Customer Reviews

Heaven Forbid

5 star:		(42)
4 star:		(24)
3 star:		(11)
2 star:		(2)
1 star:		(2)

 

 

Who says you can't go home again? With "Heaven Forbid," Blue Oyster Cult has finally produced the record that their early material hinted they were capable of. Their first album in more then a decade, "Heaven Forbid" eschews BOC's 1980s trappings of meandering lightweight metal-pop (Burnin' For You, Veteran of the Psychic Wars, Joan Crawford, et. al.) and the obtuse sword and sorcery lyrics.

You can't catch lightning in a bottle twice, so the magic of the first three BOC studio albums can never be duplicated. Afterall, that was the early '70s and the band was living commune-style in a house on Long Island writing as a group. The music was new, innovative and cutting edge. Their biker/ghost/Satanic/mad scientist lyrics were tongue-in-cheek, yet somehow unnerving at the same time. But that was then ... this is now:

On the latest album, past lyricists Sandy Perlman and Richard Metzler are long gone, replaced by novelist John Shirley. Shirley's writing is more on the nose and has less subtext then the enigmatic lyrics of the past. Yet, Shirley knows how create emotion and his dark themes can, at times, make you uncomfortable ... which, I'm sure, is exactly what the band wants. In "See You In Black," a tortured, hard-riffing song that reminds one of Metallica should they ever develop a sense of melody, Eric Bloom growls Shirley's lyrics that tell the story of a man who wishes to see his female friend's husband die because the husband beats her. It's an interesting theme for a song and a clever point of view from which to approach it. The music, penned by Bloom and Buck Dharma is about as heavy as BOC gets -- or any band for that matter: bass-heavy fuzz tone riffs, played manically in a staccato fashion.

The same musical approach is used in "Power Underneath Despair" and "Hammerback," -- heavy riffs, played fast and repeatedly. And they're quite catchy too. (Dharma is surely one of rock's all time great guitarists.) Here, however, Shirley's less than subtle lyrics do derail the songs. "Power" is about a man released from prison seeking revenage on those who ratted him out. Again, an original theme for a rock tune, but in Shirley's clumsy hands it comes across somewhat puerile, sounding like the words were written by a high school sophomore.

However, these are minor indiscretions. Dharma's "Harvest Moon," as mention by other reviewers here, stands brightly as one of the best BOC songs ever. Period. Listen to it three or four times and with each listen watch your goosebump quotant rise as you realize what is going on in the song.

"Harvest Moon" (apologies to Neil Young, I'm sure...), is also one of Dharma's finest vocal performances. He comes across as a firm and confident narrator, showing nuances and inflections in his singing voice that could have rescued such audio pablum as "Burnin' For You." The song tells the story of a small town farm with a mysterious past that now must endure another winter of "evil." In the spring, when the snow melts, the bodies are found. It's a chilling song that is surprisingly catchy and singable as well. I can't get the damn thing out of my head.

Another surprise is the tune, "Real World." One early reviewer compared it to Lynard Skynard and I had to laugh. I suppose it is the surprising and clever use of the acoustic guitar that threw that reviewer off. "Real World" opens with some funky, bluesy guitar picking by Dharma (who knew?). That intro probably sounds closer to something you might hear Little Feat do. This song actually boogies in a lazy southern way. It also reminds one of some of the current rock sounds coming from the likes of Sister Hazel, Counting Crows or Matchbox 20 with Dharma giving his most uncharacteristic vocal perfomrance ever! (Go back and listen to the boogie break in "Before the Kiss" to understand what I mean.)

"Cold Grey Light of Dawn" is another standout. I can understand why some jaded fans may disparage this song. It's power chording at it's cliched best and doesn't feature the typical linear type guitar riffing BOC made famous (Mistress of the Salmon Salt, Godzilla, Harvester of Eyes, etc.) This sounds like it could have been composed by any of those '80s MTV hair bands with its melodramatic chord progression and arrangement, but in the hands of BOC and with Bloom's tortured vocals adding depth and nuance, "Cold Grey Light of Dawn" pratically cloaks itself as a confessional for an aging metal rocker who must confront his fading glory.

