Cultosaurus Erectus

Signing on with Deep Purple/Black Sabbath producer Martin Birch, Blue Oyster 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.

Mirrors

Blue Oyster Cult tried a new producer on Mirrors, replacing longtime mentor Sandy Pearlman with Tom Werman, a CBS staffer who had worked with Cheap Trick and Ted Nugent. The result is an album that tries to straddle pop and hard rock just as those acts did, emphasizing choral vocals (plus female backup) and a sharp, trebly sound. But this approach appeared to displease longtime metal-oriented fans without attracting new ones: "In Thee" became a minor singles-chart entry, but the album broke BOC 's string of five gold or platinum albums in a row. The real reason simply may have been that the songs weren't distinctive enough. Much of this is generic hard rock that could have been made by any one of a dozen '70s arena bands.

Some Enchanted Evening

Some Enchanted Evening is the mighty beast that is Blue Oyster Cult's best-selling record, with numbers signifying double platinum. Yeah, small potatoes by today's standards, but then the music industry is self-destructing anyway; these totals sum up not only the BOC faithful, but those who were initially turned onto the band through this wonder of a cut-up live record. And the reason? Because it kicks serious rock & roll ass, that's why. BOC had released its first live record, On Your Feet or on Your Knees in 1975, just three years earlier with only two studio offerings in between. Wondering why? There were two absolute smashes -- Agents of Fortune (1976) and Spectres (1977) -- in between. The grueling touring they took on in support of these albums dictated a rest, and thus Some Enchanted Evening was assembled and released.

Spectres

Blue Oyster Cult scored big with Agents of fortune and its now-classic rock hit, "(Don't Fear) The Reaper." It took the album into the stratosphere and the band's profile with it; it put them in the visible pop space they'd tried for years to get to. But upon arrival, they found that kind of success difficult to respond to. Not only did BOC want to respond, they wanted to cement their place. Spectres is not the masterpiece that Agents of Fortune is, but it didn't need to be. However, upon hearing Spectres again, the album offers proof that the commercial and creative bent of Agents of Fortune was still in place at certain moments, and the band laid out a major single in the opening cut, "Godzilla," a tune -- however silly it may be -- that is every bit as memorable as "(Don't Fear) The Reaper. BOC were the only band in their league, walking the line between AOR rock and metal, and offering such detailed narratives. Spectres also contains tunes that were ready-made for touring, which is what BOC did immediately after, resulting in the wildly successful live album Some Enchanted Evening. In sum, the only reason Spectres is not regarded as a classic is because it followed Agents of Fortune.

Agents of Fortune

If ever there were a manifesto for 1970s rock, one that prefigured both the decadence of the decade's burgeoning heavy metal and prog rock excesses and the rage of punk rock, "This Ain't the Summer of Love," the opening track from Agents of Forture, Blue Oyster Cult's fourth studio album, was it. The irony was that while the cut itself came down firmly on the hard rock side of the fence, most of the rest of the album didn't. The album yielded the band's biggest single with "(Don't Fear) The Reaper," a multi-textured, deeply melodic soft rock song with psychedelic overtones, written by guitarist Donald "Buck Dharma" Roeser. The rest of the album is ambitious in that it all but tosses aside BOC's proto-metal stance and instead recontextualizes their entire stance. It's still dark, mysterious, and creepy, and perhaps even more so, it's still rooted in rock posturing and excess, but gone is the nihilistic biker boogie in favor of a more tempered -- indeed, nearly pop arena rock. Agents of Fortune is a solid record, albeit a startling one for fans of the band's earlier sound. It also sounds like one of restless inspiration, which is, in fact, what it turned out to be given the recordings that came after. It turned out to be BOC's last consistent effort until they released Fires of Unknown Origin in 1981.

On Your Feet or on Your Knees

On Your Feet or on Your Knees, Blue Oyster Cult's first live album, was also their first to peak inside the Top 40 best-sellers, which is more of an indication of the audience the group was building up through extensive touring than of its quality. Songs that had a tight, concentrated impact on studio albums got elongated here, and that impact was dissipated. And the song selection left a great deal to be desired if this was to be a fitting summation of the band's career so far. The album did mark the first commercial release of a version of "Buck's Boogie" as well as covers of the Yardbirds' "I Ain't Got You" and Steppenwolf's "Born to Be Wild."

Secret Treaties

While the speed-freak adrenaline heaviness and shrouded occult mystery of Tyranny and Mutation is the watermark for Blue Oyster Cult's creative invention, it is Secret Treaties that is widely and critically regarded as the band's classic. Issued in 1974, Secret Treaties is the purest distillation of all of BOC's strengths. Here the songs are expansive, and lush in their textures. The flamboyance is all here, and so are the overdriven guitar riffs provided by Buck Dharma and Eric Bloom. But there is something else, texturally, that moves these songs out from the blackness and into the shadows. It offers BOC a new depth and breadth. While elements of psychedelia have always been a part of the band's sound, it was always enfolded in proto-metal heaviness and biker boogie. Here, BOC created their own brand of heavy psychedelic noir to diversify their considerably aggressive attack. It's a breathless rock monolith that is all dark delight and sinister pleasure. While BOC went on to well-deserved commercial success with Agents of Fortune an album later, the freaky inspiration that was offered on their debut, and brought to shine like a black jewel on Tyranny and Mutation, was fully articulated as visionary on Secret Treaties.