A collection of previously unreleased material from BOC from the late ’70s, early ’80s from the drawer of their former sound engineer, George Geranios, is certainly a gold mine for a devoted fan of the band.

Listening to these songs in their roughly original form, albeit processed by Richie Castellano and Steve Schenck, which never saw the light of day, gives you a different perspective on the group, its capabilities, and offers food for thought and theories, stories, and of course the guilty pleasure of hearing something that until recently, few had the chance to access. Some of these songs haunted the dreams of the band’s most dedicated fans, who desperately were looking for them.

However, none of these songs were included in any album or single, or even in anything official, because they were obviously not considered good enough to be released. So, either other songs took their place, or they were completely abandoned, except for “If I Fell” by the Beatles, which was recorded live for a TV show in 2016, and the covers of “We Got To Get Out…” and “Kick out the Jams”. Whether this decision was made by the band, or by their respective record label was an official decision. It is very important to consider that the period from which all this material originates is when the group had released, in sequence, the albums “Spectres”, “Mirrors”, “Cultösaurus Erectus”, “Fire Of Unknown Origin”, and “Revölution By Night”, which are considered classics, while the penultimate one is among their best. This has a dual reading: one might consider that they will have the aura of the excellent material of these four albums, or that not wanting to spoil their perfection, Blue Öyster Cult burried them in the drawer.

Personally, I liked some of the songs on the album, such as “Late Night Street Fight”, “So Supernatural” with Joe Bouchard on vocals, and “Don’t Come Running To Me”.

Unlike any studio work that starts from scratch, when someone begins the process of writing a new album, even if they have a couple of songs ready, in this case we have something like Frankenstein, which should not be counted in the band’s discography as a studio album; it is a compilation of scattered demos that were processed to become more complete songs, as well as some unreleased recrodings. In the past, Blue Öyster Cult had something similar with “Heaven Forbid” in 1998, with the difference that it had homogeneity and sounded like a cohesive album, even if it wasn’t exactly that.

Regarding this being the latest studio album by Blue Öyster Cult, I object; so far, that has been “Symbol Remains”. It is not aimed at the average listener. It is a gem for the collection of a devoted fan and an unexpected gift, for more such things, subscribe now to Geranios’ channel. But for the average listener, it is mediocre and can be avoided.