There are several more outstanding tracks here ("Damaged," and "Still Burnin'" to name a few). The jury is still out on "The Man with X-Ray Eyes." While "Harvest Moon" might just well be Dharma's best vocal performances, "X-Ray Eyes" may be the complete anthesis: his worst. Here he sounds dreadfully nasal and whiny. The music itself comes closest to reverting back to their power pop days of "Mirrors" and "Fire of An Unknown Origin." In fact, "In Thee," a glaring example of that sound from those regretful days, is revisited here in a live acoustic peformance. Fortunately, in this format, "In Thee" -- actually a road song about missing the girl back home -- seems to have entered a completely new milieu. It comes across more plaintive and intimate here and you find yourself nodding, "Yes, Buck, airplanes do make strangers of us all!"

If you're an oldtime BOC fan and long for the days of "Cagey Cretins" and "Seven Screaming Diz Busters," give "Heaven Forbid" a whirl. As I said, you can't catch ligtening in a bottle twice, but there is enough energy and light on this CD to make you remember why you loved this band so much in the first place.

With "Heaven Forbid," Blue Oyster Cult has once again become the light that never warms. Buy it, roll a fatty, put the CD in the player and enjoy!

Despite being a massive BOC fan and a gap of ten years since their last album, the brilliant Imaginos, I purchased this new album with a little trepidation. Gone are the Bouchard brothers but the core of Bloom, Lanier and Roeser remain and session musicians fill the drum and bass positions. The first track, See You In Black, is a classic BOC thumping anthem in the style of Cities On Fire With Rock And Roll and makes for an impressive start. Second is the albums best track, IMO, a smashing track written by Roeser called Harvest Moon, which combines a variety of BOC styles to wonderful effect. Power Underneath Despair is an average track but typically BOC with it's choral style "cult" chorus. The fourth track X-Ray Eyes, seemingly inspired by Roger Corman's B-Classic makes a somewhat bizarre song to go with some great music. The next song Hammer Back has its roots firmly in modern metal but retains the distinctive style and guitar work of Roeser. And while it panders to both styles it blends well and is an enjoyable track. Damaged mixes hard rock with a funkier feel to good effect. Cold Gray Light Of Dawn is the album's only real weakness IMO, being a plodding, thumping morass with little sparkle and little to recommend it. Real World is very much like a Lynyrd Skynyrd track before blending into traditional Roeser territory. While the two styles feel a little at odds the Roeser style moments still make for a good song. Live For Me returns to the style that, IMO, made Club Ninja a forgettable album. Simple repeated chords and lifeless melodies interspersed with some nice guitar work from Roeser make this my second least favourite track on the album. Still Burnin' is a frenetic, bass drum throbbing piece with a great little riff running through it. Layered into the main vocals are traditional BOC style backing "cult" vocals. The final track is a nice little acoustic live version of In Thee (from Mirrors) which has a nice "MTV unplugged" feel to it. The inclusion of this tra! ck provides a nice bonus and a nice way to finish the album.

Overall it seems like BOC have returned to their roots while retaining the feel and class of latter albums like Imaginos and Cultosaurus Erectus. And while it draws from those it also picks up on the styles displayed in earlier albums such as Agents of Fortune, Secret Treaties and Tyranny and Mutation as well as ocassionaly mixing in some newer styles. Previous efforts from the band after splits had opposite results, with the awful Club Ninja only rarely capturing the attention and the superb Imaginos recapturing much of what made BOC such a great band. Highlight of the album is Harvest Moon which can sit proudly among the best BOC have provided. Definitely an album to own. Buy it.

Scott's Rating for Heaven Forbid: 4 stars out of 5

OK. I'm gonna review each song one at a time. Maybe then you might have a better idea of what makes this album one of the best heavy metal albums to come out in years.

The opening track, "See You In Black" (E. Bloom, D. Roeser, J. Shirley) will blow you across the room. It opens with a big heavy mini-solo that breaks into an even heavier riff. As soon as Eric begins to sing, you know that he, for one, hasn't misplaced one single ounce of his ability over the years since the release of "Imaginos" in '88. And as soon as the main solo kicks in about half-way through, you wonder if Buck has doubled his . . .

