Ghost Stories or “How Not To Fear The Reaper”
When it comes to older bands putting out new material it can be quite a gamble. Even for die-hard fans. Mostly we are met with a “passable” new single, maybe a reference to an older hit, or getting a more contemporary artist to guest on a track or two. And maybe, just maybe, if we are lucky, we get to see the band in its original lineup (or as near as dammit) to make it worth seeing them live, possibly for the last time.
But, if we’re truly lucky, we get something that’s really special. Something that doesn’t feel like a cash grab, but a heartfelt offering. Think the New York Dolls’ “One Day It Will Please Us To Remember Even This”, David Bowie’s “Blackstar”, The Cars’ “Move Like This”, and so on. So with Blue Oyster Cult’s latest offering, “Ghost Stories” supposedly being their last album, it really is a fitting title and album for a band who always tended to do things their own esoteric way. One look at the cover will conjure up instant images of classic BOC album covers (Agents of Fortune, Cultosaurus Rex, Fire Of Unknown Origin, etc.) as it harkens back to the days where bands had album covers that were just as intriguing as the music contained within. The whole project feels like it’s a lost gem from the band’s golden age. And maybe that’s because it is… In a way…
“Ghost Stories” is comprised of 12 songs from throughout the entire career of Blue Oyster Cult. But these songs were unfinished until now. That is to say maybe some had no lyrics, or vocals, or lead guitar, or “insert artists’ decision(s) here”. So here were some real gems that for whatever reason didn’t make it to the final albums they were being written for. Even though AI was used in cleaning up some of the tracks, they don’t feel “forced” or “out of place”. The production and engineering that went into this album is what makes it stand out from something like The Beatles’ “Now And Then”. Which felt forced and the analog felt like it was fighting the digital instead of working together in the production.
The blending of old and new tracks and use of AI is almost seamless on “Ghost Stories”. The production doesn’t try and keep up modern techniques of boosting the bass and drums. And the song choices don’t come across as some trendy réchauffé of the big hits. This is like going through Blue Oyster Cult’s timeline, but with new songs from those eras. You get virtually every line up of the band, not just the latest incarnation revamping old stuff for a buck. Much like Aerosmith’s “Gems” this is an album of almost “should’ve been hits”.
We start things off with “Late Night Street Fight” a raucous piece that would’ve had a home on any early BOC. A bit before they locked into their true style, but a fun tune, nonetheless.
Immediately afterwards we are hit with two “classic” sounding BOC songs. The infectious “Cherry” and the esoteric beauty of “So Supernatural”. “Cherry”, with its instantly catchy chorus, would be at home on any 70s/ 80s summer vacation movie. Although “So Supernatural” feels a little too on the nose at times, it does feel familiar and reminds us that one of the true talents of this band is their ability to have lyrics that creep along with haunting melodies to make for a gothic love affair.
That being said, we come to the first of the three cover songs, “We Gotta Get Out Of This Place” by The Animals. Even though this and “Kick Out The Jams” by MC5 are solid, passionate covers, they tend to fall flat in a studio setting. These are better suited in a live setting with the anthemic singing of the crowds. These are fine versions and if we are viewing this as a whole album. not just a collection of unreleased songs, they help move the album, but I can’t help but feel these studio cuts would fit better on a box set. To get the full force of how these songs should be delivered listen to their live takes on “Some Enchanted Evening”.
The same with “Soul Jive”, a blistering jam of a song, but it feels like it would be more at home in a live setting. Much like Kiss and how “Rock And Roll All Nite” doesn’t hit the same on “Dressed To Kill” as it does on “Alive!”.
We get a couple of “pulp detective” style songs, “Gun” and “Shot In The Dark” that feel like a trilogy when placed with the outtake from the “Specters” album “Dial ‘M’ For Murder”. “Gun” has got an immediately sing along chorus and “Shot In The Dark” starts off like some old Bogart movie before firing into straight ahead action. The lyrics are so deep in the vain of “dime store mysteries” that if you don’t smile while listening to them, then you’re probably too cynical to be listening in the first place.
That’s the thing with this band, they have fun and make it sound good, and they have poignant moments, and the levity helps those moments sink in that much sweeter. Much like with “The Only Thing” which can only be likened to a glossy fantasy scape by Boris Vallejo etched in glass and coloured with vibrant lights. The beautiful interplay of the synth and vocals is enrapturing and hypnotic. And the organ solo gives all the melancholy majesty of Procol Harem’s “Whiter Shade of Pale”.
But, with all this said, the standout track is the 2nd single released from the album, “Don’t Come Running To Me”. With its eerie keyboard hook and dynamic sensibilities this song holds up with the best of the best of BOC. This is Blue Oyster Cult, sound harmonies, gothic keys, in your face lyrics, heavy guitar, and a chorus that’s got you singing along by the first go round. I’m glad this ghost did find the light of day.
The album ends on a track that I felt was an odd choice, until I listened again and looked at the album cover. On the cover we see three ghosts before three windows, which each at a different point in the day. The first at night, the second midday, the last in the morning. Reading this image left to right feels backwards. Death to Midlife to Birth. But that’s the thing. You can read it in any direction you wish. So, to have the “last” version of the band doing the early Beatles’ song “If I Fell”, stripped down, and beautifully done doesn’t feel “right” at first. Until you realize, it’s a band looking back, and at the end of it all looking back to what inspired their first “story”. And then it makes sense. This wasn’t one of those “cash grab” moments. This really is something special. This is a final “ghost story” told by true masters of the craft, to the fans. And it’s one that lays the band to rest with all the dignity, charm, and grace it truly deserves.
