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DISCID=b70c910e
DTITLE=Blue Oyster Cult / Spectres
DYEAR=1977
DGENRE=Hard Rock
TTITLE0=Godzilla
TTITLE1=Golden Age Of Leather
TTITLE2=Death Valley Nights
TTITLE3=Searchin' For Celine
TTITLE4=Fireworks
TTITLE5=R. U. Ready 2 Rock
TTITLE6=Celestial The Queen
TTITLE7=Goin' Through The Motions
TTITLE8=I Love The Night
TTITLE9=Nosferatu
TTITLE10=Night Flyer [Outtake, July-September 1977]
TTITLE11=Dial M For Murder [Outtake, July-September 1977]
TTITLE12=Please Hold [Outtake, July-September 1977]
TTITLE13=Be My Baby [The Ronettes cover] [Outtake, July-September 1977
TTITLE13=]
EXTD=Spectres (Remastered + Expanded)\n\nOriginally Released October 1
EXTD=977\nCD Edition Released January 1993\nRemastered + Expanded CD E
EXTD=dition Released February 13, 2007 \n\nAMG EXPERT REVIEW: Blue ys
EXTD=ter Cult scored big with Agents of Fortune and its now-classic ro
EXTD=ck hit, "(Don't Fear) The Reaper." It took the album into the str
EXTD=atosphere and the band's profile with it; it put them in the visi
EXTD=ble pop space they'd tried for years to get to. But upon arrival,
EXTD= they found that kind of success difficult to respond to. Not onl
EXTD=y did the Cult want to respond, they wanted to cement their place
EXTD=. Spectres is not the masterpiece that Agents of Fortune is, but 
EXTD=it didn't need to be. However, upon hearing Spectres again, the a
EXTD=lbum offers proof that the commercial and creative bent of Agents
EXTD= of Fortune was still in place at certain moments, and the band l
EXTD=aid out a major single in the opening cut, "Godzilla," a tune -- 
EXTD=however silly it may be -- that is every bit as memorable as "(Do
EXTD=n't Fear) The Reaper." It's not the only big number here either: 
EXTD="Goin' Through the Motions" and the truly spooky "I Love the Nigh
EXTD=t" by Buck Dharma also scored. The former track is a wonderful bl
EXTD=end of Tommy James & the Shondells, Boston, and Mott the Hoople's
EXTD= roots rock glam attack. Written by Eric Bloom and Ian Hunter, it
EXTD='s a stunning single. It sounds less like the Cult than anything 
EXTD=they'd recorded, but as a classic rock & roll single it succeeds 
EXTD=in spades. And "I Love the Night" (with its guitar part resemblin
EXTD=g "Reaper" for a moment) is one of rock & roll's truly strange an
EXTD=d seductive love songs. There is more spook and darkness here, of
EXTD= course, in the album's closer, "Nosferatu." As a closer, "I Love
EXTD= the Night" may have been a better choice, but this track has all
EXTD= those layered harmonies, a reverbed piano, Dharma's power chords
EXTD=, and lyric fills that never lose their sense of menace and once 
EXTD=more, a story. BOC were the only band in their league, walking th
EXTD=e line between AOR rock and metal, and offering such detailed nar
EXTD=ratives. Spectres also contains tunes that were ready-made for to
EXTD=uring, which is what the Cult did immediately after, resulting in
EXTD= the wildly successful live album Some Enchanted Evening. In sum,
EXTD= the only reason Spectres is not regarded as a classic is because
EXTD= it followed Agents of Fortune. Other than the false funk of "Sea
EXTD=rchin' for Celine," it's flawless as a finely tuned tome that beg
EXTD=ins with sci-fi humor and ends with gothic horror -- all of which
EXTD= can be hummed to. [The Legacy edition of Spectres includes four 
EXTD=previously unreleased bonus demos recorded during the album sessi
EXTD=ons. The hip thing is that these bonus cuts are really worth it a
EXTD=nd not add-ons from the dead-dogs file: the rocker "Dial M for Mu
EXTD=rder," the would-be single "Night Flyer," Albert Bouchard's "Plea
EXTD=se Hold," and a fun (and raw) cover of the Ronettes' "Be My Baby.
