Blue Oyster Cult - Cultosaurus Erectus
Columbia Records  (1980)
Classic Rock, Hard Rock

В коллекции

CD    9 tracks  (41:53) 
   01   Black Blade             06:34
   02   Monsters             05:11
   03   Divine Wind             05:07
   04   Deadline             04:27
   05   The Marshall Plan             05:23
   06   Hungry Boys             03:38
   07   Fallen Angel             03:11
   08   Lips In The Hills             04:25
   09   Unknown Tongue             03:57
Личные заметки
Цена 9,98р.
Ссылки Amazon US
UPC (Штрихкод) 074643655026
Упаковка Jewel Case
Качество записи DDD
Аудио Stereo
1988 Columbia Records, Inc.\nOriginally Released 1980\nCD Edition Released September 1988\nRemastered + Expanded CD Edition Released \n\nAMG EXPERT REVIEW: Signing on with Deep Purple/Black Sabbath producer Martin Birch, Blue Oyster Cult made more of a guitar-heavy hard-rock album in Cultosaurus Erectus, after flirting with pop ever since the success of Agents of Fortune. (They also promoted this album by going out on a co-headlining tour with Sabbath.) Gone are the female backup singers, the pop hooks, the songs based on keyboard structures, and they are replaced by lots of guitar solos and a beefed-up rhythm section. But the band still was not generating strong enough material to compete with their concert repertoire, so they found themselves in the bind of being a strong touring act unable to translate that success into record sales. -- William Ruhlmann \n \ Customer Review\nJust awesome, wicked album!, March 10, 2005\nReviewer: Tim "Yo" (Wellington, NZ.)\nThis is a totally underrated gem of an album, easily on par with their earlier albums, and superior to Fire Of Unknown Origin in my opinion. What truly baffles me is when people accuse BOC of abusing synths and keyboards, or of being too 'commercial' or trying to be popular...are we listening to the same band here? I listen to a helluva lot of 'cheesy' music, from Europe to Dio, and I tell ya...BOC is incredibly restrained compared to the majority of 80s groups when it comes to cheesy synths. I don't think their 80s output has even aged that noticeably, still sounds warm and modern, and the synths are used very effectively and not too cheesily. BOC are funny, a little campy and pretty melodramatic, but that's all part of the damn charm. If you can't take a little wry campy melodrama schlock psuedo-horror with an ironic twist, stay the hell away from uptight fool that has a brain riddled with bad judgement. *clears throat* Anyways... \n\nCultosaurus Erectus doesn't sound cheesy at all, nor bland, nor any of these other stupid things people have said. It offers something different from say Tyranny And Mutation or Agents of Fortune, something more polished and less spontaneous, but expertly crafted that is in its own way as good, if not SUPERIOR to their earlier work. Even if BOC seemed to be collapsing under publicity, in-fights, some perceived sense of lacking inspiration (and it wasn't true), and other conflicts, their music still KILLED AND SLAYED as much as ever. And that's the bottom line. This album is bloody marvelous and sounds to me like a band at a creative peak AND stylistic changing point. \n\nIn terms of the music I'll just point out a few outstanding cuts. 'Monsters' is an early highpoint, cos it rocks and drives along with tremendous force, and includes awesome 'jazzish' sections. 'Deadline' is infectiously catchy, with a really awesome bassline and very mystical sounding floaty vocals. The lyrics rock too. 'Lips In The Hills' seriously sounds like it could be an Iron Maiden song, and I think that's damn cool. Very VERY energetic, catchy, fast and rocking. 'Hungry Boys' is totally strange, and very campy, but the weirdest works somehow and what we have is a totally rocking tune. Great stuff. Finally we have 'Unknown Tongue'. OH MY GOD. What a song. Words cannot describe how good it is...definitely BOC's creepiest, most melodramatic (and that's good) and best tale of demented schlock horror. The song is just the best, ever. Nuff' said. \n\nAs far as I'm concerned, if you call yourself a hardcore Blue Oyster Cult fan and yet don't like this are an idiot. Anyone who says Agents Of Fortune is the culmination of their early output is stupid too, because it's clearly Secret Treaties. I cannot comprehend why albums like Spectres, (the amazing) Cultosaurus Erectus and Imaginos are bad albums, nor worthy of standing RIGHT NEXT to the early