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It's a moment that could easily go unnoticed amid the tension-building cacophony of Styx's current concert-opening intro chorus.

But discerning fans should take note when guitarist James "JY" Young stoically strolls to the center of a mostly darkened stage Wednesday night near the tail end of the introductory video sequence and purposefully points to the nether regions of the sold-out Covey Center. The gesture is Young's homage to Babe Ruth famously calling his shot in the 1932 World Series -- but the real historical accomplishment is that the moment will mark the first time the "Godfather of Styx," as fellow guitarist Tommy Shaw often refers to him, has stepped on a stage in Provo in nearly 39 years.

That fact would not necessarily be of import were it not for the somewhat umbilical relationship between the one-time Chicago-based rock band and the hub of Utah County specifically, and the Beehive State in general.

That's because before Styx went on to chart 14 Top 30 songs on the Billboard Hot 100 and sell millions of albums during a magical run in the late 1970s and early 1980s, the band had a hit tune in exactly three towns, with Provo being one of them. Not only that, but several years before they graced sold-out concert stages at arenas from coast to coast, flying between cities and showing up to gigs in limousines, the members of Styx traveled 1,300 miles in a rented motor home to play their first -- and only to date -- show in Provo proper.

Styx performed at a local venue called the Ice House on Dec. 1, 1973. It's not often that an eventual bona fide star act travels cross country to play in a little local concert hall in a place like Provo -- and Styx's Ice House appearance has lived on in local concert lore throughout the intervening years.

While Styx has not played in Provo since then, the band has been to just about every other corner of the state, from St. George to Logan and Wendover to neighboring Orem. In fact, it's a safe bet to say that Styx has played more different venues in Utah than any other national touring band.

It's no stretch to say that despite the band's worldwide travels and an extensive turnover in members between then and now -- Young and part-time bass player Chuck Panozzo are the only originals -- Provo still holds a soft spot in Styx history.

"Oh, tremendously," said Young in a recent phone interview. "I mean, the first time, I can even remember back in my teenage years when myself as a musician got recognized in any way shape or form, those things sort of stay with you. The band that I had with my brother that was sort of a precursor to Styx, all those things, every little milestone that we had, are the kind of things that you'll never forget. And particularly Utah, which just is a unique place unto itself for a variety of reasons, yeah, and the trips back and forth that were filled with drama -- all those things just kind of will always be with me."

In light of Styx's return to Provo on Wednesday, which just happens to also mark Young's 63rd birthday, we thought it would be enlightening to revisit the band's legendary Ice House concert and the events that led to it.

Read the entire story HERE!

Read an expanded Q&A between Doug and JY HERE!




The Midwest prog-rock band known as Styx has a history that looms so large, the band always found it hard to put new music over all of its hits of yore. It’s not fair at all, because the records have been more than solid, not surprising given the songwriting talent in the band, starting with guitar duo Tommy Shaw and James “JY” Young, and continuing through the Canuck force on the keyboards, Larry Gowan, a respected solo artist in his own right.

But in the spirit of giving the fans what they so richly remember as a magic spot in their lives and in music in general, Styx has gone straight at the goods like a locomotive, crafting the plush DVD “The Grand Illusion/Pieces Of Eight Live.” As alluded to in the title, what we’ve got here is a celebration of both albums in their entirety, captured on tour in 2010. And what a one-two punch: “The Grand Illusion,” released in July 1977, and “Pieces Of Eight,” issued in September 1978, both went triple platinum in the U.S., with the carryover causing “Cornerstone” to go double platinum, “Paradise Theater” to reach triple platinum and “Kilroy Was Here” to attain platinum status before the band collapsed and took a long hiatus. Acrimony with previous keyboardist Dennis DeYoung spilled into the courts, and the band never completely recovered.

