I always liked Mirrors. There are some pretty good songs on here (Dr. Music,Great Sun Jester,In Thee & Mirrors). The rest ? Not bad but not great either. Still, I like it better than waht's to come.

Mirrors isn't a bad album really, I just find it very inconsistent. Dr. Music, In Thee, I Am THe Storm, and You're Not The One (I Was Looking For) are a few standout tracks, though I think I like the last one more based on the fact that it sounds like The Cars than anything.

After Spectres, I BOC didnt really manage to blow my mind again until Imagions (my overall favorite from them) throughout the 80's they managed to throw something interesting and excellent on each album, but none of them were as well rounded as their 70's output.

After the critical and commercial disappointment of "Mirrors", Blue Oyster Cult started the 80s with a band, attempting to get back to the hard rock/heavy metal sound of their previous albums with 1980's "Cultosaurus Erectus".

"Cultosaurus Erectus" sold better than its predecessor, and due to the heavy sound of the album, Blue Oyster Cult went on tour with Black Sabbath for the aptly titled "Black and Blue" Tour. But on to the album itself. Gone are the choirs, the synthesizer-based songs, and in their place are crushing riffs, shredding guitar solos, and a loud, crunchy rhythm section, making this one of the heaviest albums in BOC's catalog, and one of my personal favorites.

"Black Blade" opens the album, instantly ERUPTING out of the gate with a dual guitar riff that eventually turns into a mid paced groove during the verses. The lyrics are by sci-fi writer Michael Moorcook (best. name. ever.) The whole song is very progressive, changing constantly between upbeat heavy metal, almost reggae-like passages, and bizarre psychedelic sections. A fine way to start the album, showing that BOC can be balls-to-the-wall heavy and still be freakin' weird.

"Monsters" is my favorite song on "Cultosaurus". That guitar riff at the start is just classic, and could rival just about any thrash or death metal band for heaviness. Eric Bloom once again shows what a great vocalist he is on the verses, which are surprisingly catchy. Then, just when you think you're in heavy metal fantasy land...a saxophone solo and jazz bass line come in and shatter the illusion. This was probably my biggest BOC related "WTF" moment. Another surprise was the softer, rather atmospheric chorus section that begins at 2:45, and can be described as 'creepily enchanting', much like the band themselves. It works though, and makes "Monsters" one of my favorite BOC tracks.

"Divine Wind" is almost doom metal. With slow, plodding bass and guitar, loud piano, and very low, moaning vocals. It's no wonder why they toured with Black Sabbath. If you played this song to me without the vocals, I'd swear it was Black Sabbath. Also of note are the lyrics. They seem to describe the whole Iran contra affair that was going on in the 80s. The chorus still sends chills up my spine, with those creepy background harmonies...

If he really thinks we're the devil, then let's send 'em to hell

Next up is "Deadline", the lone Buck Dharma song on the album. What can I say, it's a freakin masterpiece. Combines all of Buck's great talents - smooth vocals,
compositions that have melody to the nth degree, that haunting quality
of his and of course, ripping guitar licks. What also makes this song work is Joe Bouchard's ultra cool bass line. He seems to be the forgotten bassist of rock n' roll.

"The Marshall Plan" is another classic tune. The music is prime BOC, with some subtle piano riffs, catchy melodies, a KILLER guitar solo, and a some fantastic vocals from Mr. Bloom. The most interesting part, to me, are the lyrics. They seem to describe a dude who loses his girlfriend to a rock band, and then decides to become a rock star to get her back and becomes hugely successful, but is still girlfriend-less and alone. Poor guy. Also of note is the weird part where the music stops and the riff from "Smoke on the Water" plays. Is there some kind of meaning to that I'm missing? Oh well, it's still a great song.