By the time the second track, "Harvest Moon" (D. Roeser) begins, you (when I say "you", I'm really talkin' about me) will already be completely engrosed in the album. However, with "Harvest Moon", things get even better. This is the only track written entirely by Buck, and, if the rest of the band don't mind me saying so . . . I think it's the best. It features a riff that is eerie enough to partner the lyrics, and a solo that would out-shine the sun if it had the chance. I'd give this at least 10 stars, if I could.

Although the following 3 or 4 tracks are not AS amazing as the first 2, they will still amaze you . . .

"Power Underneath Dispair" (E. Bloom, D. Roeser, J. Shirley) is pure jail-break, hard-edged rock n' roll, as is the theme of the song: an angry, violent man (Eric, in this case) gets out of jail and wants revenge on the "boys" who left him "take the heat"! The chorus is almost as agressive as every other part of "See You In Black", and, of course, Buck pulls you in with yet another astounding solo.

In "X-Ray Eyes" (D. Roeser, J. Shirley) Buck takes over on vocals for the second time. (Come to think of it . . . both Eric and Buck take every second turn on vocals up to track 9 . . . when Buck takes it away 'til the end). Towards the end, when he starts singing "Do not lift the veil of the skies . . . ", it's like you're being lifted to a whole other place . . . Great stuff!

"Hammer Back" sees another return to that slapped-down, boogie-evil sound that was BÖC's trademark in the early 70s. And to this day, I can't figure out how Eric does that trembling/laughing sound deep in his throat and can hold it for so long! ("Don't keep the safety on . . . . . . . .") And you're probably not suprised to hear that Buck pulls out all the stops yet again, and provides with another great solo. This one is laden out with plenty of effects and it sounds just classic!

"Damaged" (D. Roeser, J. Shirley) is another stand-out track, as it is varnished with a sleak Allen Lanier organ-cut rythym section. Buck's voice sounds bluesy and jagged-edged, which shows how easily he can switch from his trademark Byrds-like harmonics.

"Cold Gray Light Of Dawn" (E. Bloom, D. Roeser, J. Shirley) also has any eerie sort of aroma to it. ("In the cold gray light of dawn . . . You can't lie to yourself anymore . . . ") Yet it still remains hard-edged; or Eric-edged, I guess we can call it.

Now, this is where the album really comes into itself. I find it hard to believe that any one band can show so many different faces.

"Real World" (D. Roeser, J. Shirley) begins with a riff that is very different to the previous ones. You might think, "Where has all the gain gone?" and be a little confused. Then Buck starts to sing and everything falls into place. "Something beyond" will reach out to you . . . After the second chorus, comes a bridge and solo that are nothing short of brilliant. You might think back to "X-Ray Eyes" and realise that you are being lifted off again. Then the drums recede and you are left with one man and one string. Absoutely brilliant. I said "Harvest Moon" was the best track, and I'll stick by my word, but this part of the album has something about it . . .

"Live For Me" (D. Roeser, J. Shirley) comes very close to equalling the brilliance of "Harvest Moon". Too close to stand! I would recon that the solo in this song tops the one in "Harvest Moon", though. Even if it isn't as complicated . . . The last minute or so of the songs winds down to a beautiful exiting . . . something . . . (Another thing to note about this song: It's the only song on the album that features the current BÖC line-up of Roeser, Bloom, Lanier, Miranda and Rondinelli. I understand Chuck Burgi and Jon Rogers disbanded during recording, but I'm not certain . . . )

"Still Burnin'" (D. Roeser, J. Rogers) is obviously a sequel to BÖC's huge hit from "Fire Of Unknown Origin", "Burnin' For You", but the 2 songs are very different. "Still Burnin'" sees another return to that rocking/rolling sound of the first few tracks, but with Buck on vocals. Not as amazing as the 2 previous tracks, but I think it was really placed at No. 10 (rather than No. 5 or No. 6) to get you wind you up for the final track . . .