“We obviously had finally figured out who we were and what we were supposed to be doing,” muses JY, asked to give us a glimpse into the band’s past, specifically, why these two records hold such sway within classic rock legend. “Tommy had just joined the band, with the departure of John Curulewski after the ‘Equinox’ album. Tommy was the replacement, and ‘Crystal Ball’ was him getting to know us and us getting to know him — very talented guy. And it all came together for ‘Grand Illusion,’ which was our biggest-selling record. On that record, we were more in sync, personally and professionally as individuals, than we ever were before or after. I think it really shows. And then ‘Pieces Of Eight’ has, I think, the two best rock songs that Styx ever did in ‘Renegade’ and ‘Blue Collar Man.’ And then for this, our manager sort of polled our fan club base and what have you, and we looked at the songs that were still in our set that we enjoyed playing, and that get a great response. And, I mean, those two albums held the bulk — not all of them, not everything, certainly — but a large chunk of songs we play every night are from those two records.”

Both records are loose concept albums about integrity and creative ideals, with “Pieces Of Eight” introducing the lure of money into the mix. The economic malaise of the late 1970s was part of it, too, something that resonates when Styx plays some of these songs today.

When Styx guitarist James 'JY' Young (center, with bassist Chuck Panozzo, left, and Tommy Shaw, right) writes his memoir, he says he'll title it "Confessions of a Third-Chair Clarinetist," according to his biography at www.styxworld.com. Young learned to play piano and clarinet — both of which he says he hated practing. He and his brother, Rick, pooled their money and bought a guitar to share in the summer of 1964, and the rest is history.

“Certainly ‘Blue Collar Man’ is kind of ironic,” Young agrees. “That song is based on a friend of Tommy’s who desperately wanted to get a job and couldn’t find a job and hated being in the unemployment line, and he sort of related these things to Tommy. So, lyrically, it was inspired by a friend and his trials and tribulations, in the sense of being unemployed and how that made him feel. And so, unfortunately, it seems like the typical nature of the economy, that it’s going to go through good and bad phases, and we’re clearly in a downturn here. I mean, you can’t count on these things. You don’t even really think about it sometimes. You’re performing in front of an audience, and you see how they respond to it, and I think we’re doing a great job of performing it. But, yes, I think one of the reasons the crowd is responding to it is that it’s a resonant thing now. The money is not there, and the search for the money tree is just something that gets in the way a lot of times in a capitalist situation or in any situation. So there’s a certain resonance, yes.”

“Grand Illusion” has taken on a different type of resonance, “because it’s an escapist album in a way,” Young says. “ ‘Come Sail Away,’ anyway, is certainly an escapist song. But ‘Grand Illusion’ as a whole is certainly talking about everything you see on the television. Now, more than ever, with the Internet and everything going viral immediately, there’s more communication across the planet than there’s ever been. But all that fame-based stuff that is flying by you at light speed on your television, on your smartphone or what have you, isn’t necessarily a substantive thing.”

But for all the lyrical heft placed over irresistible hooks, high-fidelity production and dramatic performances, back in the late ’70s, Styx had to get out there and sell the band’s music, just as it is doing so capably now, duking it out on the road with some of the greats of classic rock. The band found itself gamely competing with Thin Lizzy, Journey, Rush, UFO, Blue Öyster Cult and Ted Nugent, to name a few. But there was one band that really forced Styx to step up its game.

“Aerosmith was a band I definitely looked up to, that I thought had really gotten out ahead of us,” Young explains. “I really dug the toughness of the guitar-bass nature of their sound. And the true irony was that they were sort of going through their first meltdown when our ‘Grand Illusion’ album was peaking on the charts, and we were put on as an opening act on a tour with them in the Northeast. And we were loaded for bear. The guys from Extreme, who are from the Boston area, they said they went to that show, and Styx just came along and killed everybody in their opening 60-minute set. And Aerosmith came out, and they were fighting on stage and all drugged out; we kind of stole the night pretty much every night back then. I don’t know; we were five young men that definitely were willing to go far out of our comfort zone to find the pathway of opportunity, and we managed to do some great work.”