EXTD="]  -- Thom Jurek\n\n\nAMG EXPERT REVIEW: On the all-important fo
EXTD=llow-up to its commercial breakthrough with Agents of Fortune, Bl
EXTD=ue yster Cult introduced some enjoyable additions to its reperto
EXTD=ire in "Godzilla" and "R.U. Ready 2 Rock," but did not come up wi
EXTD=th a song as memorable as "(Don't Fear) The Reaper," despite tryi
EXTD=ng the same formula with "Fireworks" and "Nosferatu." Instead of 
EXTD=consolidating its success, the group seemed to be, as one of the 
EXTD=better songs had it, "Goin' Through the Motions," seemingly unabl
EXTD=e to follow through on the pop aspirations of the previous album 
EXTD=and unwilling to retreat to the metal pretensions of its early re
EXTD=cords. Talk about being caught between a rock and a hard place --
EXTD= just when Blue yster Cult should have been conquering, they see
EXTD=med ready to retreat. -- William Ruhlmann\n\nAmazon.com Customer 
EXTD=Review\nThe Menacing Foreshadow of BOC's "Pop" Experiment, May 19
EXTD=, 2004\nReviewer: Bud Sturguess (Seminole, Texas, USA) \nAfter th
EXTD=e success of 'Don't Fear the Reaper,' it had been proven that eve
EXTD=n a complex band like Blue Oyster Cult had the potential to score
EXTD= huge FM radio hits; the musical pioneers earned a strong followi
EXTD=ng among the nation's metal fan base with their dark, cryptic, he
EXTD=avy brand of rock, but the aforementioned single and album "Agent
EXTD=s of Fortune" propelled them to Top 20 status. Perhaps sensing th
EXTD=at their mysterious heavy metal could still make a hit single, BO
EXTD=C recorded "Spectres," a record which Rolling Stone described as 
EXTD="Hard as nails but sweet as cream...proves Blue Oyster Cult to be
EXTD= the Fleetwood Mac of heavy metal." It embraces the menace and gr
EXTD=im hauntings of earlier records, but the tracks here have been sc
EXTD=ulpted slightly to allow for FM radio station accessibility (for 
EXTD=instance, a previous example 'This Ain't the Summer Of Love'). BO
EXTD=C were still one studio album away from letting loose with a deli
EXTD=berate attempt at pop-metal (1979's "Mirrors"), but this was the 
EXTD=layout for their plan for heavy metal domination. \nMost of the m
EXTD=aterial on this album and its predecessor is much more direct and
EXTD= slightly shorter than earlier classics like '7 Screaming Diz-Bus
EXTD=ters' or 'Astronomy.' But the mystique is always present, and the
EXTD= Cult delivers a careful, meticulous assault. The gorgeous 'I Lov
EXTD=e the Night' and the irresistible 'Goin' Through the Motions' are
EXTD=, in hindsight, obvious preludes to what BOC were aiming for with
EXTD= "Mirrors." 'Nosferatu' and the concert crowd-pleaser 'Godzilla' 
EXTD=perfectly embrace the sci-fi/horror flick themes that have always
EXTD= been identified with the group, neatly woven into blistering tap
EXTD=estries. Blue Oyster Cult's view of romance has to be one of the 
EXTD=most interesting, odd, and alluring perspectives of any metal ban
EXTD=d before or after them; 'Fireworks' and 'Death Valley Nights' (th
EXTD=e title of which says it all) rank as some of their finest overlo
EXTD=oked songs, while 'The Golden Age of Leather' is one of the band'
EXTD=s most articulate, elaborate anthems of the 70s. \nBOC rightfully
EXTD= earned their title of "the thinking man's heavy metal band" and 
EXTD=these songs are certainly no exception. "Spectres" is actually mo
EXTD=re essential than many may think; it is the dark, often haunting 
EXTD=bridge between two musical phases in the fascinating career of th
EXTD=e Blue Oyster Cult.\n\nAmazon.com Customer Review\nAfter Agents, 
EXTD=April 22, 2004\nReviewer: Steven B. Mccrary "biggertuna"\nB.O.C. 
