Blue Oyster Cult (& related) ~ USA ~ Long Island, New York

Blue Oyster Cult were one of the very first bands I got into at the tender age of 13, much to the chagrin of my religious mother who didn't understand the allegory (not that I did either at the time, I just liked the music). Their material has held up well, and I own most of their classic albums. More updates will come eventually.

Mirrors (1979)

Mirrors was the first new studio album from Blue Oyster Cult after I had become a fan. Since my collection was still very small then, I found plenty to enjoy on the album. It wasn't really what I was looking for at the time, but I could explain it away. As more and more titles entered the household, Mirrors eventually became superfluous and I traded it off. Other than albums starting after The Revolution by Night, Mirrors was also the only classic era studio BOC I didn't have in the current collection. Found a minty one recently for cheap, so let's dig in for the first time in probably 40 years. It certainly isn't as bad as the low rating I had on it, though one can understand the disappointment. I was hardly alone in my assessment, and Mirrors remains their lowest rated album until the aforementioned Revolution album (according to RYM). Side 2 is the better half, and most of it is enjoyable. The first side isn't a total loss, though one wonders how they arrived at the suggestion that the title song was one of the treasures of the album. In any case, the one track here that is a fan favorite - and the one I loved at age 14 - is most certainly 'The Vigil'. It's really too bad BOC didn't pursue more of their proggy ambitions. They dabbled with it early in their career, and would later reference the genre every once in a blue moon. 'The Vigil' is one of the best tracks in their canon of work. Buck Dharma was at another level when penning this composition. It truly stands out on an album such as Mirrors, given that the rest of it is mostly commercial oriented. I wouldn't keep this album under normal circumstances, but the nostalgia pull here is huge.

Ownership: 1979 Columbia (LP). Reacquired in 2025. First purchased in 1979.

1979; 4/2/25 (review)

Agents of Fortune (1976)

Blue Oyster Cult's 4th album Agents of Fortune is where I first started with the band. If memory serves, Spectres was already out, but once I saw 'Don't Fear the Reaper' on the back cover at the local K-Mart, then I decided to fork over my hard earned lawnmowing money on the album. I was 13 years old and with my mom (not like I was driving yet), and she wasn't too keen on me buying it due to the Tarot imagery, but she relented. To this day, I still think Reaper is a 5 star track despite having heard it countless times over a 47+ year period. That's how good it is. And it's certainly the highlight of Agents of Fortune, though it would be for almost any traditional song based album. The only other "known" track here is 'ETI' a rather heavy piece for its era, and signals their next big hit with 'Godzilla'. B2 is the other harder rocking cut, one I've always been fond of. The other seven songs are geared towards melodic AOR, something they proved to be adept at on Secret Treaties, though it was presented in a more progressive form on that album. B3 and B4 in particular are very touching. I like the opening track as well, seemingly more like a mid-album cut. Strange beginning I think. I can do without A2 which sounds like the Stones, never a good plan. The side closers are lackluster as well. The end summary is that Agents of Fortune is a good album, somewhere in the middle of their canon, but not extraordinary. Lost opportunity because one of the tracks is just that - extraordinary.

Ownership: 1976 Columbia (LP). Reacquired in 2020. First purchased in 1978.

1978; 6/21/20; 2/14/25 (review)

Hard Rock Live Cleveland (2014 / 2020)

Quite an elaborate package with a double digipak and three discs. At this stage, BOC is really Eric Bloom and Buck Dharma with a touring band. And these guys have lost their ability to sing in harmony, one of their trademarks. It's nice to hear great songs that are under performed such as 'Golden Age of Leather', 'The Vigil', and 'Black Blade'. But they just ain't got it anymore. Weak sound and out of tune vocals. Fans seem to love it. I personally go back with BOC to 1978, as they were one of my first favorite groups. No blinders for me though.

Source: 2020 Frontiers (2xCD + DVD)

1/15/25 (review)

Fire of Unknown Origin (1981)

Another one of those albums I bought new real time, got tired of, and sold by the early 90s. From a cover perspective, it's very clear that BOC were moving as far away from Mirrors as fast as possible. A classic of its kind. The music is easily identifiable as Blue Oyster Cult and it's not that much of a risk taker. Much was made of the Joan Crawford song in its era, but it's not going to change your world. The whole album screams early 80s hard rock, plain and simple. There's nothing that sticks with you for days like, say, 'Subhuman'. 'Burnin' For You', which was the big hit, may also be the album's best track.

