Archive Review: Blue Öyster Cult’s Imaginos (1988)

One of the most commercially successful and critically-acclaimed rock bands in American history, Blue Öyster Cult created the perfect fusion of ‘60s pop and ‘70s proto-metal that would have a profound influence on the evolution of both hard rock and heavy metal in the decades to follow. Intellectual, but reveling in their counter-culture roots, lyrically the band mixed elements of mythology, the occult and contemporary literature with science fiction and horror film trash culture in the creation of a new musical paradigm that celebrated high-and-lowbrow culture equally.  

The earliest roots of the band lie in the relationship between two students at Stony Brook College on Long Island. As far back as 1967, Sandy Pearlman and future rock critic Richard Meltzer had plans to conquer the rock ‘n’ roll world. With Pearlman managing the band and both he and Meltzer writing lyrics, they put together a group that included the core of the future BÖC – guitarist Donald “Buck Dharma” Roeser, keyboardist Allen Lanier, and drummer Albert Bouchard – known as Soft White Underbelly.

Agents of Fortune

Signed to Elektra Records, Soft White Underbelly recorded an unreleased album and subsequently changed the band’s name to Oaxaca before settling on being called the Stalk-Forrest Group. A second album recorded for the label was also buried in the vaults, although a single was later released under the Stalk-Forrest Group name. Dropped by the label and shuffling personnel, they changed their name once again to Blue Öyster Cult and signed with Columbia Records, which is where the BÖC story really begins.

The band’s self-titled album was released in 1972 and scraped the bottom of the charts. This must have been good enough to partially satisfy the label, as they were attempting to promote BÖC as their very own homegrown version of Black Sabbath. The debut album’s fortunes were helped by the media-savvy promotional efforts of Pearlman and Meltzer, as well as the creation of the band’s ubiquitous hook-and-cross logo, an important precursor to the imaginative logo designs of heavy metal bands in the decade to follow.

Tyranny & Mutation followed in 1973, and Secret Treaties in 1974, each album experienced higher sales numbers. The powerful live double-album, On Your Feet Or On Your Knees, was released in ‘75, but it would be the following year’s effort, Agents of Fortune, that would prove to be the band’s commercial breakthrough. Yielding a Top 40 single in “(Don’t Fear) The Reaper,” the album would be the first in a string of Gold™ and Platinum™-selling discs that culminated five years later with 1981’s Fire of Unknown Origin.

The band stumbled badly, however, both commercially and creatively, into the new decade. Original members had left the band, or been asked to leave, and weak studio albums like 1983’s The Revolution At Night and 1986’s Club Ninja alienated long-time fans. With only Dharma and Eric Bloom left from the band’s original line-up, BÖC continued to tour. Released in 1988, the band’s 14th album, Imaginos, would also be its last at the time.

Blue Öyster Cult’s Imaginos

Back at the dawn of the ‘80s, however, Imaginos was originally planned by former BÖC drummer Albert Bouchard to be a solo work, a concept album based on a song cycle created by Sandy Pearlman back during the late 1960s. Almost six years in the making, Imaginos includes instrumental contributions from several of Bouchard’s NYC friends, including bassist Kenny Aaronson and guitarists Joe Satriani, Aldo Nova, and Robbie Krieger of the Doors.

When Bouchard was nearing the finish line with Imaginos, he found out that the record label wasn’t exactly enamored of his efforts. They would only agree to release the album under the Blue Öyster Cult name, so the master tapes were sent to Pearlman and the band overdubbed vocals and instrumentation. Thus the incorrect appearance that BÖC had reformed with its original line-up, including Albert Bouchard…but it was all on paper, folks. Met with confusion by fans and critics alike, and under-promoted to death by the label, Imaginos was deemed an overall failure. BÖC was subsequently dropped from Columbia after an almost 20-year association with the label.

Long out-of-print, and the subject of no little discussion by Blue Öyster Cult fans through the years, thanks to the good folks at American Beat we have a reissued/remastered version of Imaginos to judge on its own merits. Musically, the album-opening “I Am the One You Warned Me Of” spanks-and-cranks with typical period metal overtones, with heavy riffing, clean ringing guitars and Bloom vocals that sound eerily like Secret Treaties-era BÖC. Slower-paced than the band’s early ‘70s brain-bashers, the song is no less menacing. “Les Invisibles” is more contradictory, featuring some delectable, deliberate skull-bashing fretwork and rhythms…but the constant refrain of “seven, seven, seven” is more irritating than an itchy straitjacket, and as unnecessary to the grand design of life as ticks and garden slugs.