classics. BOC only have like two bad albums out of a huge discography really...almost all the rest are simply awesome. You can almost not go wrong with this band, that is, unless you get Club Ninja. Any so called 'fan' of BOC that gives up on them with their 80s albums is not much of a fan, because 80s BOC is easily as good as 70s BOC, it's just a different style. Cultosaurus Erectus and the following Fire Of Unknown prove this WITHOUT A DOUBT, and the case is furthered by Imaginos. \n\nSome of you need to get a clue. Yeah and sorry for the rant, been obsessed with BOC lately...go figure. Some of you 'old-time' fans are idiots for not liking the later stuff. \n\ Customer Review\nThis is the best BOC album..., October 2, 2004\nReviewer: Chris Jordan "seejordan" (Surrey, B.C. Canada) \nBlue Oyster Cult have way too many albums. Another record company scam and marketing ploy. BOC is the worst band that I know for doing it. They aren't even that great a band. However, they've had clever promoters and have cashed in with their sci/fi, mysticism themes that are prevalent on all their album covers and in their lyrics. They are a good band, but certainly not great. Their lyrics, for example, have occultic overtones, but are mostly just nonsensical. If you want a real heavy metal album this is the one to get. Get this, "Classic Cult" (a spin on Coca Cola Classic) and "Tyranny and Mutation" and you'll have all their great metal albums. Some previous reviewer from the U.S. (he seems to like singling out Canadian reviewers for some reason) said that he didn't think that this album should get accolades. I believe it's their best, complete album without getting a greatest hits package. "Black Blade", "Marshall Plan", "Hungry Boys", "Lips in the Hills" are all classics. They are well-produced and engineered (by Martin the WASP Birch; the best heavy metal producer, likely). Don't get caught up in the album covers or marketing tactics. I know what I'm talking about. Also, don't buy the North American version. Try to get the European one, which has been digitally remastered. It cranks.\n\ Customer Review\nB.O.C. as N.W.O.B.H.M., November 9, 2003\nReviewer: Johnny S. Geddes (Northern Ireland) \nA producer can override a group in making an album's flavor this way or that. In this case, Martin Birch (later of Iron Maiden / Whitesnake fame) Britified B.O.C.'s sensibilities a bit. There's that awfully English sense of irony and self-deprecation present on this, their seventh studio effort. The doominess of the group's lyrical energy and sound has also been largely traded in for something Stan Lee could click his fingers to. \n'Black Blade' swooshes in on an air of comic-book combat ardour, seguing funly into 'Monsters' (replete with Jazzy saxes and fun-fantasy demon talk). The British taste on this LP truly comes through on 'Hungry Boys', 'Deadline' and 'The Marshall Plan' (complete with a tip of the hat to Deep Purple in its mid-section!). \nIn this case, B.O.C. seem to have eschewed their gothic-futurist formulas in favor of running with the make-your-own-rules New Wave people who were seriously charting at the time.\nAnd that's what 'Cultosaurus ...' is all about. It's fun, fun, fun and very silly but there's still a good bit of hardline B.O.C. running under the rubber-masked veneer. Just take the downbeat slammer 'Divine Wind' and run it next to liquorice-spirited 'Unknown Tongue': certainly not standard kiddy sci-fi fare. 'Lips In the Hills' (the only thing truly identifiable on the work as heavy metal proper) and it's lightweight doppelganger 'Fallen Angel' bring up the average and then some. All in all, it's not a bad album and it followed on the coattails of 'Mirrors' with not too much predictability. In this one, the group learned how far they could go with pop rock before they might run the risk of sounding like Mott the Hoople. There seems to have been concern at the production end about putting some metal back into the foundations before the band's steely shell sank altogether. Maybe that's where the added strain of forcing more than the usual amount of fantasy though Eric Bloom's microphone came from. Whatever the reasons, things largely gelled together and Birch kept idiosyncrasies from cancelling themselves out. \nAnd it does set the stage nicely for 'Fire ...'. A nice pre-amble through and through.