Yes. The final track! "In Thee" (A. Lanier) originally featured on the 1979 album, "Mirrors", which any true BÖC fan should know. Except this version was recorded live at Millbrook Studios. Buck sings with a lot of heart, as Eric plays acoustic guitar and Allen plays quietly in the back on keyboards. It was the perfect way to end a perfect album.

Well, that's it. This has taken me long enough, but I feel "Heaven Forbid" deserves it.

Final words: Buy this! Blue Öyster Cult deserve it . . .

...heavy metal band of all time.

Period.

This, their first album in ten years, is another classic from those Oyster Boys from New York.

Here we have Eric Bloom and Donal Roeser on vocals and guitar, and Allen Lanier of course on keyboards. The real discovery here is Chuck Burgi and Daniel Miranda, taking over the Bouchard rythm sections. It's kinda not right without Albert Bouchard, who is undoubtadly the most active member in Blue Oyster Cult history, but we must do.

Now, onto the songs:

"See you in Black" opens with a BANG and totally blew me away. I dont really like John Shirley's lyrics, but the theme is good anyways. Very heavy song for BOC.

"Harvest Moon" is another classic solo effort from Donald "Buck Darma" Roeser, who is responsible for all of Blue Oyster Cult's huge readio successes (the big three). He penned "Dont Fear the Reaper" and "Godzilla" on his own, and shared writing effort with Richard Metzler on "Burnin' For you." The only radio hit Roeser took no role in was "Goin' Through the Motions" (an Eric Bloom solo)

"Power Underneath Dispair" is another good one, and I really like the lyrics here. Classic BOC.

"X-Ray Eyes" has some of those psychedelic lyrics that BOC has been known for throughout the years. I bet you no one in the metal scene today, even James Hetfield or Dave Mustaine, could think of lyrics that cool.

"Hammer Back" is a classic. Period.

"Damaged" see hammer back.

"Cold Gray Light of Dawn" is one of my favorites on the album, opening with a great solo and sounds like a rock and roll masterpiece from the 80s. Really good stuff in this song.

"Real World" is my favorite on the album. I really love the guitar, it sounds like they distorted an acoustic. The lyrics are good as well and Roeser's voice is perfect.

"Live For Me" is a VERY, VERY good song and I found myself listening to it over and over again.

"Still Burnin'" Another classic. A heavier song from BOC and I really enjoyed Eric's rythm guitar work here.

"In Thee" is the only Lanier penned song on the album and its from the older days of BOC. But it's a live playing to a small crowd and is acoustic-only (none of the drums or guitar solo) but its a really good close to an excellent album.

Do not heisitate to get this album. I listen to it many times a day. The songs "Real Word", "Cold Gray Light of Dawn" and "Harvest Moon" are not only the best on this album, but they are three of the best Blue Oyster Cult songs of all time.

In case anyone is wondering, the best BOC songs are as follows (according to me anyways):

Buck's Boogie (D. Roeser)

7 Screaming Dizbusters (A. Bouchard/J. Bouchard/D. Roeser)

We Gotta Get OUt of This Place (BOC)

ETI (D. Roeser)

Dont Fear the Reaper (D. Roeser)

Dominance and Submission (A. Bouchard/E. Bloom)

Transmaniacon MC (A. Bouchard/D. Roeser/E. Bloom)

Real World (D. Roeser)

Godzilla (D. Roeser)

Death Valley Nights (It REALLY is good) (A. Bouchard)

Burnin' For You (D. Roeser/R. Metzler)

Cold Gray Light of Dawn (E. Bloom/D. Roeser)

Stairway to the Stars (A. Bouchard/D. Roeser)

Harvest Moon (D. Roeser)

Cities on Flame (D. Roeser/A. bouchard)

Take Me Away (E. Bloom/A. Nova)

and of course the immortal Astronomy written by the Bouchard brothers. (I know I didnt include Pearlman in any of the songs but he has done NOTHING for BOC and he takes credit for everything they do) If ANY BOC fans would like to share their favs with me I am at corndweller@hotmail.com

Who says you can't go home again? With "Heaven Forbid," Blue Oyster Cult has finally produced the record that their early material hinted they were capable of. Their first album in more then a decade, "Heaven Forbid" eschews BOC's 1980s trappings of meandering lightweight metal-pop (Burnin' For You, Veteran of the Psychic Wars, Joan Crawford, et. al.) and the obtuse sword and sorcery lyrics.