EXTD=followed the hit-scoring Agents of Fortune with this winner produ
EXTD=ced by B.O.C., Sandy Pearlman, Murray Krugman, and David Lucas. T
EXTD=his musical period of the Cult seemed to unravel, sadly, as later
EXTD= they started to change producers. Every member of B.O.C. had a c
EXTD=hance to show the best of their song-penning talent, along with a
EXTD= little help from their friends...such as Sandy Pearlman and the 
EXTD=late Helen Wheels.\n\nAmazon.com Customer Review\n60's girl group
EXTD= pop meets 70's metal !, December 19, 2003\nReviewer: Rick Tharp 
EXTD="the_rxrick" (Plattsburg, MO United States) \nA weird combination
EXTD= isn't it? Yes, this album does mark BOC's selling out point, but
EXTD= that's what I love about this album. They even "out-Boston" Bost
EXTD=on.\nGodzilla was the hit, but it's really out of sync with the r
EXTD=est of the album material, which, underneath the thin metal sheat
EXTD=h, is pure pop.\n\nSome of the music is so over the top that it's
EXTD= almost as if BOC took Ronnie Spector hostage and didn't let her 
EXTD=go until she taught them her best melodies! I mean, just try list
EXTD=ening to "Goin thru the motions" without imagining a trio of go-g
EXTD=o girl in shiny skirts jiggling alongside a menacing Buck Darhma.
EXTD=\n\nThis album is a fun listen, and a wonderful re-living of the 
EXTD=golden age of 70's pop metal. Highly recommended!\n\nAmazon.com C
EXTD=ustomer Review\nExcellent music, flawed recording, November 5, 20
EXTD=02\nReviewer: T.A. Curtis (San Diego, CA United States) \nImagine
EXTD= viewing a masterpiece in a museum through a gauze filter and you
EXTD= have my impression of this album. Every song is a near classic w
EXTD=ith Golden Age of Leather, Death Valley Nights, and of course, Fi
EXTD=reworks, as particular standouts. But it suffers from 70'as recor
EXTD=ding standards and is disappointing aurally; my first impression 
EXTD=was that it sounded like it was being played though a 5" PVC pipe
EXTD= (and sounded worst through flat-response studio headphones).\nI'
EXTD=m conflicted because I love the album and you get used to the sou
EXTD=nd eventually, but when lesser-known bands such as Uriah Heep mak
EXTD=e the admirable effort to remaster their classics, I have to wond
EXTD=er why BOC won't do the same. Therefore I can't give it the 5 sta
EXTD=rs it would otherwise deserve.\nIn short, Spectres is a work of a
EXTD=rt that is in desperate need of restoration.\n\nAmazon.com Custom
EXTD=er Review\nPower Failure, May 18, 2000\nReviewer: JOHN SPOKUS (BA
EXTD=LTIMORE, MARYLAND United States) \nAgents Of Fortune showed that 
EXTD=BOC were starting to mature, even though the flat out raw rockin'
EXTD= first three albums (aka "The Black And White Period")will always
EXTD= be my favorites. There are some good songs here, but the product
EXTD=ion is flat and lifeless. It was definitely time to ditch Sandy P
EXTD=earlman(they did) and move on (the improved Mirrors with Tom Werm
EXTD=an)."Godzilla" and "R.U. Ready To Rock" are both better experienc
EXTD=ed on the live Some Enchanted Evening; a premature (only 2 more s
EXTD=tudio albums since On Your Feet Or On Your Knees)live album that 
EXTD=was put out probably to prove that they still rocked the house in
EXTD= concert. Albert Bouchard, the band's weakest singer, sings too m
EXTD=any songs on this one. I have to be in a certain mood to hear thi
EXTD=s record and it doesn't come often. My friend who turned me on to
EXTD= this band rates this as their best, and I definitely beg to diff
EXTD=er.\n\nAmazon.com Customer Review\nThe peak of their career., Mar
EXTD=ch 3, 2000\nReviewer: Johnny S. Geddes (Northern Ireland) \nFive 
EXTD=years after the release of their first LP, B.O.C. achieved their 
EXTD=zenith. The songwriting on 'Spectres' is streets ahead of even th
EXTD=e breakthrough 'Agents of Fortune' and a world away from the mudd
EXTD=iness of their early cuts. 'Godzilla' is catchy B.O.C. hard rock 
EXTD=at its best. The first track of the album, it's certainly up ther
EXTD=e in strength with the likes of 'E.T.I.' and 'Dr Music'. 'The Gol
EXTD=den Age of Leather' and 'Death Valley Nights' prove that the band
EXTD= had managed to pull off a progressive-oriented approach that wor
EXTD=ked. 'Fireworks' and 'Celestial The Queen' are grossly underrated
EXTD= soft gems. Without doubt, Roeser and co. had finally figured out
EXTD= how to sustain the formula of their 'Don't Fear The Reaper' succ
EXTD=ess. \nBut that's not all that's stunning about this album. Aside
EXTD= from the upbeat rock pieces 'R U Ready 2 Rock' and 'Searchin' Fo
EXTD=r Celine' there's the sensitively-penned singles hit 'Goin' Throu
EXTD=gh The Motions'. Best of all (and the primary reason why this CD 
EXTD=should be sampled before any mistakes can be made by buying B.O.C
EXTD=.'s earliest recordings or their new grungy work), the lascivious
EXTD=ly eerie 'Nosferatu' and 'I Love the Night' appear here. The latt
EXTD=er track sets the misty setting for the former to step into in su
EXTD=ch a way that the imagery is staggering to contemplate once it's 
EXTD=hit you.\n\nIn short, 'Spectres' represents the strongest concent
EXTD=ration of B.O.C.'s better songs and transmits more metaphysical e
EXTD=nergy in one forty minute session than most psychics will ever re
EXTD=ceive in a lifetime.\n\nBlue Oyster Cult racked up some truly awe
EXTD=some albums in the late-early to mid-middle part of their career.