\n\ Customer Review\nI just want to be a lover not a critic?, April 13, 2002\nReviewer: "prelim2" (United Kingdom) \nI have to play this album to remind myself just how good it is. Sadly, that comment sort of says it all really. I tend to pass over it and head for any other Blue Oyster Cult album instead. Technically it's at least as good as the `black and white period' stuff but for some reason I just can't warm to it. As a reaction to the (totally unwarranted) accusations that the band had somehow `sold out' with their preceding two studio albums and that they had become a watered down, `pop' version of their former selves they hit back with this. It silenced the critics and the diehards but it lacks a certain freshness and heart. Eric Bloom's collaboration with Michael Moorcock and John Trivers, the energetic and engaging `Black Blade' and the provocatively weird Albert Bouchard/David Roter opus `Unknown Tongue' aside the album suffers from - dare I say it? - a general lack of the BOC trademark, that underlying deliciously warped irony and self-deprecating humour. There is an air of trying too hard. Is it possible that the critics had drawn blood and in response the guys started taking themselves and their music just a little too seriously? It's rock n roll guys, it's supposed to be fun. A severe case of needing to lighten up a little here I fear. Don't get me wrong I like it; most of the tracks are acceptable, competent if not outstanding, and bear repeated hearings. Highlights other than those already mentioned are Donald Roeser's `Divine Wind' and `Deadline' and I find myself liking the Joe Bouchard/Helen Robbins collaboration `Fallen Angel' more each time I hear it. The Roeser/Bloom/Meltzer track `Lips in the Hills' has also become creepily compulsive over time. On the other hand Albert and Caryn Bouchard's `Monsters' and `Hungry Boys' feel more contrived and forced with each successive hearing. I was going to gloss over `The Marshall Plan' but seeing that no one is willing to admit to perpetrating this abomination - and who can blame them for hiding behind the `Blue Oyster Cult' billing? - I won't. What were you thinking? It's truly terrible. I'd give this album a perfect 5 for technical merit - Martin Birch's production is clean, polished and hard-edged - but for artistic expression and emotional pull it only rates a 3 (I was tempted to go for 2.5 but the rating system doesn't allow for half points so for old times sakes - oh and the irreproachable `Fire of Unknown Origin' that was to follow - I rounded up instead of down). It averages out at a four.\n\ Customer Review\nSCARY stuff! (Find the rabbit! Find the rabbit!!), December 13, 2000\nReviewer: Henry R. Kujawa ("The Forbidden Zone" (Camden, NJ))\nSome may have felt 1979's MIRRORS tried too hard to appeal to mainstream pop audiences; 1980's CULTOSAURUS ERECTUS clearly was a step back toward the bizarre. I have to admit, I didn't like this much the first time I heard it. But like so much else, it's GROWN on me, like the comically-oversized critter in the cover paintings. (One might be forgiven for not noticing the spaceship flying by for scale at first-- but sadly, on the shrunken CD art, the B.O.C. logo is now IMPOSSIBLE to see.) A lot of unusual stuff for this band turned up here, including over-the-top electronic keyboard work, supernatural spirit voices, saxophones and even Don Kirchner (now that really IS scary!). That makes it either wildly erratic or highly intriguing, depending on personal opinion. My faves include "Black Blade" (a no-holds-barred tribute to the tragic S&S character ELRIC and his haunted sword Stormbringer), "Monsters" (try playing this while watching the "big fight" at the end of the movie DESTROY ALL MONSTERS-- I did!), "Deadline" (Buck Dharma's foray into almost-top 40 pop), "Lips In The Hills" (a high-speed romp filled with suggestive imagery) and "Unknown Tongue" (the spooky-yet-goofy finale that takes a twisted look at Catholic school girls, courtesy of David Roter, who also penned "Joan Crawford" as well as several solo albums, including the totally-whacked FIND SOMETHING BEAUTIFUL). CBS slipped up again, causing the opening note of "Deadline" to somehow get SNIPPED off! I highly recommend the remastered import version, on which this has been corrected. (Will we see a day when ALL the CBS Oyster CDs will have become superfluous?)