I think anyone who is a serious fan of animation has heard the infamous name of Heavy Metal being tossed around. It’s perhaps the ultimate animated anthology of the 80s, an unbridled thrill ride of sex, violence, and, of course, “heavy metal” music. It’s somewhat of a cult classic, rejected by critics at the time of its release but championed later by droves of fans around the world. At first, I wasn’t sure what to think, neither ecstatic about the names on the back of the box or clear on what I would be getting myself into. But exactly 90 minutes later, my fears were assuaged, my expectations were exceeded, and my mood was jacked to the MAX!

The film consists of 15 animated vignettes, inspired by stories in Heavy Metal magazine, THE publication for dark barbarian fantasy/sci-fi fans and misogynists. The plot is simply this; while driving a Cadillac in space, some dude in a space suit cruises around the galaxy, looking for spectacular artifacts. One day, he returns home with something to show his daughter. It’s a cool, glowing green orb, something he’s been searching for awhile. Unfortunately, only moments after he opens it, he is turned into goo by a glowing green energy right in front of his daughter! Yikes! The orb, calling itself Loc-Nar, declares itself to be the sum of all evils, and quickly attacks the young girl with the most dangerous weapon of all; seemingly unrelated stories! He tells her about all the evil that it has caused throughout eons of time and space. Stories range from a futuristic noir involving a taxi driver and a mysterious murder near a museum to an odd parable about a US scientist and a stenographer being picked up by and android and getting totally high with him. All the stories involve the Loc-Nar and its destructive capabilities. Will our young heroine be toast in the midst of this sum of all evils? Or will she find a way to turn it around at the end?

Heavy Metal is something of an acquired taste. Most people will look at this and find it to be filled with the most antiquated animation, the silliest plots, and the most epochal tunes this side of the galaxy. But I still think it’s pretty neat. Like finding a time capsule buried in a pile of leather pants and Aqua Net, it’s interesting to see what people used to think was cool back only twenty-eight years ago. For a lot of people, this was their favorite animated feature EVER; in East Texas, where I grew up, I knew a lot of older kids who SWORE by Heavy Metal, as if it were some redneck birthright. That’s not saying a whole lot, but in their particular generation, that meant a lot to them and their perception of what was “rad” and “dope”, and somehow that intrigues me.

The animation is the main draw for me. The 80s was really the Renaissance of American animation after the Dark Ages of the late 60s and 70s. Colors are vibrant, the styles are dramatic, the concepts are out of this world, and the sheer imagination is nothing to scoff at. It all seems encapsulated in that first little vignette where the spaceman rides around space in a Cadillac; this is animation with attitude, for teens and adults who don’t watch reruns of Rainbow Brite. No wimp rides around in space with the top DOWN! These are virile, cool vignettes about the possibilities of the human imagination and where it can take us in the future. Perhaps it’s a little naive, but that headstrong attitude is what makes me love Heavy Metal. That, and the nudity.

There are two types of cameos here; famous voice actors and bands on the soundtrack, as a lot of these short films involve musical interludes. John Candy is the most recognizable name in America. As this was a Canadian production, they found the most prolific Canadian comics to contribute. That’s why the likes of Eugene Levy and the famous voice actor Harvey Atkin grace these characters and give them speech. They all do well, but Candy shines with that trademark large guy sound that just can’t be replicated by thin people. The bands, for the most part, lack the heavy metal edge a movie like Heavy Metal should garner. Why the fuck is Stevie “Gypsy Woman” Nicks on this soundtrack? For that matter, why Sammy Hagar? Blue Oyster Cult, in this particular instance makes sense, as they took cuts from their earlier, cooler space rock period instead of the later material, which would define the rest of their career with one word; soft. “Veteran of the Psychic Wars” is a stellar track, and I’m glad the producers had the foresight to include it. And, I won’t lie; I know Journey sure as hell isn’t heavy metal, but I really like “Separate Ways”, and I’m glad it’s on here. So sue me.