“And the soil was very fertile then,” he continues. “Radio was very fertile, on a number of different angles. A song like ‘Renegade’ now is being used by the Pittsburgh Steelers, has been for the last 10 years, to fire up their fan base at Steelers home games. But that was an era when there was great opportunity and there was a lot of radio. It was a time when Top 40 radio or pop radio went from playing three-minute songs that were sped up, to all of a sudden embracing a six-minute ‘Come Sail Away.’ And for us, it was a magical time, because that creative thing that started in the ’60s, with the British Invasion with bands like Cream and what have you, ultimately became mainstream, in kind of a crazy, wonderful way.”

Give credit to radio, because it was actually quite hard to classify Styx. In the context of the day, the band was considered quite hard rock, and also somewhat a part of the small progressive-rock fraternity (anchored by Kansas), until it was decided that the band would spearhead a new genre: pomp rock!“Well, I suppose that there was an element of pomp,” laughs James. “I mean, ‘Lords Of The Ring’ (laughs), I think is the peak of our pomposity. We’d never played it live before until last year, for this live DVD, and it came out great.”

For the record, Young says “Castle Walls” and “Superstars” were never played live, either — until now.

“I was very satisfied by it,” he continues. “For the visuals, we’ve got kind of a mini-Pink Floyd-ian type thing put together by a college buddy of mine. I went to the engineering school, he went to the Institute of Design at the Illinois Institute Of Technology, went on to make feature films. But he was an animation director for a while before making features. And he did some wacky, wonderful stuff in that ‘Lords Of The Ring’ segment. But yeah, pomp … we were always a bunch of different things, with different sort of battling forces within the framework of the band. Because I very much wanted us to be a harder band, a Deep Purple-y kind of thing, but we didn’t really have a vocalist for that, in a sense. I mean, Tommy can sing ‘Renegade’ and ‘Blue Collar Man,’ and he’s a rock singer with the best of them, but he’s got other sides to him, that, when he tends to write, he tends to not write rock songs; he tends to write more melodic, introspective-type things. Tommy has a very broad range of things that he’s capable of writing, that he’s motivated to write, and the writer has to just go with where the muse takes him, in a sense.”Even further afield from JY’s six-string tendencies was the notorious writer of “Babe.”

“Dennis was much more of a mainstream writer,” Young says. “Dennis was always geared more toward … even toward theatre, way back in the early days, the softer, ballad-y thing, and he sort of got dragged kicking and screaming into the rock thing by me, in a sense. I was clearly more of a rock ’n’ roll guy; I wanted to rock up everything those guys came up with, and Tommy would sort of go back and forth. I mean he’s very happy … He just did a bluegrass record, which I think is just an aside for him. So these labels put on us … I think the most difficulty we had, we succeeded mightily in North America, and then the manager and the record company said, ‘Well, let’s take this thing to Europe now,’ and we were at the wrong part of the cycle over there, because over there, it was Johnny Rotten time when we arrived, and everybody was saying, ‘Well, this pomp rock or prog rock you guys are doing, that’s yesterday’s news.’ Britain was all about New Wave. That was brought about by economic circumstances, perhaps, more than anything else, but the Brits tended to be slightly ahead of the curve in a lot of ways. Certainly in the ’60s they were ahead of the curve, and then in the late ’70s, they came to be looking for something else.”

“So yeah, I have no trouble being called a progressive band; I think it’s probably the best characterization of our body of work. But the original three or four writers — if you include John Curulewski, because he played a role in shaping the sound of the band, when he was in the band for the first five albums — it’s kind of scattered all over the place. I would almost say — not exactly, I don’t want to make the comparison — but you can look at George Harrison in this latest Scorsese thing. George was kind of his own guy, off in a different spot, and Lennon and McCartney were clearly very different from each other, but they just had a way of making stuff happen. To write an album, they’d do a song a day (laughs). That’s what McCartney was talking about in this Harrison thing, and you’re thinking, ‘Wow, on your week off, you’re going to write a song a day’ (laughs).”

As for the future, well, we’re back to the original premise, this idea of Styx’s past being so fertile and fun, so full of opportunity, what’s a guy to do, especially when reaching the age when most folks retire. So what’s next?