\n\ Customer Review\nDaring and innovative, yet heavy..., October 11, 2000\nReviewer: George M. (Vancouver Island)\nIndeed, one of their heaviest albums. I bought this one out of curiosity, after having heard some so-so things about it. I must say, I was taken aback by the quality and power of this underrated CD. I wouldn't hesitate to place this one among the 5 best Cult albums ever! Certainly better than 'Fires...' or 'Mirrors'. Throughout BOC's career there have been some really outstanding albums, along some inferior ones. In my view, the most powerful statements have been 'Spectres', 'Cultosaurus', 'Imaginos' and 'Revolution by Night'. I also like the two earlier ones 'Tyranny and Mutation' and 'Secret Treaties'. This is, of course, subjective, but no doubt there are some great songs in 'Cultosaurus': The opening Black Blade is impressive and manages to put together a number of diverse themes and ideas. I especially enjoy the use of synthesizers and the obscured 'vocals' in the last part of the song. I have never heard anything similar in any BOC album. There is originality here. Same as in 'Monsters', a great song, changing from heavy to jazzy. There are no bad songs in this album, but other personal favs are 'Deadline', 'Divine Wind', 'Lips on the Hills' and the chilling 'Unknown Tongue'. Granted, 'Cultosaurus' is not for everybody, it's dark, ominous and heavy. But it's also atmospheric, spiritual and powerful. Also, sonically, it's one of the most advanced BOC albums ever. Great guitar work, too!\n\ Customer Review\nSome excellent BOC--doesn't measure up to earlier offerings, June 2, 1999\nReviewer: A music fan\nI admit it--I'm a Blue Oyster Cult snob. Anyone who really wants to be serious about a review of any BOC album requires, in my mind, a rich knowledge of their past. Those who have it are slower to bestow an "album of the century" prize upon this rather ordinary BOC offering. \n"Cultosaurus Erectus" offers many excellent tunes, to be sure, which by the time of the album's release had come to be expected. But does it offer anything new relative to the albums before it? Nah. In fact, if you were just discovering this band in its Top 40's days, you missed the boat on what an old man like me would call vintage BOC--the first four (4) albums, culminating with "Agents of Fortune". These gems represent leaps and bounds of band progression in only four years. "Cultosaurus Erectus", meanwhile, represents merely a proven formula, one that appeared on several albums before and after it. This fact alone admittedly prejudices my viewpoint: remember, I was already worshipping this band way before they discovered Top 40 with tripe such as "Burnin for You". Admit it, readers, isn't this a song that you could do without ever hearing again?\n\nSo what's the point? "Cultosaurus Erectus" has some good tunes, but a five star rating? Please! No offense, but I can tell that it's the much younger BOC fans who are responsible for bestowing these unworthy accolades on what should be seen simply as another good BOC offering, and precious litte more. \n\nHere's a suggestion: Go get a Gold CD of BOC's 1973 "Tyranny and Mutation". This was before they got heavy on the use of organ music as a filler (that would come with "Secret Treaties"). In those days, it was pure rock--guitars and drums. Lay on the track "Teen Archer" and listen to BOC in its purest form. No organ, no Top 40, and no Patti Smith (Aarrrghh!). Oh, and one other thing. They were the days before Buck Dharma got this big idea that he was a singer rather than merely the best rock guitarist I've heard. Eric Bloom? Now he can sing.\n\nEnjoy the real thing!\n\ Details \nProducer: Martin Birch \n\nAlbum Notes\nAs the title suggests, Blue Oyster Cult attempted to toughen up its act here after a flirtation with pop on MIRRORS; the twin guitars of Buck Dharma and Eric Bloom were (sensibly) returned to center stage and the lyrics were once again in keeping with the band's trademark esthetic of vague sci-fi and occult musings. On the arena-ready "Marshall Plan," the band also continues its tradition of self-referential rock mythologizing (begun with "Cities on Flame With Rock & Roll" from the band's debut album), and on "Divine Wind" revisits evergreen metal concerns like God and the Devil. Occasionally, there are some surprising stylistic detours--the otherwise Black Sabbath-ish "Monsters" has a jazzy saxophone break, perhaps meant ironically (lounge metal?), and "Deadline" is pure California pop--but most of the album is vintage BOC (and the Doors-ish "Unknown Tongue" more than lives up to its leering title).