Give Heavy Metal a chance. It might not seem like your cup of tea at first, but you might just get sucked in as easily as I did. It’s a blast from the past, but in that fun, retro way, not like xenophobia or antique medical equipment. The stories are short and sweet, the music ranges from okay to awesome, the voice acting is really quite good, and most of all, the animation is eye-catching. You won’t see many of these techniques any more outside of an animation festival or school projects, so eat it up while you can. Heavy Metal was something I quite enjoyed, and if you just give it some time, I think it will grow on you like a dangerous green radiation. I give it 7 1/2 Veterans of the Psychic Wars  out of 10! ROCK IT!

I’ll be sure to come up with something delightful for you all tomorrow! Until then!

Blue Öyster Cult’s Don’t fear the reaper has been a favorite for a long time and now it’s back in a new version. Van She have made a cover and the only version available is this radio rip. I’ve had it on mp3 for some weeks but it just came up on YouTube.  It’s really contrasting from the original but the magic is still there.

Secret Treaties

Blue Öyster Cult

1974

CBS Records

 Classic rock band Blue Öyster Cult’s third album, Secret Treaties, is one that I would love to say is an album, lost in obscurity.  However, that’s not entirely true.  Released in 1974, it spent weeks in the US charts, peaking at #53, and, in the early ’90’s, went Gold.  So, no, it’s not really an obscure album.  However, whenever people think B.Ö.C., they normally think: “Don’t Fear the Reaper”, “Godzilla”, “Burnin’ for You” – never “Career of Evil”, “Dominance and Submission”, or even “Flaming Telepaths.” 

With only eight songs, Secret Treaties is a quick album, although for the standards of the early ’70’s, probably not.  Even though none of the songs were huge hits, the album contains three well-known songs: “ME 262″, the aforementioned “Flaming Telepaths”, and “Astronomy”.  And with such a short play time (the album lasts about 38 minutes, and some current bands could use a lesson in such brevity.  Hint: Flaming Lips, maybe?), the band keeps any ramblings to a minimum resulting in a solid, though not amazing, album.

“Career of Evil” starts off the album.  Co-written by keyboardist and guitarist Allen Lanier’s then-girlfriend Patti Smith (the Patti Smith), the lyrics can be a little meandering, and the topic seems a little cliché, but it’s a fun song, and it’s not claiming to be anything else.  The verses are based around a cool guitar riff, with keyboards accentuating it.  The bridge shows a nice arrangement as the band drops out (besides drums) and Eric Bloom cries out “I will not, apologi-hize!”  The chorus, which is nothing more than “I’m making a career of evil” repeated, will get stuck in your head, making you question yourself throughout the day (and maybe others to question you, if you’re prone to singing out loud).  One problem, as on most of the album, is that the lead guitar is mixed too softly in the background.  However, I have the original and not the remastered version, so for all I know, this problem could’ve been solved already.  Oh, and one of the coolest lyrics by B.Ö.C. ever: “I’d like to do it to your daughter on a dirt road.”

Next is “Subhuman” a mid-tempo rocker.  The guitars and vocals follow simple lines, but the main focus is the pounding, steady bass line by Joe Bouchard.  The song doesn’t really have any distinguishable chorus, and the extended guitar solo is alright, but it’s, again, buried in the mix.  While the song isn’t really boring, it just won’t hold the audience’s interest for numerous listens.

This is not so for the next song, the unhonored “Dominance and Submission.”  This song is one of the coolest songs by the band, and one of the most unknown as well.  The guitar may just be six or so power chords during the entire song (I learned it on guitar a while ago, but don’t remember the exact number), but it’s an interesting riff, and the chord changes are valuable to the song’s mood (which is to say half dark, half jocular).  Albert Bouchard sounds like he’s having fun with the vocals, going from screeching “Oh yeah!” at certain parts, to going as deep as possible.  The song doesn’t follow the norm for what’s acceptable by a classic rock band (one reason I like it so much), with deep voices interspersed: “Too much revolution”.  Again, the solo is buried, but it’s still cool, for a pentatonic scale that doesn’t do much.  The entire last half of the song afterwards grows even more strange (and probably is a precursor to the end of “Godzilla”) as the lyrics repeat, and grow more aggressive, “Dominance, Submission, Radios Appear.”  It’s an awesome song, that deserves more recognition that it has gotten.