"Hungry Boys" is a fast, hard rocking Albert Bouchard song about drugs. BOC seem to have a way of taking something I usually hate, the "One-note-played-over-and-over-again piano riff", and make it work. This song also has a bit of new wave influences, and I've heard it compared to The Cars and Devo. I don't see it, but it's still an enjoyable song with a catchy as hell chorus.

"Fallen Angel" is a Joe Bouchard song, and is one of the only so-so track on the album. Joe just sounds like he's trying too hard here. Still, some great hooks, some very cool lyrics, and a short but sweet guitar solo.

Buck and Eric wrote "Lips in the Hills" with rock critic Richard Meltzer, and boy is it a great song. Just from the opening guitar riffs, you can tell you're in for a wild ride. A pounding rhythm section compliments the insane dualing-guitar solos perfectly, and everybody just seems to be in sync. This is one of the best examples of the great chemistry that Buck and Eric have together. Their shared vocals, guitars, and writing skills are truly magical to listen to.

"Unknown Tongue" closes the album in typical BOC fashion. A good song, but not all that memorable compared to the most of the album. Lots of piano mixed in with the mid-paced guitar riffs, which is cool. The lyrics are weird, reading more like some weird pedophilic wet dream. Just a 'meh' song.

Well, what is there to say about "Cultosaurus Erectus"? It's certainly one of the heaviest Blue Oyster Cult albums, and one that contains a few truly classic BOC songs. I really can't comment too much on this one outside of the fact that I love it. It's a great, hard-rocking record, and has one of the coolest album covers EVER.

The only BOC album I hold in lower esteem is Club Ninja.

The only song I really like off this one is Black Blade.

I think part of the reason I dislike this album is, as Schopo said, it's a return the the heavier sound of their earlier albums which I also don't care for.

It does have a cool album cover though.

I actually like this album and it was a major improvement over the 'Mirrors' album. But I have to admit the first time I bought this album I was not impressed and it took me a few spins to learn to appreciate this album.

'Culturous Erectus' seems to try to find a balance between their somewhat commercial sound of their previous album and their earlier material. When it works like a songs like 'Black Blade' 'The Marshall Plan' and 'Lips in the Hills' it works perfectly. A solid album but not recommended if you are on the beginning path of discovering Blue Oyster Cult.

BTW, Blackie Lawless once said that what he learned from Blue Oyster Cult was the importance of having cool song titles.

How can anyone not like this song?


Saxophones ftw! :metal:

Ehh, I'm not a big fan of Cultosaurus Erectus. I can only think of 2 great songs on it : Black Blade (fantastic song and at the time me and my friends were into Dungeons & Dragons;those lyrics are straight out of that game) and Lips In The Hills . The rest are pretty weak I think.

Oh and I agree on the cover, pretty wild !

The only problem with the "jazz interlude" is they don't do a very good job of it, it sounds cheesy because the arrangement sucks...not because their is a saxophone in it.

After two rather unfocused albums, Blue Oyster Cult returned with one of their best and most acclaimed albums, "Fire of Unknown Origin" in 1981.

Not as experimental as "Mirrors" and less bombastically heavy than "Cultosaurus Erectus", "Fire of Unknown Origin" gave the band a fresh new sound while still retaining their own signature style. The album also spawned a surprise hit in "Burnin' For You", which was originally written for Buck Dharma's solo album "Flat Out".

The album opens with the title track. Starting with power chords, keyboard accompaniment, and a funky bass line, you know this is gonna be a great album. This is one of the few songs that was written by the entire band, and it shows. Everything is loud and clear, not suffering from the "playing underwater" sound, as Toho described it. Anyway, the song has some great guitar and vocal hooks, with a cool dual-lead. I have to admit though, the chorus gets kinda annoying hearing.

Next up is the big hit, "Burnin' For You". The track opens with an almost iconic guitar riff, accompanied by subtle background harmonies. The verses have a bit of a ska quality to them, but then returns to rocking hard when the pre-chorus "Burn out the night" part comes in. The chorus itself is also classic. It's one of those songs that you just have to sing along to when it comes on the radio. Thrown sporadically between the melodies are a number of guitar fills, all culminating in Buck's chaotic solo. The lyrics may seem typical, but when read, reveal a darkness not heard in the music. One of BOC's best known songs, and still one of their best.