“In the Presence of Another World” is a vintage BÖC face-burner, opening with elegant six-string plundering before kicking into some sort of sci-fi soundscape with soaring vocal harmonies and crunchy riffage courtesy of Mr. Dharma. “Del Rio’s Song” offers up some fine lead vocals but little in the way of substance; lacking distinctive instrumentation (or else it’s buried too deep in the mix), it’s a pleasant diversion and nothing more. “The Siege and Investiture of Baron von Frankenstein’s Castle At Weisseria” is as epic and long-winded as the song’s title. Sounding like an outtake from a Ronnie James Dio album, the song showcases Joe Satriani’s scorching six-string leads. The song kind of grows on you, as blustery as it is, and it’s an excellent example of early prog-metal overkill.

BÖC’s Astronomy

“Astronomy” should be familiar to any BÖC fan; originally included on Secret Treaties, the song sits perfectly at the intersection of the band’s science-fiction fantasies and fantastic metal proclivities. “Magna of Illusion” has delusions of grandeur, but it also includes some nifty Robbie Krieger guitar noodling, so I’ll begrudgingly swallow the song’s hackneyed lyrical aspirations. “Blue Öyster Cult,” the song, bites down hard; a re-working of the original tune “Subhuman” from Secret Treaties, which was derived from “Blue Öyster Cult” to begin with (calling M.C. Escher), this is one limp biscuit nonetheless.

I’ll call the title track a draw – although it could have sorely benefited from some big-lunged Eric Bloom vocal expertise, it kicks in with some tasty licks and keyboard riffs that rescue it from oblivion. Bloom is absent without leave from much of Imaginos, leaving the bulk of the vocal weightlifting to the capable Buck Dharma. When any of the guest vocalists kick in on a song, it’s either cringeworthy, or as slight as to be as easily forgotten as last week’s hangover.

As stated before, Imaginos is a conceptual song-cycle, something about a big-haired meanie that travels through time to stomp on our hopes and dreams, or some other late ‘60s lysergic-fueled narrative. Much like early Voivod albums, you have no idea what the hell they’re talking about – you just sit back and try to enjoy the ride. By the Reverend’s count, you have five bona fide BÖC gems on Imaginos, three whiffballs, and one plea of “nolo contendre.” That’s close enough for rock ‘n’ roll in my book, and certainly a better batting average than many of today’s pud-pounding corporate rockers.

The Reverend’s Bottom Line

So, just where does Imaginos fall in the BÖC canon? With the benefit of 20 years of hindsight, I’d say that it’s certainly better than either of the band’s two previous ‘80s-era albums, and it’s perhaps the band’s most overtly metallicized effort, ever. In spite of all the cooks here adding their own ingredients to the gumbo, some of that tasty BÖC flavor rises to the top regardless. While Imaginos won’t prompt any fans to pawn their copies of Agents of Fortune or Fires of Unknown Origin (or the classic first three BÖC ear-mashers, either), you won’t embarrass yourself by owning a copy, either. (Columbia Records, released July 1988)

Review originally published by the Trademark of Quality (TMQ) blog…

Short Rounds: Dave Alvin, Blue Öyster Cult, Shemekia Copeland, Coyote Motel, The Fleshtones, Little Richard, Nick Mason’s Saucerful of Secrets, Midnight Oil, The Pretty Things, Walter Trout & Brown Acid

