Description Artist Blue Oyster Cult Blue Öyster Cult Album Blue Oyster Cult Blue Öyster Cult Year 1972 Sleeve Condition VG Vinyl Condition EX Label Columbia Label # C 31063 Country USA Type Release Regular Retail Notes Vinyl record album LPBlue Öyster Cult ‎– Blue Öyster CultLabel:Columbia ‎– C 31063Format:Vinyl, LP Country:USReleased:1972Genre:RockStyle:Psychedelic Rock, Classic RockTracklistA1Transmaniacon MC3:20A2I'm On The Lamb But I Ain't No Sheep3:09A3Then Came The Last Days Of May3:29A4Stairway To The Stars3:42A5Before The Kiss, A Redcap4:57B1Screams3:09B2She's As Beautiful As A Foot2:56B3Cities On Flame With Rock And Roll4:04B4Workshop Of The Telescopes3:50B5Redeemed4:01CreditsDrums,vocals – Albert BouchardEngineer – Bill Robertson, David LucasGuitar, Keyboards – Allen LanierGuitar, Keyboards,vocals – Eric BloomGuitar, Vocals – Donald (Buck Dharma) Roeser*Other – David Lucas (Associate Producer)Producer – Murray Krugman, Sandy PearlmanNotesRecorded At The Warehouse Cover By Gawlik Definitions for: Type ReleaseRegular Retail - These are the ones bought in the store. They are shrink wrapped if new.Cut-Out – Has either a small slit, punch hole, or corner cut indicating that the record was either placed out of print by the record company, or is a promo copy.Promo - Has any number of labels stating that it is for Promotion Use Only. These were submitted by the record company to radio stations or record stores and their employees as a way of promoting airplay and in-store positioning. The record cover may have ink stamps, often Gold colored saying "Not For Sale, for Promotional use only" The labels on the record often have typed statements and often have a plain white background (White Label Promo). There also may be stickers and/or cutout holes. Usually Promo albums are worth more than the regular releases.Radio Station Copy - These are usually Regular Retail or Promo albums that a radio station has marked up with often large written marker call letters such as WLIR-FM or may have large white stickers where DJ's make notes of when songs were played.Import - A record released in another country and brought in to the US for sale. These records often have thin flimsy covers.Please note that I cannot possibly play test every LP all the way through. I will visually grade the cover and record as best that I can, and will play test a few spots on each side of the vinyl. If you discover that there are any problems, please let me know. Please note that I cannot possibly play test every LP all the way through. I will visually grade the cover and record as best that I can, and will play test a few spots on each side of the vinyl. If you discover that there are any problems, please let me know. J J DISC (VINYL) GRADES SS Sealed at factory and never opened. Disc is assumed to be undamaged and mint, but this cannot be proven until the album is actually opened and the disc examined. (STILL SEALED) M Perfection, no flaws, defects, marks or otherwise indications of being handled or played. Any scuffs, hairline scratches or other marks disqualify discs from this category. (MINT) NM or M- The vinyl is virtually flawless, bright and shiny. A very minor, barely visible scuff or two may be permitted, but no scratches. The disc plays with no audible noise. The label is bright, clean and unmarked. (NEAR MINT or MINT MINUS) EX or VG++ Disc plays near perfectly, but has minor paper scuffs that do not interfere with the sound quality. There is possibly a hairline scratch or two but nothing that is obvious or affects play. Vinyl is bright and shiny; label is clean and unmarked. (EXCELLENT or VERY GOOD ++) VG+ Some visible surface wear, very minor scratches and scuffs, but minimal impact on the sound quality. Vinyl still have good luster; labels are clean. (VERY GOOD PLUS) VG Vinyl has noticeable scratches or scuffs that cause minor surface noise, but do not overpower the music. There are no skips. Vinyl appears somewhat dull and grayish. Labels may have small tears, tape marks, writing, etc. (VERY GOOD) G Well-played, dull, grayish vinyl with deeper scratches and wear causing distracting surface noise (hisses, pops, cracks and other nasties). The record will still play through without any skips. Labels may be significantly defaced or damaged. (GOOD) F and P Unless the record is particularly rare, I would not try to sell a record in this condition. There will be major noise, surface damage, deep scratches, and skips. Attempting to listen to these discs will be painful. These discs are