EXTD= Take the advice of this diehard fan of classic metal when he sug
EXTD=gests you steer clear of any of their so-called best-of packages 
EXTD=and go for these instead (and in the order written).\n\nB.O.C. si
EXTD=x pack: 'Spectres', 'Imaginos', 'Fire of Unknown Origin', 'Agents
EXTD= of Fortune', 'Cultosaurus Erectus', 'Mirrors' \n\nB.O.C. threeso
EXTD=me: 'Spectres', 'Fire of Unknown Origin', 'Mirrors'\n\nAnd if you
EXTD= only want one, then..... You get the idea.\n\nAmazon.com Custome
EXTD=r Review\nLight some candles and turn out the lights for this one
EXTD=., October 25, 1998\nReviewer: A music fan\nLike the preceding Ag
EXTD=ents of Fortune, Spectres contains filler that prevents you from 
EXTD=hitting the shuffle and repeat buttons on your CD player. However
EXTD=, it does contain a string of excellent tunes in Godzilla, Golden
EXTD= Age of Leather and Death Valley Nights. I Love the Night and Nos
EXTD=feratu contain provocative lyrics and haunting melodies that pick
EXTD= up where Don't Fear the Reaper left off. R.U. Ready 2 Rock and G
EXTD=oin' Through the Motions round out the worthwhile songs. With mor
EXTD=e hooks than a tackle shop, this album paints vivid lyrical image
EXTD=s on a canvas of macabre melodies and solidifies BOC's status as 
EXTD=The Thinking Man's Band.\n\nAMAZON.COM CUSTOMER REVIEW (Rmstr)\nR
EXTD=aise your can of beer on high and seal your fate forever..., Febr
EXTD=uary 23, 2007\nReviewer: Tim Brough "author and music buff" (Spri
EXTD=ngfield, PA United States)\nComing off their immortal hit "Don't 
EXTD=Fear The Reaper" and the classic album "Agents Of Fortune," Blue 
EXTD=Oyster Cult decided that "if it was worth doing, it was worth ove
EXTD=rdoing." I always thought the similarity to the title "Spectres" 
EXTD=and the wall-of-sound production style of the legendary Phil Spec
EXTD=tor was not a coincidence, as the band layered it on like never b
EXTD=efore. As they posted on "RU Ready To Rock," "I only live to be b
EXTD=orn again." So what the heck, since they had just become one of t
EXTD=he hottest touring rock acts of the seventies, why not go all out
EXTD=? \n\nThat they did. "Spectres" is crazy with variety. From a mon
EXTD=ster (yes, pun intended) riff rocker that opens the album with "G
EXTD=odzilla" to the dark double whammy the closed the original album 
EXTD=via "I Love The Night" and "Nosferatu," the band let their imagin
EXTD=ations run wild. The allusion to Spector comes through loud and c
EXTD=lear on "I Love The Night," with atmosphere and density for miles
EXTD=. There was even an unrecognized hit single co-written by Eric Bl
EXTD=oom and Ian Hunter, "Going Through The Motions." Why there wasn't
EXTD= another radio breakthrough ala "Reaper" amazes me to this day. T
EXTD=he mood was often dark, but it was more a thrill-ride than a slas
EXTD=her-flick. The cinematic sci-fi boys' choir on "The Golden Age Of
EXTD= Leather" would have made Queen proud. \n\nIn the Blue Oyster Cul
EXTD=t's second act of their illustrious career (the knockout first th
EXTD=ree albums, then the seventies arena period from "Agents" through
EXTD= "Fire Of Unknown Origin" to the mixed line-up albums that follow
EXTD=ed), "Spectres" is probably second or third on my list of favorit
EXTD=es. (Number one is "Agents.") I am quite pleased by the re-master
EXTD=ing, more so for the repackage job than the slapdash original CD.