New album releases in 200 words or less…

Dave Alvin – From An Old Guitar: Rare and Unreleased Recordings (Yep Roc Records)
This “odds ‘n’ sods” collection of rare, unreleased, and barely-released songs by Americana pioneer Dave Alvin stands with any of the artist’s albums due to his talent and passion. Offering the listener every shade of American music, from acoustic and electric blues to country, folk, and rock ‘n’ roll, Alvin mixes original songs with those written by friends like Peter Case and Chris Smithers as well as tunes by musical idols like Doug Sahm, Bob Dylan, and Willie Dixon. There’s really no ‘hard sell’ needed here – if you’re already a fan of Alvin’s charms as a singer, songwriter, and guitarist then you’re going to pick up From An Old Guitar no matter what I write. But whether it’s the energy provided a spry reading of “Highway 61,” the heartbreaking cover of Waylon Jennings’ “Amanda,” or the exciting, electrifying guitar-play of “Variations on Earl Hooker’s Guitar Rumba,” Alvin knows his way around a song. Originals like the swinging, bluesy romp “Albuquerque” or the country blues-flavored instrumental “Krazy and Ignatz” display other facets of Alvin’s immense skills. A true legend of American music, the performances documented by From An Old Guitar are a welcome addition to an often-varied, always-impressive Dave Alvin catalog. Grade: A   BUY!

Blue Öyster Cult – The Symbol Remains (Frontiers Records)
BOC’s first studio album since 2001’s Curse of the Hidden Mirror was pronounced ‘D.O.A.’ has been hailed by many critics as a “return to form,” but is it really? The 1970s/’80s-era Blue Öyster Cult is long gone, although the (arguably) two most important old guys remain – guitarist Buck Dharma and singer Eric Bloom – backed by a longtime touring band with chops honed to a razor edge by a thousand nights on the road. So, The Symbol Remains offers a new sort of BOC sound, the guitar-driven slab o’ granite released by Italian hard rock specialists Frontiers Records. Whether there’s a market for this sort of rock ‘n’ roll two decades into the new millennium is beside the point, as aging fans will eat up the jagged power-pop of “Box In My Head” or the haunting Goth-metal palace intrigue of “The Alchemist.” All 14 tunes here are originals, written, co-written, sliced & diced with collaborators like musician/cyberpunk author John Shirley and rockcrit legend Richard Meltzer. The results are a crazy-quilt of ‘70s-inspired classic rock with a contemporary sheen. Dharma’s guitar cuts like a knife, the vocals-by-committee approach works, and the album rocks. Hard. What more could a po’ boy ask for? Grade: B   BUY!

Shemekia Copeland – Uncivil War (Alligator Records)
Returning to Nashville to record a follow-up to her award-winning 2018 album America’s Child, blues singer Shemekia Copeland is working again with producer, songwriter, and musician Will Kimbrough, who collaborates with Copeland’s longtime creative foil, John Hahn, to put together a helluva slate of songs for the talented singer. Musicians like guitarists Christone “Kingfish” Ingram, Jason Isbell, Steve Cropper, Duane Eddy, Webb Wilder, and Kimbrough himself as well as steel-guitar maestro Jerry Douglas and mandolin wizard Sam Bush add to the bluesy gumbo that is Uncivil War. Make no mistake, though – this is Copeland’s show, and her confident, inspired vocals make for transcendent performances. The blues-gospel title track is a gem with heavenly vocals grounded by Douglas’s dobro and Bush’s mandolin while “Walk Until I Ride” is a gospel-tinged treasure with Copeland’s soulful vocals displaying a powerful defiance in the face of discrimination. The wonderful “Dirty Saint” displays a nuanced New Orleans mojo in tribute to the late Dr. John and “Apple Pie and A .45” is a devastatingly powerful blues-rock dirge. Copeland doesn’t ignore straight blues here, as the smoky “In the Dark” will attest, Copeland proving once again that she’s among the best the blues has to offer. Grade: A+   BUY!

Coyote Motel – Still Among the Living (Dolly Sez Woof Records)
I’ve heard enough of ‘em over the past 50 years that it’s a rare live disc that really makes me wish that I’d been at a particular show. As for actually going to shows anymore, I’ve paid my dues several hundred times over in clubs with bad air, muddy sound, and overpriced beer. After listening to Coyote Motel’s Still Among the Living, documenting a February 2020 performance at The 5 Spot in Nashville, damn if I don’t wish that I’d been there that night. Pursuing what he calls “cosmic roots music,” musician and scribe Ted Drozdowski leads Coyote Motel through songs from their self-titled 2019 debut, offering a unique hybrid of blues, rock, and roots music. The guitarist imbues opener “Still Among the Living” with otherworldly fretwork and haunting vocals while Luella Melissa Mathes’ ethereal vocals offer a nice counterpoint to Drozdowski’s wiry vox, taking a song like the devastating “The River” into a higher dimension. An appearance by jazz legend Stan Lassiter on the classic “Tin Pan Alley” compliments Drozdowski’s scorched-earth approach to the song. Overall, Still Among the Living captures a truly electrifying performance by a talented band as scary as the wrong end of a .44 revolver. Grade: A   BUY!  

