Reissue CDs Weekly: Blue Öyster Cult, Celluloid Records, Jimi Hendrix, Fela Kuti | New music reviews, news & interviews
Reissue CDs Weekly: Blue Öyster Cult, Celluloid Records, Jimi Hendrix, Fela Kuti
America's most perverse band, genre-defying label anthologised, unilluminating archive trawl and handy complilation of Afrobeat pioneer
Blue Öyster Cult: The Columbia Albums Collection
Blue Öyster Cult were about more than the music. They seemingly arrived fully formed with a ready-made mythos and mystery. Their first two albums had no pictures of the band and weird, Escher-esque art. Their symbol, an inverted hybrid question mark and cross, suggested they were in thrall to a shadowy cult. Song titles like “Cities on Flame With Rock ‘n’ Roll”, “7 Screaming Diz-Busters” and “Career of Evil” fostered the impression they were zeal-filled revolutionaries. Their third album, issued in 1974, included a track called “ME 262” and depicted them by said plane, flirtations with Nazi-era Germany common to far too many rock ‘n’ roll pinheads.
Mistakes will be made, but in the case of BÖC their singer was called Eric Bloom - hardly a handle fit for a potential goose-stepper. The non-music side of the band was created by music writers Richard Meltzer and Sandy Pearlman, who took the pliant Long Island outfit and transformed it into their vision of what rock could and should be. After a few false starts and a couple of name changes, the band signed with Columbia Records, who issued their first album in 1972. And voila, an almost-instant cult band
The music often wasn’t equal to the rest of the BÖC package. Meltzer and Pearlman’s lyrics were a pretty bonkers mix of portentiousness, threat and science fiction, but filling albums with what sounded like album cuts by early Alice Cooper, MC5 offcuts with a dash of Steppenwolf weren’t going to incinerate cities. Nonetheless, the band evolved and in Bloom, Donald Roeser and Albert Bouchard had great writers. Patti Smith mucking in did no harm. The flawless and atypical “Don’t Fear the Reaper” was their peak, and remains one of rock’s most perfect songs (and the subject of a deeply unfunny Saturday Night Live skit seen at the end of this). They got bigger and bigger, rockier and rockier, moved away from Meltzer, Pearlman and New York's studios, embraced metal, became less and less interesting, and more and more cartoonish. Hearing the early material again is a reminder of how much Australia's Radio Birdman improved on one of their prime role models.
This superbly packaged box includes their 15 Columbia albums with bonus tracks, a pair of double CDs of live tracks and studio rarities, a live DVD and the chance to download a quartet of live shows. The booklet includes a short essay by Patti Smith guitarist and writer Lenny Kaye. Buyers should be aware that five of the albums included are as per the 2001 and 2007 reissues. Their early Elektra-era material is not included, so this fine tribute to one of America’s most perverse bands is almost the last word on Blue Öyster Cult.
Various Artists: Change the Beat – The Celluloid Records Story 1979-1987
Although born in Paris, Celluloid Records was based in New York from 1980. This double CD celebrates an innovative, vital label. It also tells a story of New York that’s a fascinating counterpoint to that of the Blue Öyster Cult’s. In short order, after arriving in the city in September 1980 Celluloid’s Jean Karakos hooked up with Bill Laswell and began issuing some of the most important, trail-blazing records of the era. He caught the blur between punk/new wave, jazz, rap and what would become hip-hop with a flair marking him as having only one peer: the equally inquisitive Malcolm McLaren. Unlike McLaren though, Karakos had many acts to play with. Here, The Clash back Futura 2000 on “The Escapades of Futura 2000.” John Lydon is heard on Timezone’s “World Destruction.” Manu Dibango, Herbie Hancock and Ginger Baker meet the beat too. Mavericks Shockabilly and Snakefinger fit right in with this company. So do African exports Bobongo Stars and Toure Kunda. Indispensable.
Share this article
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 7,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
more New music
Compelling arrangements breath new life into classic material
A jazz festival finale of rare brilliance
An exciting new chapter in award-winning artist's development
Mind Fair take us for a wild, psychedelic ride on their debut album
Hypnotic acoustic Malian grooves for the closing day of the EFG London Jazz Festival
All-star Blue Note sextet brings the audience to its feet
Boyle's in fine vocal form, but sticks too closely to the path well trodden
How Eno’s co-opting of Jon Hassell’s avant-garde style changed the course of music
French producer Guetta boasts another star-studded line-up, but can he do mature without the cheese?
The Polish jazz train goes off the rails at the EFG London Jazz Festival
Beautiful collaboration and beastly guitar-playing in a stunning jazz fusion gig
Ten years of riotous big band folk in one night