EXTD= Here is hoping "Mirrors" and "Cultosaurus Erectus" get the same 
EXTD=respectful treatment. While we're at it, how about finally giving
EXTD= us "Imaginos" on CD? \n\nPS: The Bonus Tracks. Like on "Agents O
EXTD=f Fortune," I really could have done without the expanded materia
EXTD=l here. Only "Night Flyer" is of any merit, and the odd-ball take
EXTD= on "Be My Baby" is novelty at best. "Spectres" held together rea
EXTD=lly well as an entity; tacking these afterthoughts on as a "bonus
EXTD=" is like altering a Picasso with a sharpie.\n\n\nHalf.com Album 
EXTD=Notes\nBlue Oyster Cult: Joe Bouchard (vocals, guitar, bass); Eri
EXTD=c Bloom, Donald "Buck Dharma" Roeser (vocals, guitar); Albert Bou
EXTD=chard (vocals, drums, harmonica); Allen Lanier (guitar, keyboards
EXTD=).\n\nAdditional personnel: Newark Boys Chorus.\n\nProducers: Mur
EXTD=ray Krugman, Sandy Pearlman, David Lucas, Blue Oyster Cult.\n\nRe
EXTD=corded at The Record Plant, New York, New York.\n\nReleased durin
EXTD=g the year that punk broke, Blue Oyster Cult's sixth album was th
EXTD=e important follow-up to the hugely successful AGENTS OF FORTUNE.
EXTD= SPECTRES found the group continuing to craft material that mated
EXTD= a trademark guitar-driven sound with intelligent lyrics. Althoug
EXTD=h many short-sighted critics labeled the band heavy metal, this L
EXTD=ong Island quintet was far more creative than this classification
EXTD= would suggest.\nAlthough guitarists Eric Bloom and Buck Dharma d
EXTD=ominate many of these songs with high-flying solos, the pristine 
EXTD=harmonies of songs such as "Golden Age of Leather" and "Fireworks
EXTD=" are an often forgotten facet of Blue Oyster Cult's sound. Allen
EXTD= Lanier's keyboard contributions to SPECTRES are occasionally ove
EXTD=rlooked despite the fact that the album contains some of his best
EXTD= work. Lanier's influence can be heard on everything from the ant
EXTD=hemic "R.U. Ready 2 Rock," a song where rollicking eighty-eights 
EXTD=trade off with heavy guitar riffs, to the synths that make "Celes
EXTD=tial the Queen" sound like the Who with a new wave edge. The band
EXTD='s fascination with the occult and monster movies is represented 
EXTD=by the menacing, mid-tempo "Nosferatu" and "Godzilla," the later 
EXTD=a grinding classic that should have been resurrected for the '90s
EXTD= remake of the classic sci-fi film.\n\n\nROLLING STONE REVIEW\nTh
EXTD=e Blue Oyster Cult has always been plagued by image problems of i
EXTD=ts own creation. By taking heavy metal to its literary extreme, t
EXTD=he Cult made itself an in-joke to intellectual rockers and the co
EXTD=nsummate heavy-guitar band to the teenage underbelly. If anything
EXTD= gave the Cult a cogent image, it was the group's recorded sound 
EXTD=-- dense and spacey with sledgehammer rhythms that sounded as if 
EXTD=they were being beamed in from an orbiting satellite. But by the 
EXTD=time it recorded its live album, the Cult was in a bind: its popu
EXTD=larity had plateaued and its audience was almost exclusively comp
EXTD=osed of guitar-hungry, get-down kids. Which is cool--the Cult is 
EXTD=nothing if not guitar-heavy, get-down kids--but ultimately limiti
EXTD=ng.\n\nIt's not surprising then that the two riff rockers on Spec
EXTD=tres, the crucial followup to last year's breakthrough, Agents of
EXTD= Fortune, direct themselves toward that heavy-metal paradox. "God
EXTD=zilla" encapsulates the Cult's stylistic attitude: the conceit of
EXTD= the tune must inevitably be larger than its execution. On its fi
EXTD=rst album, the Cult sang about "Cities on Flame with Rock & Roll,
EXTD=" and the theme is the same here: Godzilla rips apart Tokyo with 
