SECRET TREATIES

By 1974, Blue Oyster Cult's fan base was growing and each album saw them picking up even newer fans. They were getting to the point of being able to headline concerts, though not quite to the superstar status and with each level of growth, the band would continue to release albums following similar formulas, but also experimenting with that sound and spending more time developing their music. This was the position the band found itself in when they started putting together their third studio album 'Secret Treaties'. This album would end up reaching the pinnacle of their output by using their musicianship, but relying this time only on the non band members to write their songs.

There was no new talent brought in on this endeavor, instead they concentrated on the strengths that had been successful in their past. On this album, all of the songs were written by lyricists that they had used previously, namely future punker Patti Smith, famous music critic Richard Meltzer and producer Sandy Pearlman. Pearlman would write 5 of the 8 tracks on the album.

The band's line up would remain loyal on this album also. The only real change would be that 'Buck Dharma' Roeser would not do any vocals on this album, this was all left mostly to Eric Bloom who provides vocals on 7 of the 8 tracks leaving drummer Albert Bouchard singing solo on 1 track and sharing lead with Bloom on 2 others. Joe Bouchard would also join them on 'Cagey Cretins'.

The first track on the album is also the one single released from the album, 'Career of Evil', also the one track written by Patti Smith. The album version and the radio version were a bit different however, with lyrics that were more suited for the radio audience of the time, and also Bloom was the only vocalist on the single version where on the album, A. Bouchard shares in the lead vocals. The song has the signature sound that the band was playing at the time, a lot of organ and an evil sounding melody with Buck's guitar interludes spread throughout and a splash of psychedelic undertone.

The next 3 tracks lyrics were written by Pearlman and the previous track flows right into 'Subhuman' with the music credited to only Bloom. It does have the softer edge to it that was more typical of Bloom, but this track also features a memorable riff that separates the verse and bridge. The song is a bit more psychedelic and almost predicts the sound of gothic rock, which BOC seemed to do a lot especially through their first 4 albums. Again, both the keys and the guitar drive the music along with the vocals. Following this is a fan and band favorite 'Dominance and Submission' sung solely by A. Bouchard, which gives the track a harder and rougher sound, which is exactly what this track needs. It immediately sets itself apart with an infectious riff and direct beat with wilder vocals creating a track that could only come from this band along with some excellent guitar at the last part of the track. The first side ends with 'ME 262', named after the aircraft drawn on the cover of the album. This track depends on a heavy rock n roll riff plus a more complex passage separating the verses.

'Cagey Cretins' was written by Meltzer with the music written by A. Bouchard. It is an odd number with the strange vocals of the 3 vocalists combined. This is the only track that wouldn't get revised in later shows. It is based off of a fast beat and an organ riff. This is probably the weakest on the album, but it is still a heavy rocker, but the chorus is just a little strange sounding. Next is another Meltzer track and the lyrics are probably the most eerie and evil of all of the band's lyrics, which is saying a lot. 'Harvester of Eyes' definitely took it's listeners to unsettling territory for its time. The beat is solid and direct. It was music like this that gave the band its cult-like following. Buck Dharma once again gets to show off his guitar skills on this and also on the following track 'Flaming Telepaths'. There is a short interlude with a music box playing a waltz called 'Waves of the Danube' between these two tracks before the controversial lyrics (at the time anyway). The latter track builds some nice tension with its relentless beat and memorable melody. The last track is the huge fan favorite (and also one of my favorite) tracks in BOC's long list of songs, 'Astronomy'. This is one of their most progressive songs and one that most fans will know and revere. Interestingly enough, it is more of a piano-led riff, though there is still some great guitar work here too, but it is one song that stands out even on this excellent album. It is even so popular among fans that the band covered it again on the 'Imaginos' album in 1988, both versions being quite excellent. The track fits easily on both albums and is actually a big part of the concept story of the 'Imaginos' album. It's tracks like this that strengthen the argument that BOC belongs in the progressive rock genre. Its also not very often when a band can revive one of their own classic tracks and turn it also into a classic.

The 2001 CD remaster added 5 bonus tracks to this already near perfect album. The first 3 bonus tracks are outtakes from the album's original sessions. 'Boorman the Chauffeur' is a great rocking track with lyrics and vocals by bassist Joe Bouchard. 'Mommy' is written by Meltzer and with music based off of a boogie riff provided by the bass, and again another track that would have been worthy of the original album, but was left off probably because of the lyrics about the first person thoughts of murdering one's family. 'Mes Dames Sarat' was written by Allen Lanier, the band's keyboardist. It has a solid and driving beat that also fits in with the album quite well. If these are the rejects from the album sessions, then you know you've got quite an album on your hands. These tracks only work to strengthen and support the album. The next bonus track is the cover of Steppenwolf's 'Born to Be Wild' which BOC released as a non-album single and which also became a concert staple for the band even if it never did really well for them in that format. The non-live version is not bad, but would not have felt at home on this album like the outtakes would have. Finally, there is the single version of 'Career of Evil' included, and it's interesting to hear the changed version with only Bloom singing.

This album is one of the high points of BOC's discography and shows them at their peak. Of course, many would argue that most subsequent albums would be more commercial, but I won't deny the fact that I am a huge BOC fan and probably revere most of their albums more than the typical progressive lover, but I tend to find a lot more progressive aspects in many of their albums, thought it might not be 'full-time' as much as other progressive bands. Regardless of that, the band would attain superstar status after the release of this album and future albums. It also is worth your while to find the remastered version of this album with the bonus tracks because the 3 outtakes are also excellent.