“I’m not sure,” Young says hesitantly. “It took a whole year to post-produce this. We really have a busy touring schedule, and everybody in the band is scattered across North America. It was easier to get together and do things when we were in the same city, and now it’s hard to get together and do things. The last time we had a studio album goes back to 2003. Well, 2005 was ‘The Big Bang Theory,’ but neither one of those got tremendous traction in any way, shape or form. The record company side of it has just gotten that much more nebulous. You know, I think we’ve been somewhat befuddled about, well, if we do a record, how shall it be released? Who shall promote it? And what record company would we like to do it? And then there’s just no good answers, because I don’t think anybody really knows. It’s simpler to just sort of continue to tour and have our audience build this way, do a track here, do a track there.”

“But the DVDs we’ve done have had a profound reaction,” he adds. “The one we had in 2006 with the Contemporary Youth Orchestra from Cleveland — and I’m not saying it’s changed our lives, partly because we’re not going to go out there and play with youth orchestras as a way of making a living, or even touring — but there was magic captured that night, and I would not let it leave until I felt that the audio was the finest we could possibly make it. And 96 tracks of audio was a daunting challenge. Unfortunately, we only had about six cameras, and some of them didn’t work at some points in time, so we spent a lot of time really fine-tuning that thing. And we’ve done a similar thing with the new “Grand Illusion/Pieces Of Eight” thing, but I think we did a better job capturing it than the last time. But I like making new DVDs. We’re going to figure out another project, I think. I mean, we need to make a new record at some time, or at least make a serious attempt to go write four or five new songs and put out an EP. There are so many questions that we don’t have answers for the moment, and when those answers become a little more obvious to us as a collective, we’ll take action on them. But right now, I’m not … I don’t have the energy to go start a new project. I’m sure Tommy will come up with something, and I’ll jump on that bandwagon (laughs).”

by Martin Popoff for Goldmine

Today, Styx's lineup is (top, from left) Chuck Panozzo, Ricky Phillips, Todd Sucherman; (bottom, from left) James 'JY' Young, Tommy Shaw and Lawrence Gowan. Ash Newell photo/publicity photo.




Styx’s pre-popularity catalogue is only known to dedicated fans of the band that bother digging into the band’s history. One of these is The Serpent is Rising, and its mere mention divides even the diehards into either those who think it’s one of their best, and those who think it flat-out sucks. Most fall into the latter group, including the band members. Dennis Deyoung himself called the album not only Styx’s worst, but the worst album ever made. Ouch. Surely it can’t be THAT bad, right?

The Serpent is Rising is Styx’s third album, and has a sound that is quite different from the Styx most people have heard. Serpent boasts a much more hard-rocking sound than other Styx releases, even going into heavy metal territory at times. This will come as a surprise and will catch pretty much anyone, whether they are a hater or fan of Styx, completely off guard. Take the opener, for example. Witch Wolf is a hard rock song complete with a foot-stomping guitar/synth riff, numerous guitar solos, and an excellent chorus with the traditional Styx harmonized vocals, and organ backing. Truly an awesome song, and a great way to kick of the album. Witch Wolf aside, there other heavy tracks on the album. Jonas Psalter tells a story of a ruthless pirate captain who conquers all he desires and is then assassinated. The song is one of the proggier numbers on the album, with many different parts and time signatures, and is one of the better tracks. The title track is the heaviest and darkest on the album. The riff is pure heavy metal, with an eerie chorus, and a raspy vocal delivery from John Curulewski (who was in Styx before Tommy Shaw). The remaining rockers: Young Man, 22 Years, and Winner Take All are also good songs, but not quite as good as the aforementioned. The songs on Serpent also do a good job at displaying Styx`s progressive side, as many of them change pace throughout the song.

Although the rockers are the focus of the album, it does have song variety. The Grove of Eglantine is not as “hard” as the rocking tracks. It has a nice bassline in the verses, and is overall very melodic. It really is a beautiful song, until you realize what The Grove of Eglantine is, and then, well, I’ll let you decide what to make of it. As Bad As This is a mostly acoustic ballad with drums and synths coming in at parts to accentuate, and conveys a sad, depressing mood. Also of note here is the hidden track, Plexiglass Toilet. It`s more of a joke track than anything else, dealing with a child’s fear of... you know. Personally, I don’t care for it, but it is uplifting after the depressing As Bad As This, and puts a smile on your face when you hear it.

