Welcome to another edition of From My Collection. If you’ve been reading this site from day 1, then you’re well aware of my “Sinful Love” (pun intended) for Blue Öyster Cult. I’ve reviewed their new album, The Symbol Remains, as well as the latest albums from Joe and Albert Bouchard. I also gave myself the ultimate challenge and ranked my Top 10 Blue Öyster Cult Songs. It was only a matter of time before they found their way into this segment and the timing couldn’t be more appropriate. Not only will this essay on the oft forgotten Cultösaurus Erectus carry on our 1980 theme for the day, but this Friday I’ll be seeing the mighty BÖC for the 11th time! Needless to say, I’m stoked. While I wish I could jump 48 hours into the future, we’ll instead go 41 years back in time to excavate the remains of the Cultösaurus Erectus.
1980 was a make or break year for BÖC. They spent the latter half of the 1970s incorporating pop elements to their sound. This culminated in the release of 1979’s Mirrors. While Agents of Fortune and Spectres retained certain aspects of BÖC’s dark, early sound, Mirrors was a full fledged poppy hard rock album. It was a creative and commercial flop, failing to even reach gold status. This left the band with only one option: Return to their black hearted, cold lipped, heavy metal roots.
BÖC’s return to metal couldn’t have been better timed. The death of disco and the arrival of the NWOBHM generated newfound interest in the genre. After years of grinding, bands like Van Halen, AC/DC, and Judas Priest had finally achieved arena headliner status. It only made sense for them and fellow pioneers Black Sabbath to capitalize on this metal revival on the subsequent Black & Blue Tour. Sabbath was touring behind the groundbreaking Heaven and Hell. Meanwhile, BÖC was touring behind Cultösaurus Erectus.
In the scope of BÖC’s catalog, Cultösaurus Erectus is often viewed as well meaning, yet uneven record. I disagree on the latter. Cultösaurus Erectus combines the heaviness of the first three albums, with the creative variety of Agents of Fortune and Spectres, resulting in a listen that’s bound to enthrall any true BÖC diehard. From the opening sound effects of “Black Blade”, we’re taken on a full metal journey through the sonic spectrum of BÖC. Co-penned by sci-fi author Michael Moorcock, “Black Blade” chronicles the quest of Moorcock protagonist Elric of Melniboné to the tune of epic progressive metal. Their guitars haven’t sounded this gigantic since “Godzilla”. Various synth and vocoder wizardry adds a healthy dose of atmosphere, while Bloom sings with the power and conviction needed to tell such a tale. “Monsters” carries on this sci-fi theme. With its musical blueprint lying somewhere between prog metal and jazz, and lyrics detailing an intergalactic orgy, if “Monsters” didn’t tell us the old BÖC, I don’t know what did.
BÖC were never ones to play the blues, but they do exactly that on “Divine Wind”. Perhaps the most socially conscious song in their entire catalog, “Divine Wind” was written by Buck Dharma as an attack on the then Ayatollah Khomeini. During live performances of the track, Bloom would encourage the crowd to give “the Ayatollah handshake” by sticking their middle fingers in the air. While such a gesture would be considered “politically incorrect” by today’s standards, back in 1980, America was united in the idea that this guy was one bad apple. More specifically, the mindset was “Fuck this dude.”, or as BÖC so eloquently put it, “If he really thinks we’re the devil, then let’s send him to hell.” I couldn’t have said it better myself. Side A closes with Dharma’s sole vocal contribution to the album, “Deadline”. Some may dismiss this dreamy, acoustic ballad as a leftover from the Mirrors sessions. In reality, this one song is more stimulating than the majority of Mirrors. It’s peak pop rock, played with the introspection and wit synonymous with BÖC.
While Side A is a whirlwind of metal, prog, blues, and pop, Side B sees BÖC going for a much more straightforward heavy metal/hard rock approach, tailormade for the new decade. This is evident on “The Marshall Plan”. Pun fully intended, “The Marshall Plan” is BÖC’s take on the rock n’ roll fantasy. So many bands, from The Byrds and The Who, to Bad Company and Foreigner, have tackled this trope. None did it as well as BÖC did. Eat your heart out “Shooting Star”! Following this are back to back tracks from the Bouchard brothers. Albert provides the new wave tinged bounce of “Hungry Boys”, while Joe unleashes the power pop pomp of “Fallen Angel”. I strongly believe the latter is one of the greatest Cheap Trick songs never written.
“Lips in the Hills” is the album’s heaviest and most headbanger friendly track. The guitars are beyond blistering while Bloom belts out a tale of Lovecraftian style horror. If we’re to change subjects for a brief second, I don’t think Bloom gets enough credit for being one of the all time great singers in hard rock and metal history. Sure his range is a fourth of Ronnie James Dio’s or Rob Halford’s, but the emotion and power he conveys in each song is up there with King Diamond. When he screams, “The godless night, the night that I saw, the night that I saw, the night that I saw!”, we can hear the horror in his voice. The album then closes with the severely underrated “Unknown Tongue”. Of all the music BÖC has released post Secret Treaties, this is probably the one song that comes closest to their “black and white” era in both music and spirit. It’s ominous and occult, but with an 80s twist.
Now I can’t speak on behalf of those who “were there” when Cultösaurus Erectus came out, but if I was, I would be thrilled to see my beloved BÖC return to the dark edge that put them on the map. Granted, 1981’s Fire of Unknown Origin is a million times better, and in my opinion the best album in their catalog. However, Fire couldn’t have happened if Cultösaurus Erectus hadn’t been there to set the stage first. I highly recommend all old school metalheads revisit this album. Give it another shot and behold the power of the “Black Blade”!