"Veteran of the Psychic Wars" is about as heavy as you can get. Albert Bouchard's tom-tom orgy drum beat is second only to Eric Carr's drumming on "Creatures of the Night Album" in heaviness. The keyboards are more noticeable in this song, but they really add a haunting atmosphere, and work in perfect unity with the guitars. All the while, Eric Bloom utters the terrifying lyrics, describing an apocolyptic war with severely disturbing imagery. And of course...the dualing, reverb loaded, stun guitar solo is amazing.

"Sole Survivor" is another creepy sci-fi song. Starting with a distinctive Joe Bouchard bass line and a spooky keyboard sound, this song seems to tackle similar subject matter as "Veteran" before it. This guy is apparently the sole survivor of something (the Psychic Wars, maybe? I dunno) and he has to deal with everybody else being dead and being the end of the human race. Deep. Anyway, another great, atmospheric song, with one of those guitar solos that's like BWOOOOOOOUUUU, if that makes any sense.

"Heavy Metal: Black and Silver" is a straight up, take no prisoners rocker. More sci-fi lyrics, so you know the song isn't actually about 'heavy metal' in a musical sense, but I like to think that it is. I really love the raw sound of this one. The guitars sound like they're plugged directly into the amps, and Eric Bloom's rough vocals sound rough and rocking, giving this one a real 'live in the studio' feel. It just sounds like they were having fun on this one, and it's a great song because of this. Also cool is the frantic guitar feedback near the end.

"Vengeance: The Pact" is cool because it was written by the Bouchard brothers, Joe and Albert, and they do all the vocals. Most of the song follows in the spacey, keyboard drenched feel of the rest of the album, not doing anything too memorable...but then the bridge comes in at 1:44. This middle section is the best part of the song, featuring a soaring guitar solo, very mellow melodies, and surprisingly pleasant vocal harmonies. After this, the song turns into a galloping, rather pissed off heavy metal number until the 4 minute mark before returning to the primary arrangement. Anyway, a cool, progressive song that certainly keeps thing interesting.

"After Dark" is a BOC classic. It opens with a cool bass and drum session, with keyboards and guitar slowly being thrown into the mix. Everything about this song just rocks hard, from the vocals to the keyboards. All the riffs are memorable, and the chorus is catchy as alway. The guitar solo is an incendiary ball of shredding awesomeness that leaves you wanting more. I can't really think of too much to say about this one, it's just a great and heavy song with that signature haunting quality the band always has.

The next track needs no review....but I'm gonna do one anyway. "Joan Crawford" is my favorite song on the record, and in addition to being heavy as hell, it's also FU*KING WEIRD. The piano intro is very cool, and sets the stage nicely for the madness that is to come. The lyrics, when you take the time to listen, are one massive WTF. "Their eyes have turned the color of frozen meat"...that is pure poetry. Also making this one huge rape of your senses is the enema smurf poo of random sound effects thrown in during the song, and there's even one huge parade of them in place of a solo! Still, Buck lays down some great guitar fills over the primary piano riff, all brought together by the tortured vocals of Eric Bloom. This song is just so damn 'out there', you can't help but love it.

"Don't Turn Your Back" is the only 'meh' song on the disc. I can't really say too much about this one. Not bad, but not all that memorable. As usual, the guitar solo is very cool.

And so "Fire of Unknown Origin" comes to a close. It's one of the most focused, direct, and heaviest records in the Blue Oyster Cult catalog, not branching out too much of what makes them great in the first place. It even gave them one of their most famous songs ever, along with a slew of fan favorites and concert staples.This would also be the last album to feature the original lineup, as drummer Albert Bouchard would be fired during the tour.