The Fleshtones – Face of the Screaming Werewolf (Yep Roc Records)
Although I found the band’s previous album (2016’s The Band Drinks For Free) somewhat tepid (by the Fleshtones’ lofty standards), I’m happy to say that your fave “super rock” garage band is back in the groove with the rowdy Face of the Screaming Werewolf. Released on CD and vinyl for this year’s third Record Store Day “drop” in October, the album is the rock ‘n’ roll tonic we need for 2020. Featuring Keith Streng’s stellar fretwork, Peter Zaremba’s haunted vocals, and lusty, deep-throated bass drums, the title track will have you hiding under the bed from monsters, but tapping your toes nonetheless. The tribute “Alex Trebeck” takes on a new look with the beloved TV host’s recent death, pairing erudite lyrics with a throwback ‘60s rock vibe (trembling guitars and jangly rhythms) for a respectful homage. Much of the rest of Werewolf offers different shades of guitar-happy, reckless rhythm rawk, from the harmonies of “Child of the Moon,” which reminds of the Stones’ “We Love You,” to the Kinks-styled buzz and hum of “You Gotta Love, Love,” the Fleshtones leave no tasty musical stone unturned, putting their own signature on nearly 60 years of rock ‘n’ roll cheap thrills. Grade: A   BUY!

Little Richard – Southern Child (Omnivore Recordings)
Signed to Reprise Records in 1970, Little Richard decided that his third effort for the label would be a country album. After all, if Ray Charles could pull it off, so could the rock ‘n’ roll pioneer. The result – 1972’s Southern Child – was produced by longtime friend Robert “Bumps” Blackwell and featured a brace of original songs…and it was promptly shelved by Reprise until finally appearing as part of a 2005 box set. Hindsight is 20/20, but I think that if the label had released the album, it may have gotten some traction. As shown by Omnivore’s CD reissue of this lost gem, Mr. Penniman sings country as effortlessly and with the same charisma as he does rock, soul, and gospel. Some of the material – notably “Burning Up With Love” or “California (I’m Comin’)” – are really just rockin’ soul tunes with a bit of added twang. But others, like the slow-rolling “Ain’t No Tellin’” or the raucous title track certainly could have found a home on country radio in the pre-playlist days of the early ‘70s. Altogether, Southern Child is a successful experiment in style, Little Richard proving (again) that he was the best at whatever he chose to do. Grade: B+   BUY!  

Nick Mason’s Saucerful of Secrets – Live At the Roundhouse (Legacy Recordings)
I had my doubts about Pink Floyd drummer Nick Mason reliving his glory days with live performances of the band’s classic psych-era tunes, but my fears were erased soon after slapping this sucker on the turntable. Mason does his old mate Syd justice with Nick Mason’s Saucerful of Secrets and their Live At the Roundhouse album and concert film. Documenting performances from two nights in May 2019 at the historic Roundhouse in London, England, Mason’s talented band rip and roar through almost two-dozen tracks that pre-date Floyd’s commercial ‘monsterpiece’, Dark Side of the Moon. Mason’s band includes former Floyd touring bassist Guy Pratt, guitarists Gary Kemp and Lee Harris, keyboardist Dom Beken, and Mason himself on the cans; they honed these songs with theatre dates across North America, Europe, and the U.K. The musical chemistry shows, gems like “See Emily Play,” “Arnold Layne,” and “Saucerful of Secrets” hewing close enough to the originals to please the hardcore faithful but offering enough originality to entertain any classic rock fan. FYI, the vinyl packaging is gorgeous, a cardboard slipcase with a cut-out revealing the colorful gatefold double-LP cover beneath, the two albums sheathed in full-color paper sleeves and thick slabs o’ vinyl. Also available as a double-CD set with concert DVD…buy ‘em both! Grade: A-   BUY!