EXTD=the same monstrous bravado of the riffing guitars that destroyed 
EXTD=the kids. In this case, though, the idea is more attractive than 
EXTD=the song.\n\n"R.U. Ready 2 Rock" finds the Cult confronting its a
EXTD=udience. "I ain't gonna catch those get-down blues," they sing ov
EXTD=er a thudding beat that dissolves into a bridge and finds them bo
EXTD=asting, "I only live to be born again." This give-and-take with t
EXTD=he audience forms the initial frame-work of Spectres, but the mea
EXTD=t of the album is something else altogether. Spectres is the Blue
EXTD= Oyster Cult's love album, both literally romantic and allegorica
EXTD=l, and the band's view of such liaisons is as dynamic as its rela
EXTD=tionship with its audience.\n\nAt the conclusion of "R.U. Ready 2
EXTD= Rock," the band pulls out the stops on a boogie beat after singe
EXTD=r Eric Bloom finds his mythical lover. This ambiguous "you" (is i
EXTD=t his audience or a lover?) is carried over into "Goin' through t
EXTD=he Motions," a sturdy rocker cowritten by Ian Hunter and Bloom. D
EXTD=epicting the love games played on one-night stands with appropria
EXTD=te sarcasm, the tune deftly culls a line from the Cult's first al
EXTD=bum standard, "Stairway to the Stars": "I'll even sign it, 'love 
EXTD=to you,' again," and the attitude of an arrogant rock star become
EXTD=s the same as that of a snobbish lover.\n\nBeyond the aforenamed 
EXTD=riffers that open each side, the Cult's music is more subtly craf
EXTD=ted than ever before, continuing in the sleek, textured vein that
EXTD= provided the highlights of Agents of Fortune. "I Love the Night,
EXTD=" which bends the tale of Dracula into a perverse love story, fea
EXTD=tures the dense guitar orchestration of "(Don't Fear) The Reaper.
EXTD=" "Nosferatu" boasts the same heady complexion, with vocal harmon
EXTD=ies and Allen Lanier's rolling piano providing a properly celesti
EXTD=al backdrop for the romantic epic. The words are hard to catch--I
EXTD='m told it's about another bloodsucker -- but "only a woman can b
EXTD=reak his spell" sticks out like an Adam's apple.\n\nLanier's "Sea
EXTD=rching for Celine," his only composition on the album, is the Cul
EXTD=t's best new song. Combining riffing verses with a jet-stream cho
EXTD=rus, it also contains the album's ultimate romantic image: "Love 
EXTD=is like a gun/And in the hands of someone like you, it kills/But 
EXTD=oh, what a thrill!" Its sister song, "Celestial the Queen," one o
EXTD=f two songs cowritten by New York rocker Helen Wheels, is another
EXTD= standout, with a seamless rock sound that recalls the Who's Quad
EXTD=rophenia. It is this smooth integration of styles that has allowe
EXTD=d the Cult to transform the boogie beast into a more progressive 
EXTD=but no less combustible animal.\n\n"Fireworks" boasts all the qua
EXTD=lities of the Cult's new approach, combining multiple layers of g
EXTD=uitars with harmonic vocal sweetening. The Cult has always prided
EXTD= itself on being a New York band, but it has been the addition of
EXTD= folk-rock vocal harmonies to its already riveting heavy-metal at
EXTD=tack that has enabled the group to produce an album as stunningly
EXTD= consistent as Spectres. The band still remains anonymous behind 
EXTD=the slick sheen of the recording studio, and the voices, too, esc
EXTD=hew personality for the sake of fitting into the cerebral context
EXTD=. But the Cult's creative combination of styles has pioneered a n
EXTD=ew genre of MOR heavy metal. Hard as nails but as sweet as cream,
EXTD= Spectres shows the Blue Oyster Cult to be the Fleetwood Mac of h
EXTD=eavy metal. (RS 254 - Dec 15, 1977)  -- JOHN MILWARD
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