Oh, and I've always liked how the cover appears to be, quite literally, a "Blue Oyster Cult".

My third favorite BOC album behind Imaginos and Spectres. I agree that "Don't Turn Your Back" is the "meh" song on this disc.

And I agree with your choice of favorite song on this one; I LOVE "Joan Crawford".

"...Christin-a-a-a-a-a.....Mother's home...."

Just creepy as hell!

I also really dig Vengeance: The Pact because it basically summarizes the story in the original Heavy Metal movie that used it as part of the soundtrack.

An excellent album and one of my favorite Blue Oyster Cult albums. I have to agree 'Joan Crawford' is my favorite song on this album, features all the classic B.O.C. trademarks, wicked sense of humor, a touch of horror and great musicianship.

It is hard to anything that has been said about this album, overall great album with only track that is so so.

I didnot buy the next 2 albums in the discography so I won't make my return til 'Club Ninja'.

another one of those "stoner" albums from high school

Man, I love Fire Of Unknown Origin. Probably my second favorite B.O.C. release. I think my faves are Veteran Of The Psychic Wars, Vengeance (The Pact) and Heavy Metal. I really need to upgrade this to cd.

This was always my favorite BOC album. I own it only on vinyl and didn't listen to it for years now. This reminds me to buy it again on CD.

This album and CU are my favorites, both produced by Martin Birch (Black Sabbath) and they are probably their most heavy metalish, hence the reason I like them the most. I suppose true BOC fans hated the last 2 albums but I'm a heavy metal fan so they are my faves. "Revolution By Night" was the last album by BOC that I bought and after that I never really got back into them again.

Listening to "The Revolution by Night" right now, so the review will be up soon.

Lots of good tracks on Revolution By Night; an underrated BOC album IMO.

Take Me Away, Shooting Shark, Veins, Dragon Lady, Let Go...all great.

Blue Oyster Cult had regained their commercial success with "Fire of Unknown Origin", and seemingly wanted to try to remain relevant during the ongoing flood of pop and new wave popular during the 1980's. So, they moved away from the formula that had worked so well on "Fire", and released "The Revolution By Night" in 1983.

Right from the start, it's obvious that this album is more radio-friendly and pop oriented than much of their previous material, sounding more like Aldo Nova than BOC, which should be no surprise, since Aldo Nova co wrote and
played guitar on the lead single "Take Me Away". I often liken this album to "Mirrors", due to the fact that the band appears to be simply trying too hard to gain popularity rather than just doing what they do best. Still, "The Revolution By Night" is unquestionably a Blue Oyster Cult record, and contains a few pop metal classics.

The first track "Take Me Away" is most certainly a pop-rock tune, but it's a great one. You can totally hear the influence Aldo Nova had on this song, containing the catchy melodies and dramatic keyboard effects. Despite the fact that I like this song a lot, it really sets the tone for the rest of the album, letting you know right of the bat this is going to sound not all that much like Blue Oyster Cult. Aldo's solo is awesome. He may not be Buck Dharma, but he sure knows his way around a guitar.

"Eyes on Fire" begins with an eerie piano section, but then abruptly turns into a great hard rockin' song in the vein of something off of "Spectres". This is probably the most BOC like song on the record, containing all the elements that make them great; creepy vocal harmonies, spacey lyrics, haunting melodies, and full tilt guitar shredding near the end. One of my favorite tracks off the album, and a welcome injection of energy.

"Shooting Shark" begins with an unnatural sounding drum beat, and then a funky slap bass groove kicks in. At this point, I'm not sure if I'm listening to Blue Oyster Cult or Kajagoogoo. Buck's soft voice on this one in conjuction with the layered keyboards make this more of a new wave song than a hard rock song, but a very enjoyable and mellow new wave song. Still, the Patti Smith penned lyrics are very cool, with that surreal quality the band has always had. I also love the saxophone solo. I don't know what it is with 80's bands and saxophones, but I bloody well like it. Clocking in at a whopping seven minutes and eleven second, this is probably the longest new wave song ever made.