Now, the problem with this album, is simply that it`s too erratic, in a few different ways. For one, it can’t keep just one mood going. Some songs are dark and dead serious (As Bad As This, The Serpent Is Rising, Krakatoa), while almost every other track is happier and upbeat. Some of the songs just feel out of place next to each other, and in some cases, out of order. Krakatoa could have served as a really dark interlude had it been placed elsewhere in the album (like Radiohead’s Fitter Happier, for example), but even then the mood would have been broken by the happier songs. The Hallelujah chorus just doesn’t feel like it fits at all on this album. Aside from this, songwise, the album is pretty uneven. Don’t get me wrong, none of them are bad, but some just tower over the others (Witch Wolf, Jonas Psalter), while others are fun, but forgettable (22 years, Winner Take All).

So where does that leave us? Is Serpent Styx’s best album? No. Is it the worst album ever made? Once again, no. Serpent is actually a great album. Full of good songs and a few great ones that make for an enjoyable, yet fractured listen and may become one of your favorites if given a chance. Even the lesser songs are at least enjoyable. It`s worth checking out if you're a Styx fan, and even if you`re curious as to what them doing heavy metal may sound like. However, it is not a good starting place for those new to Styx.




The practice of performing albums in their entirety gives both artists and their fans the chance to hear the hits and underappreciated deep cuts as well. However, in many cases, most of a classic album is in the set anyway. Styx's 2012 three-disc (two CDs and one DVD) release The Grand Illusion/Pieces of Eight Live is a fine example of giving casual fans and diehards the best of both worlds, and there's certainly an audience for this, since both 1977's The Grand Illusion and 1978's Pieces of Eight went triple-platinum in the United States. This performance was recorded and filmed at the Orpheum Theatre in Memphis, Tennessee on November 9, 2010. Vocalist/guitarist Tommy Shaw, vocalist/guitarist James "JY" Young, vocalist/keyboardist Lawrence Gowan, bass guitarist Chuck Panozzo, bass guitarist Ricky Phillips, and drummer Todd Sucherman give a passionate, assured performance that salutes these albums specifically while generally and wistfully honoring the bygone days of the album era when listeners absorbed an entire slate of songs as one cohesive work, not just a single. (Shaw makes references to "side one" and "side two" of these albums, and the clever rear-screen video on-stage shows a teenage boy playing the actual original Styx vinyl LPs on a turntable and flipping them over.)

The biggest hits on The Grand Illusion are "The Grand Illusion," "Fooling Yourself (The Angry Young Man)," and "Come Sail Away," but "Miss America," "Man in the Wilderness," and "Castle Walls" also stand out as they demonstrate the breadth of Styx's grasp of hard rock, pop, and progressive rock despite often being tagged as a prime example of an AOR and arena rock band. Pieces of Eight staples "Blue Collar Man (Long Nights)" and "Renegade" reach energetic highs, and "Sing for the Day," "Queen of Spades," and "Pieces of Eight" help tie the album together. In a perfect world, the classic lineup would still be together, but Gowan does a superb job of performing vocalist/keyboardist Dennis DeYoung's parts (without the occasional nasally pinch of DeYoung's higher register) and the underrated Sucherman is the glue that holds it all together. (Original drummer John Panozzo died in 1996).

DVD extras include detailed interviews with crew members and the band about the technical aspects of putting on a show like this and a nice piece on the subtle "Aku-Aku" fadeout from a musical standpoint. (The rear-screen video pullback shot during "Aku-Aku" is breathtaking). What truly matters in the end is that a band's music is kept alive, regardless of the lineup, and The Grand Illusion/Pieces of Eight Livesucceeds admirably.




When Styx recently became the latest band to engage in the “full album performance” concept, they did so with an added twist.

The Chicago-bred classic rockers took 70,000 pounds of equipment on the road in 2010 for a short series of dates to mount full album renderings (with extensive, awesome video visuals to boot) of not one, but two of their classic albums. Thankfully, they captured one of those nights, filming their Memphis performance at the Orpheum Theater with an 11-camera high definition shoot.

