Tag Archives: Blue Öyster Cult



Forever knows no chains
There is no crucible
In which to reduce the now
The map is not the terrain
There’s nothing to terrible
As looking past the now
So I chant the old refrains
Ignite the ancient thurible
And take the sacred vow

Seven steps up
Through the garden of roses
Lies the Kingdom
And in its center
The interior castle

“Hey Mitch, what’s this poetry thing all about?” I want to collaborate with Blue Öyster Cult and I’m hoping the Öyster Boys will think this would make a good lyric.

Did you know I wrote a paranormal/mystery/romance book inspired by Blue Öyster Cult’s lyrical themes?  Click here to download it here for free!

The cover to my book “Chatters on the Tide” inspired by the music of Blue Öyster Cult



I threw out all my artifacts today
Remnants of the bad ideas and dead end rites
Lithic shards and Plutonic dunites
Forbidden papyrus unearthed along the way

I searched for two pillars, one white, one black
At a confluence of rivers, no going back

I release the curses down to hell
Let them fall with my old relics
With the mad herbs and psychedelics
Tetradite now, all prayers, no spells

I stood between two pillars, one white, one black
At a confluence of rivers, no going back

This singular act of adaptation nigh
True without falsehood, certain as spring
Is to accomplish the miracles of just one thing
To be alive and let my old self die

I stand beyond two pillars, one white, one black
Past a confluence of rivers, no going back

“Hey Mitch, what’s this poetry thing all about?” I want to collaborate with Blue Öyster Cult and I’m hoping the Öyster Boys will think this would make a good lyric.

Did you know I wrote a paranormal/mystery/romance book inspired by Blue Öyster Cult’s lyrical themes?  Click here to download it here for free!

The cover to my book “Chatters on the Tide” inspired by the music of Blue Öyster Cult

AZIMUTH a poem


Nihility, lack of ability, post truth fragility
Thanatophility, intractability, lies and puerility
I won’t be protesting Bilderberg this year
I’m staying home for the season finale and a beer

My old conspiracies gave way way to social media
Men in black have been replaced by deep fake ophidia
I watch steam rising from boiling old avenues
Giving rise to clouds about the azimuth

I search for a torch to drive away this fog
For a light, a lost pyramid or its analog
Maybe there’s a banner of stars temporarily obscured
We could find out there, I can’t be sure

So I ignore the haze and recall the old magic spell
Hand over heart turning my back to this hell
I say the words king and queen forbade
And invoke the oath our ancestors made

Fidem meam obligo vexillo Civitatum Foederatarum Americae et Rei Publicae, cuius vicem gerit, uni nationi, sub Deo, individuae, praebenti libertatem iustitiamque omnibus.

“Hey Mitch, what’s this all about?” I want to collaborate with Blue Öyster Cult and I’m hoping the Öyster Boys will think this would make a good lyric. Read more here.

I Want to Collaborate with Blue Öyster Cult


The cover to my book “Chatters on the Tide” inspired by the music of Blue Öyster Cult

News broke that Blue Öyster Cult is working on a new album.  While that fills me with joy and anticipation, I’m also disappointed that I won’t be showing up in the album credits.

I want to collaborate with Blue Öyster Cult.

I truly believe that the band could return to packing stadiums like they did in the 70’s — and I think I could show them how.  Yes, I know that’s a bold statement , borderline whacko in fact.  But let me break it down.

How am I qualified to be a collaborator with Blue Öyster Cult?
  • My moderately popular novel Chatters on the Tide , inspired by their lyrics, themes and music, has been downloaded thousands of times and is currently #11 in Metaphysical Fiction at Smashwords.com.
  • Blue Öyster Cult is my favorite band.  I know their lyrics backwards and forwards (pun intended) and I practically have the Blue Öyster Cult FAQ memorized.
  • I’m a martial artist master, spiritual teacher, executive manager, and skilled negotiator.  I’m not intimidated by big obstacles or difficult situations and my specialty is consensus building.  I’m an expert at bringing people together to realize a common vision.
What makes you think Blue Öyster Cult could return to packing stadiums like they did in the 70’s?
  • Talent deep and wide.  They’re a team of master musicians featuring seasoned veterans as well as cracking young guns.  See video below.
  • They’ve got legs.  Here’s a sample of their YouTube view totals: Don’t Fear The Reaper 6.8 million views, Veteran of the Psychic Wars 3.3 million views, Burnin’ For You 1.3 million views.
  • Elite Prog Rock roots. Modern Prog Rock bands like Coheed and Cambria are selling like hotcakes and filling venues,  Why not the masters?
  • J. K. Rowling is a big fan. She named a book after one of their albums and referenced their lyrics.  Doesn’t prove my point but it’s a fun factoid though.
What should I do if I think you’re right?
  • Share this post.  Tweet it, Facebook it, go hog-wild.
  • Reach out to the band.  Six degrees of separation, right?  Somebody reading this right now knows somebody who can get me in front of the band for a sit-down.
  • Share your ideas with me. Post in the comments.
  • Watch this space. I’m going to start sharing poetry and ideas that could be used for thematic and/or lyrical inspiration.  Follow and share.