“ME 262″ is one of the more well-known songs, and for good reason.  It shows Blue Öyster Cult doing what they do best, turning a blues-based rock into their own type of song.  While it’s not as strange as others, the background vocals and the interrupting guitar riff at least create the B.Ö.C. sound that we know so well.  And hell, if those don’t throw you off, the sound effects that come in out of nowhere halfway through will.

“Cagey Cretins” is probably the weakest song on the album.  It’s riff is again a blues-based guitar, but it just doesn’t work this time, being too repetitive.  The background falsetto vocals are horrendous, and the lyrics should never have been written (“Got an awful tummy, Oh no, It’s inflamed” could be up there with the worst I’ve ever heard.  Right next to everything on Kiss’ Dressed to Kill album).  The singing sounds enthused, at least, and almost makes up for the horrible lyrics because you can barely understand them.

The sixth song is “Harvester of Eyes”, and it follows the pattern set by “Me 262.”  Another blues-based romp, the band sounds much tighter than on the last song.  For it’s creepy title, the song refrains ironically from heading down that path, instead being an almost straight-forward rocker devoid of too many intricate complexities and strangeness.  This surprisingly is the song that has the best guitar sound, which shows off an awesomely raw solo.

Next is the best two songs, “Flaming Telepaths” and “Astronomy.”  The first comes in with a segue from the last song with a toy piano.  This accentuates the hard rocking, sharp drum fill that starts off the song.  This is the heaviest song on the album, with a great guitar riff, and great piano.  The lyrics are relatively dark as well (“Poison’s in my blood stream, Poison’s in my pride”).  Also, the next lyrics come in close for coolest lyrics, too: “I’m after rebellion, I’ll settle for lies.”  The chorus is really catchy, with the “The joke’s on you” line coming back throughout the song.  The background vocals are great also, set apart only from the lead guitar lines.  However, this song shows Albert Bouchard going wild on the drums, finally.  After a synth solo, a piano solo, a guitar solo, and one more verse, the end of the song comes in.  The repetition of “And the joke’s on you” is done amazingly, and the cutting out randomly (“And the joke’s on-”) throws the listener off, really making this line performed so perfectly.

As soon as “Flaming Telepaths” ends, “Astronomy” starts, a strange pairing.  Whereas the former was a hard-rocking song, the latter starts slowly, focusing mainly on piano and refined drums.  The vocals during the verse sound alluringly rapturous, before the song jumps.  The listener becomes so accustomed to the soothing piano sounds, that the heavier guitar line that comes in, again throws one off, making you really pay attention to the music.  With the abrupt changes, the song is meticulously constructed (really, the last two songs are), and it is one of the best in Blue Öyster Cult’s entire songbook.  With these two songs last, the band has chosen the perfect ending for an already decent album.

In effect, Blue Öyster Cult have always been a band turning rock and roll into a strange fantasy.  They’ve sung songs about Godzilla, have had the band name “Soft White Underbelly”, and have had the lyrics “Joan Crawford is risen from the grave.”  Secret Treaties brings them even further into their strangeness, while still creating a really good classic rock (well at the time it wasn’t classic now was it?  Should I keep calling it that?  Does it really matter now that the review is over?) album.  It’s a solid piece of their history, that, succinctly, is a great listen.

Buy This Album

Official Site

Last.fm Page

I, for one, tend to prefer older music to the music of today. There will be a much longer post about this coming soon. However here are a few of my favourite older artists and songs.