Fans can enjoy the results of their efforts in the newly released ‘The Grand Illusion/Pieces of Eight – Live’ release, which is available now on DVD, Blu-Ray, CD and digital download.

A pre-show crawl of text (humorously mimicking the classic ‘Star Wars’ intro, complete with orchestral accompaniment) notes that the late ’70s were years where Baby Boomers “seriously flexed their creative muscles.”

That thought certainly applies to ‘The Grand Illusion’ and ‘Pieces of Eight,’ released back to back in 1977 and 1978, two albums that at last brought Styx into full arena rock superstardom.

Many of the songs from these albums are still staples in the Styx canon to this day and you know them well, songs like ‘The Grand Illusion,’ ‘Come Sail Away,’ ‘Blue Collar Man,’ ‘Renegade,’ etc.

They’re all performed here by the current Styx lineup, arguably perhaps a better band now than the Styx of the ‘70s, thanks to the considerable contributions from powerhouse drummer Todd Sucherman, vocalist Lawrence Gowan (who replaced original Styx lead vocalist Dennis DeYoung in 1999) and former Babys bassist Ricky Phillips, who come together with charter members James ‘J.Y.’ Young and Tommy Shaw to bring the ‘Grand Illusion’ and ‘Pieces of Eight’ material into the present century. Even retired Styx bassist Chuck Panozzo is on hand, guesting on a number of songs throughout the night.

Performing the full albums presented a few challenges, Young shared with the audience, as there were songs on the albums that the band had never performed live before.

Set to the side at the time as being “too hard to accomplish,” Young jovially bellowed that they had worked past that theory and were ready to “prove that wrong right now,” as he introduced the ‘Grand Illusion’ album cut ‘Superstars.’

The best moments within this new live package come from hearing those long-buried album cuts like ‘Superstars’ and in particular, the especially proggy moments on ‘Pieces of Eight’ like the spacey keyboard intro of ‘The Message’ that morphs into the equally progged-out ‘Lords of the Ring.’

But it’s also the delivery of the material, which Styx chose to address very properly one album side at a time, with a particularly animated Tommy Shaw (that’s ‘Tommy ‘Bleepin’’ Shaw to you, as he’s billed mid-show by Young) announcing the end of each album side and asking the fans, “What do we do now?”

“Flip it over!” is the reply in unison from the audience and it’s so on the money that you feel like they musthave rehearsed that part, right?

This presentation really highlights what sometimes feels like the lost art of assembling and sequencing an album that was so important back then. Styx strategically anchored each album side with pivotal moments. It seems so normal now, but can you imagine dropping the needle for the first time on side two of ‘Pieces of Eight’ and hearing ‘Blue Collar Man’ for the first time?

Apply that same thought to hearing cut one, side one, the title track of ‘The Grand Illusion.’

With ‘The Grand Illusion’ and ‘Pieces of Eight,’ the collective members of Styx assembled two now-classic albums that nearly 35 years later, they’re very justifiably proud of. And their present day recreation of both albums flat out rocks.

‘The Grand Illusion/ Pieces of Eight – Live’ release is essential viewing and listening for both hardcore Styx fans and anyone that has ever wanted to dig deeper beyond the radio hits. Styx has created an excellent documentation that pays appropriate tribute to two classic AOR albums.

What’s up next on our wishlist if they’re game to tackle it? We’d love to see Styx tackle a similar twofer featuring the ‘Equinox’ and ‘Crystal Ball’ albums.




Today, Styx released a new live DVD, Styx: The Grand Illusion/Pieces Of Eight Live via Eagle Rock Entertainment. You can catch a preview of the performance by watching our exclusive video presentation of "Fooling Yourself" below.

The performance was recorded November 9, 2010, at the Orpheum Theater in Memphis on a tour that saw the band -- Tommy Shaw, James “JY” Young, Chuck Panozzo, Lawrence Gowan, Ricky Phillips and Todd Sucherman -- perform both these albums in their entirety for the first time.