You can't catch lightning in a bottle twice, so the magic of the first three BOC studio albums can never be duplicated. Afterall, that was the early '70s and the band was living commune-style in a house on Long Island writing as a group. The music was new, innovative and cutting edge. Their biker/ghost/Satanic/mad scientist lyrics were tongue-in-cheek, yet somehow unnerving at the same time. But that was then ... this is now:

On the latest album, past lyricists Sandy Perlman and Richard Metzler are long gone, replaced by novelist John Shirley. Shirley's writing is more on the nose and has less subtext then the enigmatic lyrics of the past. Yet, Shirley knows how create emotion and his dark themes can, at times, make you uncomfortable ... which, I'm sure, is exactly what the band wants. In "See You In Black," a tortured, hard-riffing song that reminds one of Metallica should they ever develop a sense of melody, Eric Bloom growls Shirley's lyrics that tell the story of a man who wishes to see his female friend's husband die because the husband beats her. It's an interesting theme for a song and a clever point of view from which to approach it. The music, penned by Bloom and Buck Dharma is about as heavy as BOC gets -- or any band for that matter: bass-heavy fuzz tone riffs, played manically in a staccato fashion.

The same musical approach is used in "Power Underneath Despair" and "Hammerback," -- heavy riffs, played fast and repeatedly. And they're quite catchy too. (Dharma is surely one of rock's all time great guitarists.) Here, however, Shirley's less than subtle lyrics do derail the songs. "Power" is about a man released from prison seeking revenage on those who ratted him out. Again, an original theme for a rock tune, but in Shirley's clumsy hands it comes across somewhat puerile, sounding like the words were written by a high school sophomore.

However, these are minor indiscretions. Dharma's "Harvest Moon," as mention by other reviewers here, stands brightly as one of the best BOC songs ever. Period. Listen to it three or four times and with each listen watch your goosebump quotant rise as you realize what is going on in the song.

"Harvest Moon" (apologies to Neil Young, I'm sure...), is also one of Dharma's finest vocal performances. He comes across as a firm and confident narrator, showing nuances and inflections in his singing voice that could have rescued such audio pablum as "Burnin' For You." The song tells the story of a small town farm with a mysterious past that now must endure another winter of "evil." In the spring, when the snow melts, the bodies are found. It's a chilling song that is surprisingly catchy and singable as well. I can't get the damn thing out of my head.

Another surprise is the tune, "Real World." One early reviewer compared it to Lynard Skynard and I had to laugh. I suppose it is the surprising and clever use of the acoustic guitar that threw that reviewer off. "Real World" opens with some funky, bluesy guitar picking by Dharma (who knew?). That intro probably sounds closer to something you might hear Little Feat do. This song actually boogies in a lazy southern way. It also reminds one of some of the current rock sounds coming from the likes of Sister Hazel, Counting Crows or Matchbox 20 with Dharma giving his most uncharacteristic vocal perfomrance ever! (Go back and listen to the boogie break in "Before the Kiss" to understand what I mean.)

"Cold Grey Light of Dawn" is another standout. I can understand why some jaded fans may disparage this song. It's power chording at it's cliched best and doesn't feature the typical linear type guitar riffing BOC made famous (Mistress of the Salmon Salt, Godzilla, Harvester of Eyes, etc.) This sounds like it could have been composed by any of those '80s MTV hair bands with its melodramatic chord progression and arrangement, but in the hands of BOC and with Bloom's tortured vocals adding depth and nuance, "Cold Grey Light of Dawn" pratically cloaks itself as a confessional for an aging metal rocker who must confront his fading glory.

