In 2019, Godzilla: King of the Monsters stomped into theaters, not just with earth-shattering monster battles, but also with a surprising sonic boom during its end credits. Bear McCreary, the film’s composer, unleashed a blistering rendition of Blue Öyster Cult’s iconic “Godzilla,” injecting a new wave of energy into the classic track and finally uniting the monster with his namesake anthem. This isn’t just a cover song; it’s a powerful reimagining that bridges generations of Godzilla fans and music lovers.
This epic collaboration wasn’t a random choice. McCreary, a long-time Blue Öyster Cult enthusiast, saw the perfect opportunity to fuse his passion for the band with his work on the Godzilla film. He enlisted a powerhouse lineup of musicians, including Serj Tankian of System of a Down on vocals, Brendon Small (Dethklok) on guitar, Bryan Beller on bass, and Gene Hoglan on drums, also from Dethklok’s rhythm section. This wasn’t just about covering a song; it was about creating a monster of a track worthy of the King of the Monsters himself.
From Heavy Metal Roots to Monster Movie Soundtrack
McCreary’s journey to reimagine “Godzilla” began with his own discovery of Blue Öyster Cult. He recalls being captivated by “Veteran of the Psychic Wars” from the animated film Heavy Metal. Brendon Small, guitarist and creator of Metalocalypse, shared a similar early exposure to the band, thanks to a friend’s vinyl finds. For both musicians, Blue Öyster Cult was a unique force, blending progressive riffs with unforgettable melodies.
Small reflects on the appeal of cover songs, noting the joy of playing music you love and understanding its structure intimately. This deep appreciation for the original “Godzilla” laid the groundwork for McCreary’s ambitious reimagining. Interestingly, McCreary’s cover led to a call from Buck Dharma himself, the legendary guitarist and songwriter of the original “Godzilla” song.
The Birth of a Monster Anthem: Buck Dharma’s “Godzilla” Origin
The conversation between McCreary and Dharma revealed the surprising origins of the “Godzilla Song Blue Oyster Cult” classic. Dharma recounted seeing the original Godzilla movie as a child and being inspired by the monster’s imagery. The iconic guitar riff, he explained, was born in a Dallas hotel room in 1975, instantly evoking the lumbering gait of Godzilla.
Dharma highlighted the song’s lyrical connection to the movie, noting the “high-tension wires” imagery. He also pointed out the song’s underlying message: humans unleashing Godzilla, a destructive yet ultimately heroic force. The catchy chorus, “Go, Go Godzilla!”, while seemingly “goofy,” as Dharma admits, is delivered with genuine enthusiasm, a key ingredient to the song’s enduring appeal. He confirmed that the rest of Blue Öyster Cult embraced the monster theme, fueled by their shared love of sci-fi and monster movies.
“Godzilla” Riff: The Footprint of a Legend
Beyond the lyrics, both McCreary and Small emphasized the sheer power of the “godzilla song blue oyster cult” guitar riff. McCreary described it as evoking Godzilla’s massive footsteps, while Small and drummer Gene Hoglan drew a direct line from the riff’s influence to grunge music, even citing Nirvana’s “Smells Like Teen Spirit.”
Bryan Beller underscored the song’s universal appeal, stating, “Everybody likes the song ‘Godzilla.'” Despite its widespread influence and iconic status, the original “Godzilla” song had never been featured in a Godzilla film – a fact McCreary was determined to rectify.
Crafting the Demo: Orchestra Meets Metal Monster
Despite conceiving the cover early in the Godzilla: King of the Monsters project, McCreary focused initially on the orchestral score. However, the “godzilla song blue oyster cult” idea persisted. He envisioned a fusion of symphonic orchestra, choir, taiko drums, and Japanese vocal elements with heavy metal. With the film’s deadline approaching, he felt compelled to create a demo.
Serj Tankian was McCreary’s first and only choice for vocals. Tankian immediately embraced the project, excited by the fusion of heavy metal and Japanese musical elements. McCreary shared his initial demo concept, which leaned heavily on taiko drums and orchestral elements, with rock guitars playing a supporting role.
Tankian’s vocal performance and feedback helped shape the song’s evolving arrangement, leading to a heavier, more rock-oriented sound while retaining the orchestral and Japanese influences. Brendon Small and Brendan McKian joined the project, adding electric guitars and backing vocals, further solidifying the demo’s direction.
Genre Bending and Chanting Vocals: A Unique “Godzilla” Sound
Small and McKian were immediately enthusiastic about the genre-bending approach and the unexpected inclusion of chanting vocals. McKian highlighted the shock value of these elements and their contribution to the song’s unique character. He also emphasized the need to create space for Tankian’s distinctive vocals, recognizing his unparalleled presence in rock music.
