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The real producer who wanted the Cowbell on Don't Fear The Reaper ( on Agents of Fortune album) was David Lucas. 'Of course and a lot of people don't know this but 6 months out of the year I do a blog called 'Most Cowbell' I have embraced it, it is fine. When asked if he had embraced the cowbell pop culture thing But that's all right, I got more out of it than he did.' So when the album came out he said because of my contract I can't really give you credit and it might cause tension with the other guys, so I can't give you production credit. I was there for every single bit of music you hear on that record. And he said would you want to help me produce this record and I said sure, I said am I going to get credit and he said sure. They were so disappointed with what happened before with the last album Cultösaurus Erectus I don't feel like I can get the energy to do it. And for Fire of Unknown Origin Martin Birch said I don't know if I want to do this album cause Eric and Don were not that excited.

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I learnt so much about producing and how to make a great record. He went for it, he got it, it was great working with him. He was very decisive in what he asked us to do which was a nice change whereas Sandy Pearlman and Tom Werman as producers were indecisive. Martin Birch really made the drums sound fantastic and he just cut to the chase there was no indecision. For the first time in my life I found the drums sounded the way they should have sounded, they always sounded wimpy to me in the past. 'I was very happy with the way Cultösaurus Erectus came out. When asked what he take away from working with the late producer Martin Birch on Cultösaurus Erectus and Fire of Unknown Origin One of the things I decided in the beginning if Re-Imaginos was that it was going to be acoustically oriented and focus It was other artists that I assembled to do it. I gave credit to all the original guys who played on the Imaginos record, it wasn't B.O.C. 'I look at Re-Imaginos as a kind of correction. At the time I was looking at it as a revenge on Blue Oyster Cult for kicking me out and for the band not doing it in the first place as the band was too busy chasing a hit. I think it was my fault for not recognizing that the best way to present the album was as a story, to really try to serve the story better than I did.

And listening to it later was my disappointment not so much from the band or everyone else, they all did a good job. Sandy Pearlman's suggestions about the making of the record was he wanted it more acoustically oriented, he wanted the arrangements to be more sparser and I fought him on that I said this has got to be a blockbuster, there is no single so we gotta make it as heavy as possible. 'My motivation doing it the first time was I saw this as an opportunity to launch my solo career. Love” that I kept hearing Gene Simmons’ voice in my head (which can be very unsettling).When asked why he decided to re-do the original B.O.C.

Music,” a song from the 1979 album “Mirrors” that sounds so much like the KISS number “Dr. (Side note: This amphitheater - which holds some 3,000 fans - is a true hidden gem, ranking among the best places to enjoy live music in the entire Bay Area.)īOC opened the 15-song show with the “Dr. He’s also one of classic rock’s truly underrated guitar heroes, filling pretty much each and every song with memorable riffs/leads.ĭharma was definitely on top of his game in Pleasanton, delighting the near-capacity crowd that had turned out sing along with “Godzilla,” “Burnin’ for You” and other favorites during a 90-minute show at the intimate Lucky California Amphitheater. His vocal work remains at a high level, recalling what one hears on “Agents of Fortune,” “Spectres” and other primetime BOC albums.

Blue Oyster Cult’s sole remaining original member is still a force to be reckoned with on the concert stage.

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