There are several more outstanding tracks here ("Damaged," and "Still Burnin'" to name a few). The jury is still out on "The Man with X-Ray Eyes." While "Harvest Moon" might just well be Dharma's best vocal performances, "X-Ray Eyes" may be the complete anthesis: his worst. Here he sounds dreadfully nasal and whiny. The music itself comes closest to reverting back to their power pop days of "Mirrors" and "Fire of An Unknown Origin." In fact, "In Thee," a glaring example of that sound from those regretful days, is revisited here in a live acoustic peformance. Fortunately, in this format, "In Thee" -- actually a road song about missing the girl back home -- seems to have entered a completely new milieu. It comes across more plaintive and intimate here and you find yourself nodding, "Yes, Buck, airplanes do make strangers of us all!"

If you're an oldtime BOC fan and long for the days of "Cagey Cretins" and "Seven Screaming Diz Busters," give "Heaven Forbid" a whirl. As I said, you can't catch ligtening in a bottle twice, but there is enough energy and light on this CD to make you remember why you loved this band so much in the first place.

With "Heaven Forbid," Blue Oyster Cult has once again become the light that never warms. Buy it, roll a fatty, put the CD in the player and enjoy!

This was a come-back that no-one, even well-informed fans, expected anymore when HEAVEN FORBID was released in 1998. With IMAGINOS, released 10 years earlier, everyone thought that the BOC saga had come to an end. The Bouchard brothers were not part of the band anymore (Albert didn't even play on IMAGINOS, he only wrote some songs and sent the demos to the producer Sandy Pearlman)and since Joe and Albert were those who gave BOC's compositions their inimitable sci-fi taste, the future of the band was very uncertain. Besides, as a concept album involving numerous guest musicians, it was clear that IMAGINOS was intended to be some sort of musical accomplishment after a long carrier (although the album hasn't been accepted unanimously, which doesn't change anything to the fact that it was ambitious) - typically the kind of dodgy album that whether forces a band to retire or condemns it in most cases to repeat itself.

The three remaining members, E. Bloom, B. Dharma and A. Lanier, did not accept the idea that IMAGINOS, which they had contributed little to, could be BOC's swan song. In 1992, they wrote two songs for the soundtrack of the movie BAD CHANNELS, including the imposing "The horsemen arrive". They also kept touring. Some new songs were written and played on stage as far back as 1992: "Power underneath despair", "Harvest moon", "The cold grey light of dawn", "Still burning". Another song, "See you in black", was written during the 1994 tour. The band had no new record deal at the time yet, but it seemed that the departure of the Bouchard brothers released Eric Bloom's and Buck Dharam's creativity and vitality. With no record deal, BOC had to give everything they got on stage. Thus, the most smashing songs of HEAVEN'S FORBID were written during that difficult period. The band played them as though it had been a matter of life and death... The result of their perseverance is on this CD. End of the digression.

The quality of HEAVEN FORBID makes it one of the most brilliant come-backs in the history of rock n'roll. The only equivalent I can think of is the Stones' STEEL WHEELS. Very little bands can come back to the studio and re-create the magic 10 years after. Most of them try to use old tricks, but BOC does more: HEAVEN FORBID contains the same ingredients as TYRANNY AND MUTATION, SECRET TREATIES and CULTOSAURUS ERECTUS(fine lyrics, fine harmonies, fine interpretation), but it offers something new, or more precisely something that was only episodic in the band's discography (apart from live recordings): a real harsh sound. The violence and the rawness are obvious in the tracks mentioned above, mainly "See you in black" and "Power underneath despair" - the latter, with its staggering change of rythm and the raging vocals of E. Bloom, is probably one of BOC's best songs ever. The guitar break of "Harvest moon" definitely demonstrates Buck Dharma's overwhelming class. But "Damaged" is also a very, very wild song, a contemporary version of "Buck's boogie". "X-ray eyes" and "Hammer back" follow "Power underneath despair": after a song like "Power...", most other bands would have played a ballad. Not BOC: "Hammer back" is pure headbanging and "X-ray eyes" has a ruthless beat. In fact, the aim of the band with this record was obviously to hold the listener by the b...s from the beginning until the end (or almost). And they really spared no effort.

