Blue Öyster Cult
Extraterrestrial Live

THE REVIEW

The "Cult of the Blue Oyster." It certainly doesn't sound like a name that would attract potential listeners. Unless they are insatiable consumers of shellfish. Or fanatics passionate about the most improbable esoteric sects. Blue Öyster Cult definitely sounds better. At least for a young person who doesn't quite grasp English yet but is particularly intrigued by that enigmatic logo glimpsed on an album cover. And it matters little if some suggest it symbolizes the god Cronos, or an obscure representation of death. The youngster doesn't know these legends yet, he's simply fascinated by them, and from there will begin a true "cult" for this extraordinary band. Five multi-instrumentalists who grew up in the decadent circles of New York and started writing some of the most interesting pages in the history of rock since the late sixties. Assisted by the brilliant producer and lyricist Sandy Pearlman, for more than a decade, they accompany us to their visionary world, populated by aliens, men in black, and vampires. Profound and evocative lyrics that embrace the most mysterious side of life. As original as their music. A dark and eclectic rock, continuously evolving over the years, moving from the early hard'n'roll to the arena-rock of the early eighties.

"Extraterrestrial Live" was released in 1982 and is the band's third live album. A monumental record, once again proving the immense energy the five can transmit in their performances. What sets it apart from the previous ones, beyond the latest musical shift undertaken with the past two excellent studio works, is that finally, the vocal parts are entirely left to the voice of Eric Bloom. One of the group's characteristics has always been the desire of members to alternate roles and instruments. But I have always personally believed that the aforementioned voice was a real strength. With its dark and deep tone, its sometimes dramatic expression, and its theatrical style. Perfectly in tune with the lyrics and music. Just listen to the central part of the furious opener "Dominance and Submission", where Eric involves a frantic audience in his delirious monologues. Or the exciting introduction of the classic "Godzilla", where he seizes the opportunity to address the theme of nuclear power. The album is a powerhouse of energy, from the rock-solid riff of "Cities On Flame" to the successful cover of "Roadhouse Blues", where they also share the stage with ex-Doors Robbie Krieger. However, there is no shortage of more poignant moments, like the anthem "Don’t Fear the Reaper." The solo by the talented Buck Dharma is art at its finest. A storm of electricity, sending chills with every listen. "Joan Crawford", on the other hand, introduced by a classical piano, develops into a composition with a driving rhythm and imbued with melancholic melodies. In this case, in full antithesis with the lyrics describing the protagonist's return from beyond the grave. But the most engaging moment ultimately turns out to be without a doubt the lesser-known "Veteran of the Psychic Wars". A track dominated by a martial and pulsating drumming, over which a keyboard carpet creates eerie atmospheres. The guitar solo is still stunning, played on an accumulation of notes, while the song gains a captivating rhythm. This album has one flaw: the absence of the band's absolute masterpiece, the splendid "Astronomy." "It's the nexus of the crisis / and the origin of storms." From this moment on, the band's creative vein will undergo a noticeable decline. But the influence of Blue Öyster Cult will be enormous in the hard rock and heavy metal to follow. Indispensable.