Midnight Oil – The Makarrata Project (Sony Music Australia)
The first full-length studio album from Australian rock legends Midnight Oil since 2002’s Capricornia, The Makarrata Project is a special collaboration, a meeting of minds whose ponderous description may scare off the casual listener (and even a few hardcore fans). Don’t buy into the ignorance – The Makarrata Project is every bit a Midnight Oil album, from Peter Garrett’s stunning vocals and Jim Moginie’s razor-sharp fretwork to the thunderous rhythms of bassist Bones Hillman and drummer Rob Hirst. Where it differs from the usual politically-charged Midnight Oil joint is its worthy cause and inclusion of indigenous voices from ‘First Nation’ artists like Jessica Mauboy, Alice Skye, Tasman Keith, Sammy Butcher, Frank Yamma, and others. So, you get some spoken word passages, tribal chants, and other singers, all united in service of the ‘Uluru Statement of the Heart’ which, basically, calls for Constitutional power and protection for Aboriginal and Torres Strait Islander people in Australia. It’s a powerful use of rock ‘n’ roll for social change, and the band is donating its royalties (matched by Sony) from the album to organizations seeking to elevate the Uluru Statement. Midnight Oil has always “walked the walk;” with The Makarrata Project, they’ve upped the stakes. (Bones Hillman, R.I.P. November 2020) Grade: A   BUY!     

The Pretty Things – Bare As Bone, Bright As Blood (Madfish Music)
The final recording from these British rock legends is pretty much a collaboration between Pretty Things founders Phil May and Dick Taylor, with occasional instrumental contributions from friends and fellow bandmates. An acoustic collection of blues, rock, and folk music that places an emphasis on May’s expressive, soulful vocals and Taylor’s deft fretwork, Bare As Bone, Bright As Blood masterfully blends songs like the PT’s George Woosey’s haunting title track or Will Varley’s “To Build A Wall,” which features May’s gorgeous, fragile vocals with traditional blues tunes by Robert Johnson (“Come Into My Kitchen”) and Willie Dixon (“I’m Ready”), the likes of which the PTs cut their teeth on five decades ago. A cover of folk songwriter Gillian Welch’s hillbilly dirge “The Devil Had A Hold of Me” displays another facet of May’s immense talent while Sheryl Crow’s “Redemption Song” benefits from May’s nuanced vocals and Taylor’s elegant guitar playing. Tragically, May’s death earlier this year ends the 55-year musical partnership between the singer and guitarist but, as swan songs go, Bare As Bone is a hell of a note to go out on. Grade: A+   BUY!

Walter Trout – Ordinary Madness (Provogue Records)
The blues-rock maestro returns with Ordinary Madness, a quick follow-up to 2019’s critically-acclaimed Survivor Blues. There are no signs of rush recording here or a drop-off in song quality, though – the guitarist’s tone, tenor, and tenacity have never been fiercer. The title track is a smoldering jam with gorgeous guitar and lyrics that barely hide their menace. The production on “Wanna Dance” (by longtime Trout collaborator Eric Corne) is spectacular, lush tones and power chords pumping up the instrumentation, underlining Trout’s mournful vocals; forty years ago, this would have been a chart-topper. Much of Ordinary Madness follows the same blueprint – electrifying blues-rock with scorching guitar, soulful vox, and a stout backing band. Trout’s guitar talents often overshadow his vocals, which are displayed nicely on the ballad “My Foolish Pride,” Walter capable of expressing great emotion. “The Sun Is Going Down” may be the best performance of Trout’s lengthy career, Robert Johnson’s hellhounds picking up the scent again, the guitarist facing the passage of time with unflinching defiance. Since his near-death experience six years ago, Walter Trout has been making the best music of his life, Ordinary Madness an album so good that I bought it twice (on CD and vinyl!). Grade: A+   BUY! 