HEAVEN FORBID is an intense album. It is very contemporary, may appeal to the younger generation and then give BOC a chance to sign new deals and go on for a few more years.

BUT I hesitated to give it 5 stars, and finally decided not to, because after a few hearings, and despite all the positive points I mentioned in this review, I found this album a little flashy. Don't get me wrong: I do not say it is "commercial" (far from that), but I have the feeling that the band somehow wanted to prove that it could compete with today's bands in terms of agressivity and virtuosity, and that was not necessary. BOC has always been an interesting band because its music was different. I do not criticize the "heavy" sound of the album - I even think that the heaviest songs are the best - but I think that the album lacks some sort of... subtlety. One of Albert Bouchard's talents as a songwriter was that he knew how to create a complex and scary imagery, through lyrics and arrangements which played with the listener's culture. That didn't make his songs less "heavy" (see "The red and the black", for instance)but the fact that the violence was stylized gave the songs a touch of mystery which made them often memorable -anyway it made BOC more than a heavy metal band.

On HEAVEN FORBID, some arrangements are really weak (the verses of "Harvest moon" sound bland, for instance) and the lyrics are sometimes repetitive (3 songs deal with revenge!)or too down-to-earth ("Still burning"). And as I said, I hope that HEAVEN FORBID will not suffer from its harsh, "trendy" sound on the long run and that it will still be listenable to in 5 or 10 years.

those people who denegrate this recording are comparing it to other BOC offerings. I don't think thats right. It should be compared to the rock recordings of the same time.in the late 90's, what rock CD was better than this one? None. "Harvest Moon" is a great song in the Burning for you vein, and the later live version is even more stunning. there's 2 or 3 other songs that are worthy of the great rock seal of approval as well. it rates a 4. I once owned it, but it was stolen. (at least the thief had good taste)

After I've pretty much had given up on BOC several years ago,I was literally amazed at how GOOD 'Heaven Forbids' really is.So much better than I had expected.As far as I know,there at least two original members present and accounted for;guitarists/vocalists Eric Bloom and Buck Dharma.This effort captures much of the old BOC attitude and style of laid back hard rock with strong vocals intact.I really enjoyed "Harvest Moon","X-Ray Eyes","Real World",and the well written "Live For Me".I notice that the songwriting on here is quite 'strong'.I just wouldn't know how else to describe it.Quite a find.

I was incredibly surprised when I listened to this CD. Instead of an aging, undercredited metal band, BOC comes across as revitalized and still thriving. The music has an edge that I haven't heard on any of their albums, even Blue Oyster Cult or Agents of Fortune. Heaven Forbid isn't a trip into "New Metal" or anything you'd hear on the radio today, but rather '70's era metal revisited and updated. The album isn't without faults. X-Ray Eyes gets old very quick, as does Hammer Back. The same phrases are repeated too many times. Still, the faults are easily overlooked thanks to gems like See You in Black, Harvest Moon, and Damaged. Worthy of note is the involvement of John Shirley in the lyric writing process. The outside help had some highs and lows. I suspect he is part of the problem with X-Ray Eyes and Hammer Back, but I think there are some very good lyrics in See You in Black and Power Underneath Despair. Though I waffled between 4 and 5 stars for a while and the album isn't without blemishes, it good enough to draw 5 stars.

Blue Oyster Cult - HEAVEN FORBID CMC International, 1998

"Blue Oyster Who?", you ask? Or maybe you say, "Gee, they're still around?" Yes folks, one of the American pioneers of Heavy Metal, a band that never really went away, is back on the scene with their first album of new material in 10 years.

But, don't dismiss BOC's HEAVEN FORBID (released on March 24th on CMC International) as some dying gasp of a band who's biggest claim to fame is the 1976 hit, "(Don't Fear) The Reaper". This album positively smokes. A hard-edged 90s sound, with a nod to their 70s rock roots, today's Blue Oyster Cult delivers the goods.

Once you get past the album cover (a rather hideously disfigured face - no doubt aimed at a younger market than most of BOC's current fan base - but if it helps them sell a few more copies, all the more power to them), there are 11 positively tasty tracks to assault your eardrums.

