedicated itself to analysis of rock music and its culture.
Allen Lanier came into the fold by way of guitarist John Wiesenthal. Allen had accepted employment at a film company at which Wiesenthal was also an employee. After becoming acquainted, Wiesenthal invited Allen out to Long Island to meet and jam with the loose group of musicians he played with, and Allen began to regularly jam with them.
An old house near Stony Brook College became ground zero for the formative band, and casual jams with whomever happened to be hanging around began to turn into rehearsals with a core band, which included Wiesenthal, Donald, Albert, Allen and Andrew Winters, a school friend of Donald. It was 1967.
Pearlman (along with Meltzer and Wiesenthal) had been a student at Stony Brook, and was becoming increasingly involved in the music scene. When he heard the formative combo, he instantly recognized the talent at work. He had an idea for a band, and thought that this group of musicians had the chops to put that idea into play. The musicians saw that Pearlman’s contacts and stature in the local (and increasingly national) scene could help them spawn a career as well, and an alliance was formed.
OFFICIAL SITE
''CULTÖSAURUS ERECTUS''
JUNE 1980
41:53
1 Black Blade
Eric Bloom / Blue Öyster Cult / Michael Moorcock 6:41
2 Monsters
Albert Bouchard / Jeff Bouchard / Duane Peters 5:08
3 Divine Wind
Donald Roeser 5:09
4 Deadline
Donald Roeser 4:29
5 The Marshall Plan
Blue Öyster Cult 5:25
6 Hungry Boys
Albert Bouchard / Jeff Bouchard 3:39
7 Fallen Angel
Joe Bouchard / Marty Robbins 3:13
8 Lips in the Hills
Eric Bloom / Richard Meltzer / Donald Roeser 4:26
9 Unknown Tongue
Albert Bouchard / David Roter 4:00
Eric Bloom /Composer, Guitar, Keyboards, Vocals
Albert Bouchard /Composer, Drums, Guitar, Harmonica, Vocals
Joe Bouchard /Bass, Composer, Guitar, Piano, Vocals
Karla DeVito /Vocals
Ellen Foley /Vocals
Allen Lanier /Bass, Guitar, Keyboards, Vocals
Mark Rivera /Saxophone
Donald Roeser /Bass, Composer, Guitar, Keyboards, Synthesizer, Vocals
REVIEW
by William Ruhlmann Signing on with Deep Purple/Black Sabbath producer Martin Birch, Blue Öyster Cult made more of a guitar-heavy hard rock album in Cultosaurus Erectus after flirting with pop ever since the success of Agents of Fortune. (They also promoted this album by going out on a co-headlining tour with Sabbath.) Gone are the female backup singers, the pop hooks, the songs based on keyboard structures, and they are replaced by lots of guitar solos and a beefed-up rhythm section. But the band still were not generating strong enough material to compete with their concert repertoire, so they found themselves in the bind of being a strong touring act unable to translate that success into record sales.
------------------------------
''The Cult are still going strong with ex-Sabbath producer Martin Birch forging
a brisk sound to match their mighty dynamics"
-Steve Sutherland, Melody Maker
"Eddie Van Halen may think he can play a guitar. But lead guitarist Buck Dharma and his gang are the best thing going in this country."
- Kelley Bass, Arkansas Gazette
Billboard's Top 200 albums:
16 weeks on the chart.
Entered Jul 12, 1980, last appearance Oct 25, 1980
Peaked and held at #34 for two weeks: Aug 23 & 30, 1980.
7" single:
Here’s Johnny (The Marshall Plan)/ Divine Wind
(did not chart on Billboard Hot 100)
Video:
Here's Johnny
(released as part of the "Black and Blue" movie).
Black Blade (Eric Bloom, Michael Moorcock, John Trivers)
Monsters (Albert Bouchard, Caryn Bouchard)
Divine Wind (Donald Roeser)
Deadline (Donald Roeser)
The Marshall Plan (Blue Öyster Cult)
Hungry Boys (Albert Bouchard, Caryn Bouchard)
Fallen Angel (Joe Bouchard, Helen Robbins)
Lips In The Hills (Donald Roeser, Eric Bloom, Richard Meltzer)
Unknown Tongue (Albert Bouchard, David Roter)
------------------------------
From the Beginning…
by official site
Spanning three decades, Blue Öyster Cult has a long and storied history. 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.
The threads that eventually wove together to create Blue Öyster Cult got their start in upstate New York.
Long Island native Donald Roeser and Albert Bouchard (of Watertown, New York) met at Clarkson College, in Potsdam, NY. The two were introduced by a mutual friend, Bruce Abbott (who later co-authored “Golden Age of Leather” with Donald). With Abbott and two other friends, they formed “The Disciples” and played college parties and local beer halls. The next year, the band reformed and played the same circuits as “Travesty” (named after the Blues Project album). Through all this, their studies fell by the wayside, and both Albert and Donald decided to quit college to concentrate on playing music full-time.
Eventually “Travesty” broke up, Donald and Albert took seperate paths for a while. Donald went back to Long Island, and Albert took a musical opportunity in Chicago. After moving there, though, the band fizzled, and Albert returned to NY and joined Donald. In the meantime, Donald had been jamming with local musicians, and had met a person that would become very influential in their future: Sandy Pearlman.
Sandy Pearlman became interested in rock music around the time of the British Invasion, and was a pioneering voice of rock criticism, opening a new field for creative writers like Lester Bangs. Both Pearlman and his friend Richard Meltzer were contributors for seminal magazine “Crawdaddy!,” the first magazine that dedicated itself to analysis of rock music and its culture.
Allen Lanier came into the fold by way of guitarist John Wiesenthal. Allen had accepted employment at a film company at which Wiesenthal was also an employee. After becoming acquainted, Wiesenthal invited Allen out to Long Island to meet and jam with the loose group of musicians he played with, and Allen began to regularly jam with them.
An old house near Stony Brook College became ground zero for the formative band, and casual jams with whomever happened to be hanging around began to turn into rehearsals with a core band, which included Wiesenthal, Donald, Albert, Allen and Andrew Winters, a school friend of Donald. It was 1967.
Pearlman (along with Meltzer and Wiesenthal) had been a student at Stony Brook, and was becoming increasingly involved in the music scene. When he heard the formative combo, he instantly recognized the talent at work. He had an idea for a band, and thought that this group of musicians had the chops to put that idea into play. The musicians saw that Pearlman’s contacts and stature in the local (and increasingly national) scene could help them spawn a career as well, and an alliance was formed.
OFFICIAL SITE
No comments :
Post a Comment