Ownership: 1981 Columbia (LP). Reacquired in 2023. First purchased in 1981.

1981; 7/27/13; 1/9/23 (review)

The Revolution By Night (1983)

I first heard this album on my winter break from college in 1983. It was relatively new then. It was the same time period that I picked up Savatage's Sirens and Manilla Road's Crystal Logic. A friend swore it was great, but as you might imagine, I had completely moved away from poppy hard rock such as BOC by that time. I thought it was terrible and maintained a low rating for the next 40 years almost. With this era of the 80s in my lens, now is a good time to repurchase the album from a local store. Well... yea, I can certainly see why I thought nothing of it when I was 18. It is lightweight and it is poppy. Which doesn't translate to terrible like it once did. I did recognize the opener 'Take it Away', but nothing else, 'Veins' is really nice and one gets to hear Randy Jackson (American Idol of course) play a mean bass on the lengthy 'Shooting Shark'. Side 2 is mostly solid hard rock as well. Other interesting guests are Larry Fast (Synergy) and Aldo Nova, a star in his own right not long before.

Former ownership: 1983 Columbia (LP). Acquired in 2022. Downsized in 2026

1983; 3/4/22 (review); 7/7/26

Extraterrestrial Live (1982)

The first live album I ever bought was On Your Feet Or On Your Knees, which became a personal favorite when I was 14. To this day, it remains one my top live albums in the collection. By the time ETL came out, I was already tiring of BOC, and this live album seemed perfunctory. I had seen the band live around this time, and modern reviews are generally very positive, so I plucked down near-retail dollars to buy this used copy. Nope, looks like my 17 year old brain knew better. The key to On Your Feet is the improvisational and energy quotient, both missing from ETL. Obviously seeing them live was a different positive experience, but it isn't captured here. It's a run through of all their hits, and every album has at least one representative including even their least successful Mirrors album. The only cover song is Roadhouse Blues, the Doors chestnut that was overdone in those days. I don't think it's a very good song to begin with, and might be my least favorite Doors hit. Oh well, not every nostalgic pull is going to work out.

Source: 1982 Columbia (2xLP)

2/18/22 (review)

Secret Treaties (1974)

The last of the "Black and White" trilogy of albums, Secret Treaties ups the ante on just about everything. Considered by many to be their most thoughtful and challenging album, lyrically Blue Oyster Cult were living in a surreal, but parallel, universe. Even tracks that are essentially boogie rockers receive mid track breaks that belong more to progressive rock - or later in the heavy metal genre considering the mid song riff change. 'Subhuman' is melancholy on a plate with a killer underlying riff. 'Astronomy' is about as progressive as BOC will ever get, always pulling back instinctively knowing their audience are there to rock and roll. Buck Dharma has a very recognizable guitar style. Had he chosen a route similar to Santana, his name would be far more known today as a soloist rather than band member.

The CD adds five bonus tracks. Three of these were recorded during the Secret Treaties sessions but left off due to time constraints. Revisiting these, it appears the band / label made the right choice as they are more straightforward than the album proper. Still it's quite excellent to hear unreleased tracks like this. The other two are singles, including live favorite 'Born to be Wild'.

Ownership: 

1974 Columbia (LP). Acquired in 2022.

2001 Columbia Legacy (CD). Contains insightful liner notes, lyrics, photos, and five bonus tracks. Acquired in 2012.

First copy: 1977 Columbia (LP). Acquired in 1978.

1978; 11/21/12; 7/7/15; 11/26/22 (review)

Buck Dharma - Flat Out (1982)

Blue Oyster Cult was one of the first bands I ever got into, going back to when I was 13 years of age. My mom didn't like the symbolism and was afraid I was "turning the wrong way". Dad, for his part, called them Blue Oyster Fart. He clearly had the right idea on parenting lol. In any case, I used to pour over the credits, since I had little else to do. And over time, it became quite clear that Donald Roeser (Buck...) was my favorite composer of the band. Had this come out in the late 70s, I would have bought it on the spot. But by 1982 I wasn't so much into BOC anymore (that was to be revitalized later, as you see above). Hence, this is my first listen to the album. It's a typical solo work with a hodgepodge of styles, enough to allure some loyal fans and gain a few others, but leave most wanting. There are a couple of great tracks here, I'm quite partial to the instrumental 'Anwar's Theme', but not enough to hold onto.