Now watch this preposterously good video featuring Blue Öyster Cult’s youngest member, Richie Castellano.


Blue Öyster Cult’s Occult Influence: An Overview


My framed Blue Oyster Cult t-shirt autographed by (clockwise from upper left) Allen Lanier, Danny Miranda, Eric Bloom, Bobby Rondinelli, and Buck Dharma.

5/16/19 UPDATE: I want to collaborate with Blue Öyster Cult.  To find out why I think I’m qualified and whatnot, click here.


My earliest three memories of being interested in the occult date back the 70s: buying a Tarot deck at the old B. Dalton book store at Eastgate Mall, finding a copy of Kathryn Paulsen’s Complete Book of Magic and Witchcraft (can’t remember where — a yard same maybe?) and listening to the music of the band Blue Öyster Cult.

I still have the Tarot deck, and it’s pretty much the only one I’ve ever used.  Although Paulsen’s book isn’t the very best, I am nostalgic about it.  I lost that original copy and had to buy a used copy just so I could have it around.  As for Blue Öyster Cult, they’re still my favorite band.  I’ve seen them in concert so many times I’ve lost count.

I’m surprised how few occultists have an interest in BÖC.  Then again, I suppose it makes sense if the only BÖC songs you know are Don’t Fear the Reaper, Burning for You, and Veterans of the Psychic Wars.  You have to get past the hits to get a taste of the occult flavor.


“Mistress of the Salmon Salt” is on the album “Tyranny and Mutation.”

iconTake for example Mistress of the Salmon Salt which is, in my opinion, the creepiest example of the BÖC’s occult overtones (read the lyrics at the band’s website here).  Many people, at first blush, think this song is about a prostitute who kills her sailor customers.  But if you understand the word “reduction” in its various forms (namely chromosomal reduction and alchemical reduction) and note the final stanza, where it describes “the toes that crawl” and “knees that jerk” you’ll see that what the female protagonist is really up to.  The lyrics and the eerie guitar work come together in a way that gives me chills.  Occult rock doesn’t get any better or darker than this.

You can keep your oxymoronic, overtly occult heavy metal.  As far as I’m concerned, if you plaster your album covers with pentagrams (inverted or otherwise) and give your songs titles that contain references to occult books and occult ideas, that’s not occult.  The word occult means hidden, not in-your-face.  If I don’t have to dig a little, it’s not occult.  If I wanted my food pre-chewed I’d eat baby food out of a jar.

Most of the band’s occult influence came from Sandy Pearlman, Richard Meltzer, and Albert Bouchard.  It saddens me that the band’s occult influence left with the departure of those guys.  The material they produced with other collaborators (like Michael Moorcock, John Shirley, and Jim Carroll) is solid but lacks the occult depth of Pearlman and Meltzer.

They say the band, back in the old days, during song writing sessions they used to keep around a stack of notes and papers written by Pearlman and Meltzer.  Somebody should find those notes and tell the band to get back to basics, to return to what made them great.

If you’d like to dig into the occult underpinnings of Blue Öyster Cult, here is a short list of resources:

  1. The Blue Öyster Cult FAQ
  2. Blue Oyster Cult: Secrets Revealed! by Martin Popoff
  3. Wikipedia article on the Imaginos album

Did you enjoy reading this?  Then my trilogy of supernatural novels will blow your mind.

Here’s the cover to my new supernatural romance eBook bundle. Pretty, huh?

What people are saying…

“A good read — loved the end.”  ~5-star reviewer on Barnes & Noble website

“Must read.  It keeps you on your seats edge…is it real or just fiction?  Cannot wait for the next book to come out.” ~Anonymous

The trilogy is on sale for just $5.99.  Download it now at Barnes & Noble, iTunes, Smashwords (in any format!), and wherever ebooks are sold!

A-Bombs, Rock Music, and Fission vs. Fashion

In 1945, in advance of the first test of an atomic bomb, scientists feared that as each atom split it might split another creating a chain reaction that could ignite the atmosphere and destroy planet Earth.  But they went ahead anyway.

A decade later Elvis Presley started another fission-like explosion with his ’56 performance on the Ed Sullivan show, witnessed by a record-breaking 60 million viewers.  He had performed before, and parents and network execs feared he would destroy America, but Sullivan dropped the bomb anyway.  By ’64 we had Bob Dylan’s The Times They Are a-Changin’ and yes indeedy they were.  Rock and Roll exploded, a fissionable material that split into dozens of genres and sub-genres.  We had the Beetles, the Rolling Stones, The Who, Hendrix, Led Zeppelin, Yes, Rush, and a thousand others, Acid Rock, Punk, Prog Rock, Heavy Metal, and the list goes on.  Everywhere you looked, kids were hanging out, listening to Rock that was meaty, dense, deep, and potentially transformative.

