This might be the comeback of the century.
When this one came across my email, I smirked. However, there was something in the back of my head that told me that I should give this a listen.
Maybe it’s because of Cleveland. Cleveland is where I had last seen Blue Öyster Cult back in 2010, and it hadn’t been pretty. That being said, Cleveland and I have been on a winning streak, so I thought I would roll the dice.
The last time I had seen the band, maybe it was an off day. Who knows maybe it was me, but what I saw in 2010 left me not caring if I saw the band again. A band I had adored since the early seventies, a band which had never let me down.
I don’t remember the lineup, but I do remember that the show had left me extremely unimpressed, and a little miffed for several reasons I won’t go into here. However, let’s let bygones be bygones.
Here we are on the verge of 2020 when this album will be released (January 2020 on Frontiers Music s.r.l.), and I’ve got to say, I’ve never been more pleased to be wrong. My shirk was shit, and this live set finds the Cult killing it.
It turns out that this is a perfect book end for the band’s astounding 1975 live release, On Your Feet Or On Your Knees. That was an album that had encapsulated everything I had loved about the group’s records and astounding live shows. Even its incredible cover fathered a thousand loud bands.
Some have called Blue Öyster Cult metal, but that’s an incredibly shortsighted misnomer.
Sure, they were powerful and thunderously loud, but they also borrowed from the most melodic bands of the west coast seventies with their intelligent songcraft, multiple lead singers, cool assed harmonies, a virtual rock guitar army, throbbing rhythm section, and brilliant lyrics.
They went way beyond metal and psychedelia, science fiction, and world history were never far away.
They were the thinking man’s hard rock heroes.
Frontman Eric Bloom was a dark, malevolent mystery man, Donald “Buck Dharma” Roeser was not just one of the best, relatively unheralded six string slingers of his day, he could also sing like a bird, and his writing is often exceptional. He’s written an astounding number of genuine rock classics. He’s the Brill Building of heavy rock. The Bouchard brothers were a telekinetic rhythm section with their shared DNA leading the day, and multi-instrumentalist Allen Lanier was one of a kind. A brilliant lineup by any measure. They were sympatico in the extreme, and it often sounded like they could read each other’s minds when they took off on many sonic adventures.
Fast forward to Cleveland 2014, and it’s the Bloom and Buck show with a replacement cast made up of longtime Cultist Ritchie Castellano serving as a musical man Friday, Utopia-man Kasim Sulton on bass, and an incredible Jules Radino on the drums. Radino almost steals the whole damned show, both his playing and his sound is superb. A stunning performance by a stickman, when did that happen last?
The band comes out with “OD’d On Life Itself,” one of the bands true classics, and while Bloom doesn’t sound as ferocious as he may have in 1974, he warms up into a fine performance. The band is stellar throughout, and now and forever, he shall be referred to as Buck “Fucking” Dharma. My God, the man is on fire with whipcrack rhythms, sterling solo snipets, and a snarling tone. Wowowow! A musical tour-de-force.
Listen to the musical interlude on “The Golden Age Of Leather,” and you’ll understand everything I’ve said about this band. It’s mightily musical, acrobatic in its form, and telepathic in its performance. A goddamned joy. And once again, Eric Bloom is back, sounding as menacing as ever. The song structure here is complex and sophisticated, and jam packed with ear candy. Thrilling stuff.
The band’s 1981 classic, “Burnin’ For You” is the perfect melding of melody and might. The song was hugely influential to many 80s melodic hard rock outfits, and here you’ll hear why. Jules Rodino again makes this with his incredible tom tom work, and Kasim Sulton is just smoking, laying the groove down h.a.r.d. hard. The production here is top notch - just sterling for a live recording that’s been in the can for five years. This is said to be the first of a series of live performances which the band will be releasing, and if any of the others are near this good we have a lot to look forward to.
When the band rips into “ME 262,” I don’t know what manner of magic this is but I fucking well love it. Castellano is perfect here. As a utility cat, he contributes great aid and support, and shows why he’s been so invaluable to the band for so long.
Dharma once again displays his musical genius on the still beautific, “Then Came The Last Days Of May.”
This is a fascinating track for me. While the song has always been a setlist classic, the tale of a drug deal escapade gone wrong has evolved.
I wanted to hear how and why I was sensing a subtle change, and it came down to the different rhythm sections.
The Bouchard brothers were a mind blowing miracle, their shared DNA that I mentioned earlier is almost freaky as they always land together perfectly, oft-times playing off of each other, and at other times they complete each other’s musical thoughts.
However, back to 2014, Radino and Kasim manage to own that shit, and while they aren’t quite as dialed in as the brothers Bouchard, they bring their own styles to the fore, and it’s something to behold.
It’s great to hear a band that’s close to five decades old delivering the goods so auspiciously.
Anywhere you put the needle down never fails to impress, and this is going to set a high water mark for classic rock live albums in 2020.
Congratulations to all involved, you’ve delivered in spades.
If someone had told me in 1980, this is what Blue Öyster Cult will sound like in the 21st century, I’d have been pleased as punch. I am pleased as punch. More, please!
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