Joni Mitchell: Both Sides Now

Jefferson Airplane: White Rabbit

Blue Oyster Cult: Don’t fear the Reaper

Kansas: Carry on my Wayward Son

Ted Nugent: Stranglehold

Triumph: Fight The Good Fight

My stomach is growling just thinking about this show at Ribfest featuring Joan Jett and the Blackhearts. Yes, lots of award-winning ribs to be had (I think my fingers were still sticky the following night), but what drove me to head way down south of Miami, to Homestead were two of the more famous rock acts of the 70s: Joan Jett and Blue Öyster Cult.

Jett looked amazing for a rocker who started her band the Runaways (the first all-girl rock group that played their own instruments) in 1975. The sound for the show was clear and excellent for an outdoor venue, and her songs were faithfully re-produced down to the sound of the guitar in “I Love Rock ‘n’ Roll” (see the last of the Joan Jett clips below). It was hard to get a clear shot of all the songs, but you’ll find some complete songs below. Among those I am sorry to have missed recording but were awesome to experience live were her renditions of “Do You Want to Touch Me There (Oh Yeah)” and “Crimson and Clover,” not to mention her opening classic, “Bad Reputation.”

Here are the clips from Joan Jett’s performance I was able to make:

I was a little further back here, but the last song in this clip is probably her most famous, “I Love Rock ‘n’ Roll”:

Blue Öyster Cult played the warm up act for Jett. With their profane, self-indulgent solos and lyrics like “This city’s aflame with Rock and Roll,” you wonder were Spinal Tap (umlaut over the n, which my computer can’t do– it’s typographically incorrect) got their influence. After two songs on my camera’s memory card, I was out of space to completely record my favorite Cult song, “Don’t Fear the Reaper,” so here’s my second favorite, “I’m Burning For You”:

Several other lesser-known bands played before (mostly local). Upon arrival you could hear a band called Synchronicity playing very faithful versions of Police songs, before Blue Öyster Cult would take the stage. Unfortunately, I did not get to see that group, as that was when we headed to the rib stands. No regrets (“no love, no tears…”).

Toasty!

Howdy. I though to honour the time of the year I’d post a list of Guy Fawkes related songs (to some the link may be slightly tenuous). These are a few of the songs on my playlist at the moment.

Blue Öyster Cult- Cities On Flame With Rock and Roll

Bat For Lashes- I’m On Fire

Bob Dylan- This Wheel’s On Fire

Cajun Dance Party- The Firework

Hardknox- Fire Like This

Johnny Cash- Ring Of Fire

The Who- Sparks

The list goes on but things will start to get a bit exhaustive. Enjoy and be safe!

The set for the moe.show in Albany on Halloween can be found here:

http://www.jambase.com/Articles/Story.aspx?StoryID=20293

Here’s the guitar solo to Godzilla, played by Buck Dharma of Blue Öyster Cult…

The Giant Panther Report:

Click here to go to TGP to check Blue Oyster Cult “Joan Crawford”, The Cult “Lil’ Devil”, Rush “Wich Hunt”, Black Sabbath “The Wizard”, the Rolling Stones “Dancing With Mr. D. “…plus more tunes from other genres.

5. Since You’re Gone. The Cars

4. Dead man walking. Lynard Skynard

3. It’s a Dead Man’s Party. Oingo Boingo

2. Don’t Fear the Reaper. Blue Oyster Cult

1. Down In The Ground Where The Dead Men Go. The Pogues

“I’ve got a fever, and the only prescription is more cowbell!”

Probably one of the greatest SNL skits of all time… if you’re unfamiliar with the phrase “more cowbell”, enlighten yourself here, you Philistine. The skit immortalized the song featured within — (Don’t Fear) The Reaper by Blue Öyster Cult — and since then it’s become somewhat of a cult classic for its comedic value and for being so inexplicably catchy. As a result, the song has been covered by scores of artists in a number of different styles, including Van She, s.e.k.s., and Elliott Smith. Even Belle and Sebastian has covered the song, but sadly I couldn’t find an .mp3 online, merely torrents that would take too long to download. Anyhow, enjoy the great diversity of interpretations of this classic hit! (Could still use more cowbell…)

(Don’t Fear) The Reaper – Radio Rip by Van She (download)

(Don’t Fear) The Reaper by s.e.k.s. (download – right click > save as…)

(Don’t Fear) The Reaper by Elliott Smith (download – right click > save as…)

Don’t be afraid…there’s a cowbell here to keep evil spirits at bay! Oh, and thick mustaches.