Source: 1982 Portrait (LP)

11/30/21 (review)

Other albums I own: Blue Oyster Cult; Tyranny and Mutation; On Your Feet or On Your Knees; Spectres; Cultosaurus Erectus

Previously owned: Some Enchanted Evening

11/26/22 (new entry)

Paradox ~ USA ~ Long Island, New York

Modern Madness (1977)

Modern Madness is an all instrumental progressive rock album from Paradox, a power trio residing in the New York City / Long Island area, and released on the Kasenetz & Katz owned Magna Glide Records - a label which existed primarily as a business to solely lose money for tax purposes. Ah, the late 70s...

While listening to the album my mind immediately wandered to that of Automatic Fine Tuning, the excellent English instrumental group that continues to be much unheralded. AFT had a twin guitar setup recalling Wishbone Ash, and I would say that Paradox took a more straightforward hard rock path, perhaps recalling Rush around that same time. From a composition standpoint, and perhaps overall musical approach, I was also reminded of the obscure Chicago band Seiche, who recorded a similarly complex power trio album in 1979 (though Seiche had vocals, giving the band a little downtime). Overall an excellent album worthy of pursuit.

Original drummer Joe Wood wrote in and told us: "Glad you like Paradox. I was in that band in the 80's. We recorded more music in the 80's on 2 inch reels. Three new songs will soon be posted on IACMusic.com. I am the new drummer and I'm working on finishing all the songs we started back then. It includes a new version of Modern Maddess. The new band had me Joe Wood on drums, Rich Hoffman the original guitarist Pete Martinez the original bassist. Also Rob Jack keys and Rob Adamo vocals. My new band Coney Island Steeplechase is on IacMusic.com Me and Rich Hoffman still keep in touch and work together. We are talking about a reunion. Pete is one of the best musicians and writers I ever worked with."

Just checked the website above and it's no longer there. 

Ownership: 1977 Magna Glide (LP) 

Not reissued as of 3/28/25.

3/30/14 (review); 12/7/20 (update / new entry) 

Richie Duvall and Dog Truck ~ USA ~ Long Island, New York

Richie Duvall and Dog Truck (1973)

---2/3/20

 

Here's a new discovery for me and one that did not manage to waft under my nose during the CDRWL heyday. Last year's completely new finds of Terry Masters and Christian Friday constantly remind me that we'll probably always be discovering something from the past. And that doesn't count newly unearthed archival recordings, that I'm sure will continue on for another few decades. Richie Duvall and Dog Truck are a known entity, just not one I'd run into before. For those curious, the artist themselves have released the album on YouTube, and it's how I heard it. I think they should just go all the way with a CD reissue here (and full historical essay).

From an innovative and background perspective, Long Island's Richie Duvall and team ties closest to Minneapolis' own precocious Tom Nehls and his running set. Once again we're dealing with the smartest kids in high school who decided to release an album of great invention. Whereas Nehl's tapped into a strange kind of late era psychedelia, Duvall tried his hand at jazz fusion. Not in any typical sense mind you. In fact, what one hears is a strain of Canterbury. In 1973 America? Now that's inspired. The only band I can think of that tapped into this vein back then were The Muffins, and they didn't arrive until a few years later (thinking their 1976 archival Chronometers here). As with Nehls, it comes as no surprise that Duvall and group were inspired by Frank Zappa and Captain Beefheart. The type of jazz rock played here is incredibly in control and highly melodic. Perhaps it would have been better served with some more of that teenage angst, but they are to be admired for their discipline and maturity. Dog Truck is a large ensemble with many instruments on display, including multiple horns. The front cover of the album itself says of the music: "Half poly-precipitated jazz and half post-meditation rock". 

Like I said, these were the smart kids in the class. 

---10/18/24

I've now obtained the LP after almost five years on the want list. What great insights do I have to offer beyond what I said above? Nothing really. Such an anomaly - where on Earth did they get the inspiration? I suppose the English bands as noted above, but they were unique to do that here in America. Someone needs to do a dissertation here. 

Ownership: 1973 United Sounds (LP). It appears my copy once belonged to trombonist Skip West, based on a note inside the LP.

No reissues exist as of 3/31/25.

2/3/20 (review); 10/18/24 (update)

2/3/20 (new entry)