The 20-song, two-hour and 11-minute DVD was also released as a Blu-Ray and DVD/2CD. It features high-def visuals recorded in DTS-HD Master Audio, Dolby Digital 5.1 and LPCM Stereo. The DVD also includes a bonus feature, “Putting On The Show,” an inside look at the people and equipment needed to stage such a massive spectacle.

Last fall, Styx released Regeneration, Volume I & II (Eagle Rock Entertainment). In addition to 13 Styx classics and one new song, “Difference In The World,” the album also includes interpretations of “High Enough” and “Coming Of Age,” originally recorded by Damn Yankees, which featured Shaw, along with Night Ranger’s Jack Blades, Ted Nugent and drummer Michael Cartellone.




Re-recording old hits seems to be a trend these days for classic rock bands, and here is Styx joining the party with their new Eagle Rock release Regeneration Volume I & II, a 2CD set of brand new versions of many of the top songs in their catalog done by the current incarnation of the band. Of course, this line-up of Styx has now been together for some time, and comprised of Tommy Shaw (guitar, vocals, mandolin), James Young (guitars, vocals), Lawrence Gowan (vocals, keyboards), Todd Sucherman (drums), and both Ricky Phillips & Chuck Panozzo on bass (Chuck plays with the band on a part time basis).

You get some expected as well as unexpected classics here from the Styx cannon. Tunes such as "The Grand Illusion", "Fooling Yourself (The Angry Young Man)", "Come Sail Away", "Renegade", "Blue Collar Man", and "Crystal Ball" are all songs that any Styx collection would not be complete without, and the band do a great job with note for note reproductions of these staples. Tommy Shaw still sings as great as he did 30 years ago, which you can plainly hear on "Sing For the Day", and Gowan does his fantastic Dennis De Young impression throughout, so many of these tunes don't sound too much different from their original studio counterparts, except with 2011 production values. Nice to hear cuts like "Lorelei" and the hard rocking "Queen of Spades" and "Snowblind", as well as the folky "Boat on the River". 'JY' also proves that he can still rock out quite hard on his blistering track "Miss America", and the band even throw in a new tune here called "Difference In the World", a more acoustic based number with some great melodies and rich vocal harmonies, with Shaw especially sounding amazing. As an interesting bonus, the band decided to do updated versions of two Damn Yankees hits (the band Shaw was in with Jack Blades & Ted Nugent back in the early 90's), the rocking "Coming of Age" and "High Enough". Both are executed quite well, and it was fun to hear them again after all these years in the 'Styx way'.

Depending on your take of the whole 're-recording of old songs' trend, this will no doubt effect whether you want to take the plunge on Regeneration Volume I & II. In my view, this is a fun CD, a brand new 'hits collection' if you will, with a few surprises and bonus cuts thrown in for good measure. For the die hard Styx fan it's a no brainer.




New York, NY-- Styx Will have its entire career encapsulated within the 16 tracks of Regeneration, Volume I & II on a double-disc to be released via Eagle Rock Entertainment on October 4.

With over 30 million records sold in North America alone, Styx is one of the most beloved rock bands on the planet. Tommy Shaw, James "JY" Young, Chuck Panozzo, Lawrence Gowan, Ricky Phillips and Todd Sucherman have been together longer than any other lineup in the band's 40-year existence.

In addition to thirteen Styx classics and a brand new song "Difference In The World," Regeneration, Volume I & II also includes interpretations of "High Enough," and "Coming Of Age," originally recorded by Damn Yankees, which featured Shaw, along with Night Ranger's Jack Blades, Ted Nugent and drummer Michael Cartellone. The band had originally re-recorded these acclaimed anthems to sell only at their lives shows, as they continued to tour the globe and introduce a new generation of fans to their chart-topping hits. Now, for the first time, this music is being made commercially available.

Eagle Rock Entertainment has previously released Styx: One With Everything, a DVD and Blu-Ray filmed with The Contemporary Youth Orchestra of Cleveland. Upcoming in December will be The Grand Illusion/Pieces of Eight- Live, on DVD/CD, DVD and Blu-ray.



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