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on January 11, 2015
It is funny the things which tend to get in the way of allowing us from buying a good disc sometimes. I held off from picking up this disc because I was not all that taken with the cover art...I know don't judge a book by the cover and all that but something held my back and all I can put it down to was the artwork. Once I finally did pick it up though I found out that I had been making a bad mistake because this is one of the more rocking discs put out be BOC. I learned a valuable lesson from that purchase and I hope that in future I will not be so prejudiced by a rather cheesy piece of cover art. After all you do not listen to the cover do you. What changed my mind, reading the Amazon reviews and I am being absolutely honest on this point. I do not remember who I read at this point but someone convinced me that I was making a mistake and for the cost of the CD ( which was not much ) I reconsidered and finally picked it up...I was very surprised and kept it in the car for quite a while....Spigomars
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TOP 500 REVIEWERon November 28, 2011
"Cultosaurus Erectus" stands as a testament to what is perhaps Blue Oyster Cult's most varied work. It comes hot on the heels of the artistic risk that was "Mirrors" and concocts a hybrid cocktail consisting of "Tyranny and Mutation" and "Spectres" while straight-lacing the sound with a solid dose of good old fashioned rock n' roll. The result is an album that bounces all over the place without sounding disjointed or unhinged.

'Black Blade' gets the album rolling, sounding more like an ode to The Who than anything BOC has done before. Traditionally, the first tracks on Blue Oyster Cult albums aren't always the strongest (notable contenders like 'Godzilla' exempted) but 'Black Blade' builds anticipation with some odd time signatures and a thunder-chug that leads straight into the swing-oriented 'Monsters,' a mixture of hard-edged rock and late night lounge jazz that takes the first-time listener by complete surprise, exchanging power and punch for sound-laced trimming. 'Divine Wind' tunes down the music into a thick, dark and evil take on standard four-bar blues with a gritty sing-along chorus you just can't resist. 'Deadline' shows BOC channeling some of their inner 'Reaper' with a beautifully warped take on psychedelia, driven primarily by Joe Bouchard's low-moaning bassline and Donald Roeser picking up lead vocal duties. It is definitely a huge highlight of the album, if not BOC's entire catalog. 'The Marshall Plan' is a celebratory ode to rock n' roll, complete with a live audience mixed into the track to give it a "right there" feel, with the legendary Don Kirshner in tow to plug the band's critical acclaim. 'Hungry Boys' channels elements of pop and slight Stooges-style punk in a rather straightforward manner. 'Fallen Angel' sees the band once again channeling their inner Who to almost uncomfortable degree. Joe Bouchard's remarkable resemblance to Roger Daltry's vocals does nothing to help matters. Thankfully, the song is a high energy number. 'Lips In The Hills' is a showcase for BOC's quirky sense of humor and tackles Pyromania-era Def Leppard to become one of the fastest songs on the album with a catchy (albeit overused) guitar riff. 'Unknown Tongue' is perhaps the oddest track on the album, and seems to speak about the guilt of self-pleasure and the harshness of budding desires and feelings amidst a largely religious upbringing, relying on rather explicit detail regarding the mind of an underage girl. It is however, a major highlight of the album, once again channeling lounge jazz, soft and hard rock with a memorable sing-along chorus.

"Cultosaurus Erectus" tries to do a lot within the space of its running time. Thankfully, the band doesn't come apart at the seams while under the watchful eye of the great Martin Birch, who produced a truly excellent album. Indeed, the band pays homage to Deep Purple in 'The Marshall Plan,' and the irony is not lost on anyone who is fluent in Birch's musical history with the band. It's a great album, and unique within the BOC discography. It does take several repeated listens to truly appreciate, however. First-time listeners (especially those who enter the Cult with this album) will find themselves a bit disoriented less than halfway through. Nevertheless, musical cohesion becomes very clear as the album is soaked in and appreciated for being the excellent stop-gap in between "Mirrors" and the great "Fire Of Unknown Origin." It certainly proves that the Blue Oyster Cult were always trying something different and unique; something foreign to many bands of the time period.
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on November 9, 2003
A 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.
'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!).
In 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.
And 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.
And it does set the stage nicely for 'Fire ...'. A nice pre-amble through and through.
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on October 12, 2003
"Black Blade" is one of my favorite Blue Oyster Cult songs. It marked their most successful foray into the science fiction/hard rock hybrids that made the meat of their first three albums, and is easily as great as the classic "Golden Age Of Leather" from "Spectres." That said, there are plenty of cool songs here for the BOC fan, and I pretty much figure this was their last really good album. "The Marshall Plan" is possibly one of the funniest songs the Cult ever made! Especially for the Guitar Riff 101 segment in the middle, this rates with right there with Blotto's "Heavy Metal Head." It may also be important to note that Blotto toured with Blue Oyster Cult and Dharma played on the perviously mentioned parody.
If the thought that Blue Oyster Cult could possess a funny bone gets under your skin, then you should probably avoid this disc and go for "Spectres" or "Agents." But for "Cultosaurus Erectus," the BOC stretched their chops in a really fine way. Get this for "Black Blade," "Unknown Tongue" and the stunning "Divine Wind" ("if he really thinks we're the devil, then let's send him to hell..."). They were still capable of giving us hard rock (courtesy of super producer of the time Martin Birch) with brains.
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on April 3, 2004
The final line in the opener Black Blade lets you know that you are not in Kansas anymore. After pop experimentations Agents of Fortune to Mirrors BOC got back to their darker side with this one. The production is better, coutesy of Martin Birch(Iron Maden, Black Sabbath) but that's also where one of the albums problems lie. Sandy Pearlman, the groups original producer and songwriter is absent here. Thankfully it is not a crushing blow as some songs: the dark deomon from hell(Black Blade), the failed space expodition(Monsters), the quirky drug-enduced frenzy(Hungry Boys), and the mass paranoia(Lips in the Hills) all work great. However, most of the others are clunkers(Divine Wind is pretty good, too although goes on for far too long, Fallen Angel starts off good but goes nowhere). On this one though the pluses outweigh the minuses and makes for a very sadisfying album. They would perfect this type of music on the superior Fire of Unknow Origin, but this one is almost as good.
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on April 28, 2009
I am a big BOC fan and have most of their releases. This CD was okay but certainly not their best effort.
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