“[...]

- Havia espaço ali?

- Sim. E um pouco de luz. Luz artificial, muitas e muitas árvores — era um bosque, ao menos era o começo de um, e eu sentado naquele banco, olhando para o chão, pensando coisas que só mesmo eu posso pensar, sabe? E eu cantava ‘Joan Crawford’, ‘Astronomy’ e alguns outros sucessos do Culto da Ostra Azul. Tive a impressão de ver o símbolo da banda lá, no chão. Uma garota sentou-se ao meu lado. Mas eu nem sei de onde ela saiu…”

Referência bibliográfica

Sérgio Cícero Gelassen, Posso ir agora?

Licorice Pizza Report:

Click here to go to LP to check Blue Oyster Cult’s “Death Valley Nights”

Earlier today we talked a bit about scary movies for the upcoming Halloween holiday, so it stands to reason that the next order of business will be music. To be more specific, songs to have on your Halloween soundtrack.

Some 6-7 years ago I was given the task of compiling a CD (this was before Ipods, of course) for a Halloween party given by my good friend Andy and I think I did a fairly good job. Drawing from what songs I can remember from that experience and from what I currently have on my Ipod, I’ve compiled a list of ten songs that I know would have to be included.

10. Creedence Clearwater Revival – I Put a Spell on You
Given Creedence’s penchant for bayou music, this tune always evokes an image of some crazy witch doctor down in the Louisiana swamps.

9. Robert Johnson – Me and the Devil Blues
Johnson holds the distinction of being the only person to have (allegedly) sold his soul to the devil for his incredible abilities on a guitar, so he has definitely earned his spot on a Halloween list.

8. Outkast – Dracula’s Wedding
How many songs can you think of about Dracula? Yeah I can’t think of any either, so this one has to be included.

7. Phish – Wolfman’s Brother
Sure, this song isn’t ominous and scary like some of the others on the list, but the fact that it talks about the wolfman earns it a spot.

6. Frank Sinatra – Witchcraft
“Witchcraft. That crazy witchcraft…” There’s nothing like a nice, lighthearted romp through occultism. Nobody could do it like Frank.

5. Blue Oyster Cult – Don’t Fear the Reaper
Because nothing says Halloween like more cowbell.

4. Motley Crue – Shout at the Devil
The Crue’s early-80’s ode to the Prince of Darkness is so over-the-top that one can’t help but chuckle a bit at it today, but that doesn’t make it any less cool.

3. Rob Zombie – Living Dead Girl
You know what we need? More songs about zombies!

2. Ozzy Osbourne – Mr. Crowley
Ozzy’s ode to famous occultist Aleister Crowley is notable for both it’s devilish tone and for the late Randy Rhoad’s insane guitar solo. It is a metal classic for a reason.

1. Black Sabbath – Black Sabbath
Never have three notes from a guitar sounded more evil, more menacing, than they do when Tony Iommi hits them in this song from Sabbath’s 1970 debut. It’s dirge-like riffs are enhanced by Ozzy’s howls of “Oh God, please help me” and frightening lyrical imagery.

What songs do you think should be included?

Based on Blue Oyster Cult’s “The Pact”

I spent many hot summer days living in a land of dreams and fantasy. Images and music such as this filled my time and my dreams. The world was less complicated, even so- fantasy was my escape. The youtube video is an attempt to recapture just a hint of my youth, to remind me of the long days gone by. Even now, I can almost reach this world of savages and nobles, of knights errant and maidens fair. A world of honor and quest, a world of bloodshed and travail. A world in which one really lived strong and brave.