basically trash unless a collector desires one to fill a space in a collection until a better one comes along. (FAIR) (POOR) ALBUM COVER GRADES SS Album is still in the factory-applied shrink-wrapping. (STILL SEALED) M Absolutely perfect; no corner dings, marks, tears, dents, impressions from the disc, or other flaws. Cover should appear as if a record has never been inside. (MINT) NM or M- Very minor signs of wear or cover impressions. Artwork is as close to perfection as possible. (NEAR MINT or MINT MINUS) EX or VG++ Minor disc impression and slight corner creases, no wrinkles, puckers, seam splits or writing on the cover. Artwork is clean and unworn and there is no ink wear. (EXCELLENT or VERY GOOD ++) VG+ Cover is clean but has minor writing or marks and shows slight wear. There may be just the start of ring wear. There is slight discoloration due to aging or staining, minor seam wear, but no splits or tears. Corners have small creases or fraying. (VERY GOOD PLUS) VG Cover is worn and used. Seams may be starting to split or may be repaired with clear tape. There is moderate ring wear, but the artwork is still attractive. There is some yellowing or discoloration and there is larger writing, labels, or marks. Corners have damage (dents, fraying, and/or creases). (VERY GOOD) G Several (but not all of the following flaws will apply: Seam splits, large marker writing, major seam splits, significant ring wear, damaged corners, tears, cuts, gouges, masking or duct tape seam repairs, or other flaws and damage. Again, probably only useful to fill a collection niche until something better can be found. (GOOD) F and P Trash, useable only to keep the record off the floor. (FAIR) (POOR) Two years before Kiss roared out of Long Island with its self-titled debut, Blue Öyster Cult, the latest incarnation of a band assembled by guitarist Donald "Buck Dharma" Roeser and drummer Albert Bouchard in 1967, issued its dark, eponymously-titled heavy rock monolith. Managed and produced by the astronomically minded and conspiratorially haunted Sandy Pearlman, BÖC rode the hot, hellbound rails of blistering hard rock as pioneered by Steppenwolf, fierce mutated biker blues, and a kind of dark psychedelia that could have only come out New York. The band's debut relied heavily on the lyrics of Pearlman and rock critic Richard Meltzer, as well as Pearlman's pioneering production that layered guitars in staggered sheets of sound over a muddy mix that kept Eric Bloom's delivery in the middle of the mix and made it tough to decipher. This was on purpose -- to draw the listener into the songs cryptically and ambiguously. From the opener, "Transmaniacon MC," the listener knew something very different was afoot. This is dark, amphetamine-fueled occult music that relied on not one, but three guitars -- Bloom and keyboardist Allen Lanier added their own parts to Roeser's incessant riffing: a barely audible upright piano keeping the changes rooted in early rock and the blues, and a rhythm attack by Bouchard and his brother Joe on bass that was barely contained inside the tune's time signature. From the next track on "I'm on the Lamb But I Ain't No Sheep," elliptical lyrics talked about "the red and the black," while darkening themselves with stunning riffs and crescendos that were as theatrical as they were musical, and insured the Cult notice among the other acts bursting out of the seams of post-'60's rock. Other standouts include the cosmic "Stairway to the Stars," the boogie rave-up "Before the Kiss, a Redcap," that sounded like a mutantSavoy Brown meeting Canned Heat at Altamont. But it is on "Cities on Flame With Rock & Roll," that the Cult's sinister plan for world domination is best displayed. From its knotty, overdriven riff to its rhythm guitar vamp, Vox organ shimmer, its crash cymbal ride and plodding bass and drum slog through the changes -- not to mention its title -- it is the ultimate in early metal anthems. Add to this the swirling quizzicality of "Workshop of the Telescopes" that lent the band some of its image cred. [The 2001 remastered edition by Legacy gives punters four bonus tracks in the form of demos recorded by the band's first incarnation as Soft White Underbelly. These are not merely throwaways: it is readily apparent that by 1969, BÖC was well on their way to creating something new and menacingly different. The only questionable item is the last track: a cover version of Bobby Freeman's "Betty Lou's Got a New Pair of Shoes," that is utterly devoid of interest.]YearAlbumChartPeak1972Blue