Predictable Enigmas

Spectres

The Blue Oyster Cult CBS

The Blue Oyster Cult's latest effort Spectres, is an enigma. For a Band like the Cult this is not surprising, or for that matter unexpected.

As one who started to take notice of the Cult about the time of Tyranny And Mutation (1973), Spectres appears to present a more musically refined Cult that have (almost) entirely lost their sonic cutthroat approach. Instead of raw energy, we have slick maturity. Some would translate that to mean that they've lost their original purpose, that they're 'old Farts'. Whether that's a fair accusation or not is up to the individual listener.

The line-up is still the same as it was back in '72-'73: Eric Bloom (guitar, vocals), Donald Roeser (Lead Guitar, vocals), Joe and Albert Bouchard (Bass Guitar and Drums respectively) and Allen Lanier (Keyboards, guitar). The mere fact that the line-up has remained stable (or static) may indicate a certain amount of conviction, but regretably the music doesn't reflect it.

Opening with Godzilla, the Cult lay down a track that is a mean, heavy-riff, slow-rocker in the style of Wings Wetted Down. After a few listenings, it's quite palatable. Though the pace isn't present, the punch is.

Golden Age of Leather begins with a Boys Choir (I said that this album was an enigma), and settles down into a reasonable rocker. Nothing overwhelming, mind. The band gel into an adequate rock-unit, but the conviction is markedly absent.

Death Valley Nights is the most memorable track of the new style-Cult on side one. The piano glides in and out between the bass as the tempo builds up for the chorus. If the Cult continue to produce songs like this and the exceptional (Don't Fear) The Reaper, then the change in musical emphasis will not have been without value.

The closing cut on the first side is Fireworks, and it's a pity that the nusic doesn't live up to the title. A 'nice' song all the same.

After listening to side one, the listener may think that the Cult haven't really 'done' anything. The music all seems rather mechanistic and hollow, the Cult seemingly exhausted of ideas, energy and conviction.

Side two's opener, R.U. Ready to Rock, doesn't help to alleviate the impression. "Who will rock with you?," ask the Cult. The question should be; "will you rock with us?"

Celestial The Queen demonstrates how contrivance can be the bane of many a band. Echoes of Supertramp and Boston are prominent throughout. It's all very 'nice', but is it what the Cult do best?

With Goin' Through The Motions (appropriately titled) the band Finally make it evident who is to be acknowledged (or blamed) for their current sound: Boston. Once again the band go through the motions of performing another 'nice' pop song.

I Love The Night can be summed up as laid-back, fluid and forgivable. As with most of the Cult's songs, even though the song itself may be banal and unoriginal, the tight arrangement, adept musicianship and production (again by Murray Krug- man) transforms it into a bearable experience.

The closing track of the album is Noseferatu, and finally the Cult reach the heights usually expected of them. The overall atmosphere of the track, with its eerie guitars and vocals recalls the halcyon days of Teen Archer, Mistress of the Salmon Salt and Secret Treaties. The riff is rivetting, the rhythm section collides in unison and the final impression is extremely favourable. Maybe there is still a future for the band.

This album in an enigma, even after a few listenings. All that is certain is that they have changed. But for the better or to their detriment is an arguable point.

Greg Cotmore record courtesy of the Record Shack.