Hoglan echoed this sentiment, noting that Tankian brought his own vision to the song, creating a different vocal character than the original. McCreary also made structural changes, omitting the spoken-word bridge from the original and extending the closing hook, emphasizing the lyric “history shows again and again,” which resonated deeply with the film’s narrative. Dharma praised this choice, recognizing its relevance to Godzilla: King of the Monsters.
Pitching the Monster: “Blue Öyster Cult?”
Confident in the demo, McCreary presented it to the filmmakers. He played the track without introduction, letting the music speak for itself. Director Michael Dougherty’s immediate recognition – “Blue Öyster Cult?” – signaled a positive reception. The demo was a hit, securing rights clearance and the green light for full production.
Recording Dethklok’s Rhythm Section: Heavy Metal “Godzilla” Takes Shape
With the project approved, McCreary assembled the rhythm section of Dethklok – Small, Beller, and Hoglan – to record the band tracks. The session was attended by the film’s creative team and Tankian and McKian, who had already laid down vocals.
Beller described the surreal experience of recording a Blue Öyster Cult cover in a top-tier studio for a major film, focusing on capturing the right “attitude” and “fun.” Tankian was impressed by the rhythm section’s power and precision, particularly Hoglan’s drumming.
Hoglan discussed his approach to drumming, transforming the original’s looser groove into a more rigid, metal-infused beat, emphasizing the “dark and heavy” result. Beller and Small lauded each other’s musicality and the collaborative spirit of the session, highlighting the “hive mind” that formed as they recorded. The session culminated in a “Fuck It” take, embracing spontaneity and resulting in a performance that captured the raw energy of a live show, largely used in the final track.
Preserving the Musical DNA: Key and Bass Line
McCreary’s goal was to retain the “musical DNA” of the original “godzilla song blue oyster cult,” even while drastically reimagining its surface. He kept the song in its original key of F# minor, recognizing its unique “vibe.” Dharma appreciated this decision, noting the key’s distinctive character.
Beller and McCreary discussed the unexpected “Boogie-Woogie” bass line in the chorus, a quirky element from early rock and roll history. McCreary amplified this element in his arrangement, scoring it for the entire orchestra in unison, creating a massive, unexpected orchestral moment.
Tempo and Heaviness: Slowing Down the Monster
One deliberate deviation from the original was tempo. McCreary slowed the tempo slightly to enhance the song’s heaviness, aiming to convey Godzilla’s immense weight. Small noted the common tendency for bands to speed up tempos live, making McCreary’s slower approach a powerful and effective choice for emphasizing the monster’s presence.
Hoglan adjusted his drumming to complement the slower tempo and the prominence of the taiko drums, focusing on lower toms to create a solid foundation and enhance the overall heaviness.
Mixing the Monster: 500+ Tracks of “Godzilla”
The mixing process, helmed by Jason LaRocca, was a monumental task, combining orchestra, rock band, and vocals into a cohesive sonic landscape. Beller jokingly described mixing as “where music goes to die,” emphasizing its tedious and challenging nature, especially with the complexities of blending diverse elements like taiko drums and orchestra.
LaRocca revealed the sheer scale of the project, with track counts exceeding 500 at one point, pushing Pro Tools to its limits. Tankian praised the final mix for its balance, successfully integrating rock, orchestral, and Japanese elements into a unique and impactful sound.
“Godzilla” Unleashed: Viral Reception and Buck Dharma’s Approval
Released as a single before the film, McCreary’s “Godzilla” cover went viral, generating diverse reactions from fans. Crucially, Buck Dharma himself offered his enthusiastic approval, praising the cover for honoring the original while bringing something new to the song. He noted his grandson’s preference for McCreary’s version, humorously calling it “the blue one,” referencing the YouTube video’s visuals and ironically distinguishing it from the “Blue Öyster Cult” version.
Dharma expressed satisfaction that “Godzilla” finally found its place in a Godzilla film and acknowledged the band’s mixed feelings about it not being their version, while remaining philosophical and complimentary of McCreary’s work. McCreary expressed hope that the cover’s success would ultimately benefit Blue Öyster Cult.
After four decades, the “godzilla song blue oyster cult” finally roared into a Godzilla movie, reimagined for a new era. McCreary’s version aims to excite long-time fans and introduce the anthem to a new generation, hoping younger audiences will discover the original Blue Öyster Cult catalog. This is more than just a cover; it’s a testament to the enduring power of a classic song and its ability to evolve and resonate across time.