Oyster CultThe Billboard 200172Artist Biography by William RuhlmannBlue Öyster Cult was the thinking man's heavy metal group. Put together on a college campus by a couple of rock critics, it maintained a close relationship with a series of literary figures (often in the fields of science fiction and horror), including Eric Von Lustbader, Patti Smith, Michael Moorcock, and Stephen King, while turning out some of the more listenable metal music of the early and mid-'70s. The band that became Blue Öyster Cult was organized in 1967 at Stony Brook College on Long Island by students (and later rock critics) Sandy Pearlman and Richard Meltzer as Soft White Underbelly and consisted of Andy Winters (bass), Donald "Buck Dharma" Roeser (guitar), John Wiesenthal -- quickly replaced by Allen Lanier -- (keyboards), and Albert Bouchard (drums), with Pearlman managing and Pearlmanand Meltzer writing songs. Initially without a lead singer, they added Les Bronstein on vocals. This quintet signed to Elektra Records and recorded an album that was never released. They then dropped Bronstein and replaced him with their road manager, Eric Bloom, as the band's name was changed to Oaxaca. A second Elektra album also went unreleased, though a single was issued under the name the Stalk-Forrest Group.Cut loose by Elektra, they changed their name again, to Blue Öyster Cult, and signed to Columbia Records in late 1971, by which time Winters had been replaced by Albert Bouchard's brother Joe. Blue Öyster Cult, their debut album, was released in January 1972 and made the lower reaches of the charts. Columbia sent a promotional EP, Live Bootleg, to radio stations in October, and followed with BÖC's second album, Tyranny & Mutation, in February 1973. Their third album, Secret Treaties, was released in April 1974 and became their first to break into the Top 100 bestsellers. (It eventually went gold.) BÖC released a live double album, On Your Feet or on Your Knees, in February 1975.In May 1976 came their fourth studio album, Agents of Fortune, including the Top 40 (Top Ten on some charts) hit single "(Don't Fear) The Reaper" (featured in the classic John Carpenter horror film Halloween), which became their first gold and then platinum album. (On Your Feet went gold shortly after.) BÖC's sixth overall album, Spectres, was released in October 1977 and went gold in January 1978. In September 1978 came a second live album, Some Enchanted Evening, which eventually would become BÖC's second million-seller, followed by the studio album Mirrors in June 1979. A year later, BÖCreleased its ninth album, Cultosaurus Erectus, with the gold Fire of Unknown Origin, containing the Top 40 hit "Burnin' for You," following in June 1981.In the summer of 1981, drummer Albert Bouchard was replaced by the band's tour manager and lighting designer, Rick Downey. BÖC's third live album, Extraterrestrial Live, was released in April 1982, followed by the studio album The Revolution by Night in October 1983. Downey left in 1984 and was replaced in 1985 by Jimmy Wilcox. The same year, Lanier left and was replaced by Tommy Zvonchek. BÖC released its 13th album, Club Ninja, in January 1986. Bassist Joe Bouchard left in 1986 and was replaced by Jon Rogers. In 1987, Lanier returned to the group, and Ron Riddle replacedWilcox on drums. BÖC's 14th album, the concept recording Imaginos, became their final new album on Columbia Records in July 1988. BÖC scored the movie Bad Channels in 1992, by which time Chuck Burgi had replacedRon Riddle on drums. In 1994, Blue Öyster Cult released Cult Classic, an album of re-recorded favorites, in connection with the use of their music in the TV miniseries of horror novelist Stephen King's The Stand. Numerous lineup changes ensued throughout the '90s (as the band kept on touring the world), and in 1995, were the subject of a double disc anthology, Workshop of the Telescopes.By the late '90s, BÖC had signed with the CMC label, resulting in their first album of all-new studio material in ten years, 1998's Heaven Forbid, and three years later The Curse of the Hidden Mirror. The group's music reached a whole new generation of hard rock fans when Metallica covered the BÖC classic "Astronomy" for their best-selling Garage Inc. album in 1998, as a few other best-of collections surfaced around the same time -- Super Hits and Don't Fear the Reaper: The Best Of. In 2001, Columbia/Legacy reissued BÖC's first four releases with a newly remastered sound and added bonus tracks. Posted with eBay Mobile