Leaping out at you first is the band's first single from the album, "See You In Black", a story about some sinister deeds indeed - lead singer Eric Bloom snarls, "I'd like to see you in black - it makes me feel like your husband's dead". The riff sounds like something Metallica would be right at home playing, which is fitting enough as Metallica has cited BOC as a major influence on their music. Other tracks off the CD in a similar vein include "Cold Grey Light of Dawn", "Hammer Back", and "Power Underneath Despair" (which, like "See You in Black", makes use of a non-standard time signature - proving once again that BOC's music is a cut above the more standard heavy-metal fare from bands like Black Sabbath and Metallica - more sophisticated, and ultimately more satisfying).

Buck Dharma, who at 50 can out-shred most guitarists in the public eye today (yet do it with a melodic sense that is beyond the comprehension of the typical metal guitarist), tells the tale of his grandparents' farmhouse, with true Lovecratia! n horror suggested, in "Harvest Moon". This song definitely sounds like it could be a classic BOC song, with it's haunting melody, and thunderous instrumental portion. After "See You in Black's" sledgehammer delivery, this song washes over you like a soothing balm - until you realize the evil implied. Dharma, who has penned BOC's biggest radio-friendly hits (known collectively by BOC fans as "the Big 3 - they include the aforementioned "Reaper" plus "Godzilla" and "Burnin' For You") displays that talent again on "X-Ray Eyes", "Real World", and "Live For Me", 3 songs which could be as big as his past hits if today's radio stations will only give them a chance to be heard.

According to recent AOL statistics in its "Music Message Center", message board submissions for BOC are outnumbered only by the Beatles, making BOC, by one way of thinking, the most popular band in cyberspace that currently performs. And of those numerous AOL fans, the runaway hit from Heaven Forbid may be Buck Dharma's funk-rock fest, "Damaged". Backed by a "classic" Hammond-organesque keyboard part, and a bass part which cuts a heavy groove (as one fan put it, it would make Dave Matthews get up and dance), Buck sings of being "Damaged", and liking it. In a somewhat similar (yet totally different) funky vein is the final new song on the disc. "Still Burnin'", which sounds like it could be a follow-up to their last Top-40 hit, "Burnin' For You" is probably better interpreted as a statement by the band that they are still alive and kicking. And, quite frankly, sounding better than ever.

Of note is that 8 of the 11 tracks on this disc have lyrics that are supplied by sci-fi/cyberpunk author, and long-time BOC fan John Shirley. His tales of angst, revenge, power, speculation and madness are complimented perfectly by BOC's music.

The album ends on a somewhat mellow note, a live renditio! n of BOC's 1979 single, "In Thee", penned by keyboardist/guitarist Allen Lanier. While more of a nod to BOC's long-time fans than anything else, the song's beauty is retained after all these years, and adds a nice soft coda to this heavy disc (reminiscent of the way the band used to play their soft "I Love the Night" through the PA as the fans filed out at the conclusion of their sold-out concerts).

If the disc has any fault, it is that the music is too multi-dimensional, which may make it a problem for people eager to typecast the band (assuming they already haven't, based on their previous music). However, BOC never catered to the one-track mind, and the variety of musical styles represented on Heaven Forbid is quite refreshing. If there is any justice in the music world (and this reviewer is not convinced there is), radio stations will take a serious listen to this album, and play several tracks off of it - there is something for nearly everyone here. BOC has certainly paid their dues, and released numerous songs that many radio stations turned a deaf ear to - after 10 years, perhaps some fresh ears will be ready to be amazed.

Two thumbs up, 5 out of 5 stars, an 11 on a 10 scale, use your own cliche's folks, but this one's a keeper. For you heavy metal geezers out there, this disc will remind you of why you liked BOC all those years ago. And if you can get your kids to hear it (just don't tell them you used to listen to them until after they've heard it), they will love it. That's right folks, fun for the whole family!

If this is the kind of music BOC is capable of in the 90s, let's hope it isn't another 10 years before the NEXT album.