But, as it turned out, just as the first atomic bomb had not started the never-ending explosion some scientists feared, the bomb that was Rock and Roll began to fizzle.  By 1984, completely without irony, Eddie Van Halen was performing with the Jacksons, Ray Parker’s Ghostbusters was a hit,  and cats were sleeping with dogs.  Fission had been replaced by Fashion.  The streams had crossed but it was another kind of destruction.  We had gone from American Woman and  L.A. Woman to Girls Just Want to Have Fun and Like a Virgin.  Sure, there were pops and bangs, explosions of light, albums like Dreamtime, Too Tough to Die, Stop Making Sense, and many others.  But ’84 saw a lot more albums like Van Halen’s 1984 than it did albums like the Eurythmics’ 1984.  The explosion was fading like ripples in a pond.

By 1984, the kids who sprawled on the bedroom floor listening to the same album fives times in a row while handing the liner notes back and forth had been replaced by kids plugged into their Sony Walkmans.  The conversations were gone.  The cassettes had no liner notes, not like the albums did anyway.  By the time Judas Priest came to trial in 1990, the idea that playing rock backwards could reveal dangerous and radical messages was on the decline.  The science just didn’t support the idea that the messages had any impact on the listener, and according to many scientists and even the artists themselves, the ‘messages’ were only random phonemes.  The threat just wasn’t there — even it you played it frontwards.  By 1990, the idea that Rock could inform, inspire and teach the mainstream was dead.  If you wanted to be challenged by your Rock you had to go digging.

As Angus Young of AD/DC famously said, “We never hid the messages.  We called the album Highway to Hell.  It was right there in front of them.”  But Angus and boys didn’t really have a message that was all that deep.  Occult means hidden, not right out front, and hedonism is not occultism or even radicalism.  AC/DC is not a radical band or an occult band, and Angus missed the point.

The biggest occult bands, in terms or records sold at least, are/were probably Led Zeppelin, Black Sabbath, The Doors, and Blue Öyster Cult.  All four of these bands come at youth with messages overt and covert, lessons exoteric and esoteric.  Square parents who wanted their kids to conform didn’t have to work very hard to hear the danger in songs like Black Dog, War Pigs, Sweet Leaf, and Cities on Flame with Rock and Roll.  But if John and Jane Parent wanted to hear something dangerous in what their kids were listening to they might have to work a little harder if they wanted to find offense in Break on Through, Stairway to Heaven or Lips in the Hills.  These bands made albums that you could listen to over and over again, dozens of times, finding something new with each and every play — a reference to something obscure that could lead you to another album, to the library, to the picket line, or simply into a thousand conversations, inspirations, and lines of inquiry.

The only one of the big ones you can still see live is Blue Öyster Cult.  For me they are the best of the occult rock bands, with messages either in your face (as in The Red and the Black about a sadistic Royal Canadian Mounted Policeman) or hidden (not by backmasking but by vocabulary, metaphor, and double entendre, as in Mistress of the Salmon Salt, probably the darkest, most unsettling, and subtlest occult rock song ever written).  They are still on tour forever, playing newer tunes like See You in Black from ’98 and older songs like E.T.I. from back in ’76 (you could write a book about the occult references in that one).   Sadly, the newer stuff doesn’t contain the occult influences they once flaunted.  Perhaps those influences withered when Sandy Pearlman stopped actively associating with them.

Sandy Pearlman is still around and still relevant.  In addition to his extensive work as a lyricist and producer for BÖC, he was the producer behind some great records by the likes of The Clash, The Dictators, Pavlov’s Dog, and Dream Syndicate.  Currently he’s the Schulich Distinguished Professor Chair at the Schulich School of Music at McGill University in Montreal.

If you want to hear some really intense occult revelations, check out a couple of his recent offerings at Huffpo.  In his Patti Smith obit he talks about her as an incarnation of Athena, discusses the British Invasion as the new death of the Goddess cult, and much more.  You might also like this article on the death of Ellie Greenwich, wherein he reveals the secrets behind her largely forgotten place as perhaps the greatest songwriter of all time.

Sandy is still the same I guess.  He reveals a little here and there, stepping out into the light to reveal just enough to pique your interest, and then stepping back into the shadows.  In your face just enough to get your attention, holding back enough to keep you interested.  A few people that is.

There was a time when bands like Blue Öyster Cult could fill stadiums, night after night, across a worldwide tour.  And while there have been and always will be bright lights in the constellation of Rock — Rage Against the Machine for example, but sure not the only one — the days when almost every kid in the world spend entire afternoons and evenings thinking, comparing, criticizing, commenting, getting inspired by their Rock, are gone.  Looks like the one-two punch of Walkman-iPod stopped the conversation dead in its tracks.

Compare the old material — albums based around the occult origins of World War I, the literal and metaphorical importance of  the alien abduction phenomenon, the nature of free will, and on and on and on — to the kind of material that packs stadiums today: songs about sex, violence, materialism, or simply nothing.

Tell me John and Jane Parent, which is the most subversive and dangerous: the old music or the new?  If I were you, instead of an iTunes card I’d hand my kid a $50 bill and send her down to the new corner vinyl store that probably cropped up recently.  My guess is that there are some very deep conversations taking place over there, and that those kids and those stores promise hope for our future.