"Veins" seems like a hybrid between the horror movie feel of old BOC and the synth pop of "Mirrors". Buck sings again on this one, but not nearly as well as he performs on "Shooting Shark". Not all that memorable, but not a bad song in the least. As always, the guitar solo is exquisite and the chorus catchy.
I've always found it hilarious when Buck shouts "that ah keeled somebohhhday!". The lyrics are so asinine, you have to love them. An enjoyable pop-rock song, but certainly not "best of" material.

"Shadow of California" is a Joe Bouchard penned doomy heavy metal number, or at least it has potential to be. This is one of those songs that would sound so much better live, as the studio version is bogged down by overuse of sound effects, subdued vocals, and that murky quality that has always plaged the band. Too bad, because if the song were just a little bit less polished, it would totally rock. A seriously HEAVY bass line on this, if you can hear it.

"Feel the Thunder" is Eric Bloom at his best. This song would have been right at home on "Fire of Unknown Origin". Begins with an awesomely spooky synth intro, but then it's straight up heavy metal from there on out. Eric's voice sounds great here, having that distinctive loudness that had not been present since the "Godzilla" days, belting out some Halloween horror movie lyrics. Okay, there may be a lot of keyboard, but they don't overuse it like they do in some songs, and the guitar riffs more than make up for it. The whole song just has that disturbing, nightmarish quality that Blue Oyster Cult does so well. The guitar solo is so haunting, you can't help but be a little scared. The last twenty seconds or so are just weird electrical noises, which I lot of people don't like, but I've always thought it was pretty cool.

"Let Go" seems like a failed attempt at a stadium anthem. The lyrics are god-awful and the chorus is embarrassing to listen to, with those background vocals and *shudder* handclaps. The piano actually overpowers the guitar!!! Okay, it's not THAT bad. Buck gets some cool nice guitar fills in, and the main riff has a cool 1950's rock n' roll feel to it. But really, the song is just cheesy and seems very contrived and awkward. Leave the cheesy stadium tunes to Queen, guys.

After that crapfest, "Dragon Lady" returns things to normal. Literally EXPLODING out of the gate, this song never lets up from the moment it starts. It's heavy, fast, and most importantly, Buck sings it! Everyone is used to only hearing Buck sing on the mellower songs, like "Don't Fear the Reaper" or "I Love the Night", but here he shows that he can rock out and still sound nice. Multiple guitar solos on this one, all of them lightning fast to the point of being undecipherable. The only real flaw is the same flaw that bogs down the rest of the album; THOSE DAMN DRUMS. They sound fake, just like every other 80's pop-rock band. Why oh why did Albert Bouchard have to be fired?

Closing the album is the slower "Light Years of Love". With atmospheric keyboard, soft guitar, a mellow drum beat and pleasant, albeit a little bit strained, vocals from Joe Bouchard, this song kind of sounds like "The Wall" era Pink Floyd. The acoustic guitar bit that comes after the second chorus always puts a smile on my face. Just a cool mellow song at the end of an otherwise dark album.

So that's "The Revolution By Night". Although most of the songs suffer from many of the problems that plagued most hair metal bands during the 80s (overly slick production, unnatural sounding drums, etc...), it still has that distinctive Blue Oyster Cult sound that has never been succesfully replicated. Sure, there are some songs that really aren't very good, but there are many more that are prime BOC. It may not be "Agents of Fortune" or "Spectres", but it's an enjoyable pop-rock record, although your opinion of the album may depend on your opinion of the genre as a whole.

Random Fact: Randy Jackson played bass on "Shooting Shark"




I didn't talk about the live album, "Extraterrestrial Live" that was released a year before, because...well, I don't have it. Still, if anyone has it and wants to comment on it, feel free.