Live by the sword, live a good long time
Minsc of Baldur’s Gate

“Every man dies, not every man really lives.”
Braveheart

Behold the sword of power, Excalibur
Merlyn

I was somewhat disappointed when I saw these boys live. Not in the show itself, but the length. They were opening for Rush and were allowed to play only about twenty minutes or so. I am a fan of Rush, but I went there to see The Cult.

Here are a couple of my favorites.

I didn’t include the usual suspects, Godzilla and Don’t Fear The Reaper, though they rank among my favorites also. Those two they play on the radio fairly regularly, but almost never anything else.

The Cult can almost be considered a fantasy band I suppose. One album was mostly based on Moorcock’s Elric, with the author getting song writing credits on Black Blade and Veteran of the Psychic Wars.

The special Halloween edition…

Don’t forget that Hard Rock Nights can be heard somewhere almost every night of the week! Check our affiliates page to find out when you can catch it next!

Rob Zombie “Halloween (She Get So Mean)”
Alice Cooper “This House Is Haunted”
Alice Cooper “Keepin’ Halloween Alive”
Iron Maiden “Fear Of The Dark”
Randy Piper’s Animal “Zombie”
Kissin’ Dynamite “Zombie”
Spinal Tap “Back From The Dead”
Heaven & Hell “Eating The Cannibals”
Cream “Strange Brew”
Marilyn Manson “I Put A Spell On You”
Joan Jett “Season Of The Witch”
Skid Row (Gary Moore) “Night Of The Warm Witch”
Dudes Of Wrath “Shocker”
Fastway “Trick Or Treat”
King Diamond “Trick Or Treat”
The Who “Boris The Spider”
Blue Öyster Cult “(Don’t Fear) The Reaper”
Wednesday 13 “Haddonfield”
Mötley Crüe “Helter Skelter”
Motörhead “The Chase Is Better Than The Catch”
Rob Zombie “What?”
Anthrax “Howling Furies”
Baton Rouge “Vampire Kiss”
Blue Öyster Cult “Nosferatu”
Iron Maiden “Transylvania”
Allan Sherman “My Son, The Vampire”
Krokus “Werewolf”
Jørn “Living With Wolves”
John 5 feat. Joe Satriani “The Werewolf Of Westeria”
Dokken “Dream Warriors”
Ozzy Osbourne “Nightmare”
Dagger “Not Afraid Of The Night”
Hawk “Witches Burning”

I was watching TV the other day and my head whipped around when I heard a familiar tune coming from a commercial…

Is that?

No, can’t be.

Oh, god…it is.

Burnin’ for you by Blue Oyster Cult was playing in a Lincoln car commercial.  But what was this?  What’s with the electro drums?  What’s with the techno synths?  Why do I feel like I should be trippin’ on ecstacy?

It was, of course, a cover by a band called Shiny Toy Guns.  While I’m happy any time BOC gets a little recognition and love I have to admit I’m disappointed here.  Yeech…Listening to this song makes me feel dirty.  This version manages to take both the ‘rock’ and the ‘roll’ out of the song (not an easy thing to do) and makes me think it would be best played in a Macy’s or a corporate HQ in a pathetic attempt by some marketing people to show how ‘hip’ and ‘with it’ they are.

I won’t link to the lame version here…instead enjoy the real song.  But, let’s be honest.  As much as I love these guys, this may be the worst music video ever made.

Clearly made by a friend of the band who had a video recorder, a girl someone was trying to get into bed (‘Hey, I’m a big time producer.  You want to be in a music video’) and a car someone desperately wanted to get rid of (payments or insurance too much?) and I’m sure was reported vandalized after the shoot.

And what the hell were they thinking with those hair and wardrobe choices?

Everything I had left that didn’t quite fit else where. And yes I want to do them now.

AC/DC

Highway to Hell

Back in Black

Blue Oyster Cult

Bat out of Hell

Cry Little Sister (the Lost Boys)

The Doors – People are Strange