Various Artists – Brown Acid: The Eleventh Trip (Riding Easy Records)
The folks at RidingEasy Records scour the back rooms, under-the-shelf crates, and other dark record store crevasses to find the most far-out psychedelic garage-rock cheap thrills possible and slap ‘em on vinyl as part of their “Brown Acid” series of rock ‘n’ roll obscurities. One would think this well-trodden turf to be mined out, what with all those Nuggets, Pebbles, and Back From the Grave compilations clogging up the shelves, but here’s Brown Acid: The Eleventh Trip with ten more roller-coaster time machine trips circa 1969-1977. Like every LP of this kind, there are hits and misses – some 7” wax should remain lost– so I’ll only mention the winners. Adam Wind’s “Something Else” is a cool psych-blues jam with flanged guitars while Grump’s “I’ll Give You Love” is a raucous R&B rave-up with swirling instrumentation. Larry Lynn’s “Diamond Lady” is a slab o’ guitary blues-rock with prog tendencies, old faves Zendik deliver a shimmering bit of chaotic hard rock, and West Minist’r offer a red-hot, Brit-sounding rocker. Kudos also to Debb Johnson for a brassy, soul-blues romp. Since six outta ten ain’t too shabby a batting average, I’ll happily recommend The Eleventh Trip for any fan of old school-dropout psych-cum-garage-rock. Grade: B   BUY!

Previously on That Devil Music.com:

Short Rounds, October 2020: Elvin Bishop & Charlie Musselwhite, The Hangfires, Kursaal Flyers, Nick Lowe & Los Straitjackets, Toots & the Maytals, Crawling Up A Hill

Short Rounds, May 2020: The Burrito Brothers, Richie Owens & the Farm Bureau, Webb Wilder, Lucinda Williams & X

Short Rounds, April 2020: Datura4, Dream Syndicate, Drivin’ N’ Cryin, Bryan Ferry, Game Theory & Supersuckers

Short Rounds, March 2020: The Bluefields, Dave Clark Five, Marshall Crenshaw, Gwil Owen, Gary Moore & Watermelon Slim

Archive Review: Blue Öyster Cult's Imaginos (2008)

One of the most commercially successful and critically-acclaimed rock bands in American history, Blue Öyster Cult created the perfect fusion of 1960s-era pop and ‘70s proto-metal that would have a profound influence on the evolution of both hard rock and heavy metal in the decades to follow. Intellectual, but reveling in their counter-culture roots, lyrically the band mixed elements of mythology, the occult, and contemporary literature with science fiction and horror film trash culture in the creation of a new musical paradigm that celebrated high-and-lowbrow culture equally.

The earliest roots of the band lie in the relationship between two students at Stony Brook College on Long Island. As far back as 1967, Sandy Pearlman and future rock critic Richard Meltzer had plans to conquer the rock ‘n’ roll world. With Pearlman managing the band, and both he and Meltzer writing lyrics, they put together a group that included the core of the future BÖC – guitarist Donald “Buck Dharma” Roeser, keyboardist Allen Lanier, and drummer Albert Bouchard – known as Soft White Underbelly.

The Roots of Blue Öyster Cult

Signed to Elektra Records, Soft White Underbelly recorded an unreleased album and subsequently changed the band’s name to Oaxaca before settling on being called the Stalk-Forrest Group. A second album recorded for the label was also buried in the vaults, although a single was later released under the Stalk-Forrest Group name. Dropped by the label and shuffling personnel, they changed their name once again to Blue Öyster Cult and signed with Columbia Records, which is where the BÖC story really begins.

The band’s self-titled album was released in 1972 and scraped the bottom of the charts. This must have been good enough to partially satisfy the label, as they were attempting to promote BÖC as their very own homegrown version of Black Sabbath. The debut album’s fortunes were helped by the media-savvy promotional efforts of Pearlman and Meltzer, as well as the creation of the band’s ubiquitous hook-and-cross logo, an important precursor to the imaginative logo designs of heavy metal bands in the decade to follow.

Tyranny & Mutation followed in 1973, and Secret Treaties in 1974, each album experiencing higher sales numbers. The powerful live double-album, On Your Feet Or On Your Knees, was released in ‘75, but it would be the following year’s effort, Agents of Fortune, that would prove to be the band’s commercial breakthrough. Yielding a Top 40 single in “(Don’t Fear) The Reaper,” the album would be the first in a string of Gold™ and Platinum™-selling discs that culminated five years later with 1981’s Fire of Unknown Origin.

The band stumbled badly, however, both commercially and creatively, into the new decade. Original members had left the band, or been asked to leave, and weak studio albums like 1983’s The Revolution at Night and 1986’s Club Ninja alienated long-time fans. With only Dharma and Eric Bloom left from the band’s original line-up, BÖC continued to tour. Released in 1988, the band’s 14th album, Imaginos, would also be its last at the time.

Blue Öyster Cult's Imaginos

Back at the dawn of the ‘80s, however, Imaginos was originally planned by former BÖC drummer Albert Bouchard to be a solo work, a concept album based on a song cycle created by Sandy Pearlman back during the late ‘60s. Almost six years in the making, Imaginos includes instrumental contributions from several of Bouchard’s NYC friends, including bassist Kenny Aaronson and guitarists Joe Satriani, Aldo Nova, and Robbie Krieger of the Doors.

When Bouchard was nearing the finish line with Imaginos, he found out that the record label wasn’t exactly enamored of his efforts. They would only agree to release the album under the Blue Öyster Cult name, so the master tapes were sent to Pearlman and the band overdubbed vocals and instrumentation. Thus, the incorrect appearance that BÖC had reformed with its original line-up, including Albert Bouchard… but it was all on paper, folks. Met with confusion by fans and critics alike, and under-promoted to death by the label, Imaginos was deemed an overall failure. BÖC was subsequently dropped from Columbia after an almost 20-year association with the label.

Long out-of-print, and the subject of no little discussion by Blue Oyster Cult fans through the years, thanks to the good folks at American Beat we have a reissued/remastered version of Imaginos to judge on its own merits. Musically, the album-opening “I Am the One You Warned Me Of” spanks-and-cranks with typical period metal overtones, with heavy riffing, clean ringing guitars and Bloom vocals that sound eerily like Secret Treaties-era BÖC. Slower-paced than the band’s early ‘70s brain-bashers, the song is no less menacing. “Les Invisibles” is more contradictory, featuring some delectable, deliberate skull-bashing fretwork and rhythms…but the constant refrain of “seven, seven, seven” is more irritating than an itchy straitjacket, and as unnecessary to the grand design of life as ticks and garden slugs.

“In the Presence of Another World” is a vintage BÖC face-burner, opening with elegant six-string plundering before kicking into some sort of sci-fi soundscape with soaring vocal harmonies and crunchy riffage courtesy of Mr. Dharma. “Del Rio’s Song” offers up some fine lead vocals but little in the way of substance; lacking distinctive instrumentation (or else it’s buried too deep in the mix), it’s a pleasant diversion and nothing more. “The Siege and Investiture of Baron von Frankenstein’s Castle At Weisseria” is as epic and long-winded as the song’s title. Sounding like an outtake from a Ronnie James Dio album, the song showcases Joe Satriani’s scorching six-string leads. The song kind of grows on you, as blustery as it is, and it’s an excellent example of early prog-metal overkill.

“Astronomy” should be familiar to any BÖC fan; originally included on Secret Treaties, the song sits perfectly at the intersection of the band’s science-fiction fantasies and fantastic metal proclivities. “Magna of Illusion” has delusions of grandeur, but it also includes some nifty Robbie Krieger guitar noodling, so I’ll begrudgingly swallow the song’s hackneyed lyrical aspirations. “Blue Öyster Cult,” the song, bites down hard; a re-working of the original tune “Subhuman” from Secret Treaties, which was derived from “Blue Öyster Cult” to begin with (calling M.C. Escher), this is one limp biscuit nonetheless.

I’ll call the title track a draw – although it could have sorely benefited from some big-lunged Eric Bloom vocal expertise, it kicks in with some tasty licks and keyboard riffs that rescue it from oblivion. Bloom is absent without leave from much of Imaginos, leaving the bulk of the vocal weightlifting to the capable Buck Dharma. When any of the guest vocalists kick in on a song, it’s either cringeworthy, or as slight as to be as easily forgotten as last week’s hangover.

The Reverend’s Bottom Line

As stated before, Imaginos is a conceptual song-cycle, something about a big-haired meanie that travels through time to stomp on our hopes and dreams, or some other late ‘60s lysergic-fueled narrative. Much like early Voivod albums, you have no idea what the hell they’re talking about – you just sit back and try to enjoy the ride. By the Reverend’s count, you have five bona fide BÖC gems on Imaginos, three whiffballs, and one plea of “nolo contendre.” That’s close enough for rock & roll in my book, and certainly a better batting average than many of today’s pud-pounding corporate rockers. (American Beat Records, 2008)

Review originally published by the Trademark of Quality (TMQ) blog

Buy the CD from Amazon.com: Blue Öyster Cult’s Imaginos