News

Join us in our celebration of Equinox, which was released 41 years ago today on December 1, 1975.

by Mike Mettler

Sweet, sweet sounds fill the air: Please join us in our celebration of Equinox, which was released 41 years ago today on December 1, 1975. Equinox was Styx’s first album on A&M Records, after having released their first four LPs on Wooden Nickel/RCA. Equinox ultimately reached #58 on the Billboard 200 albums chart in 1976, and has since been certified at Gold status, or 500,000 copies sold (though we here at Styxworld tend to think it has long since gone platinum/sold over 1 million copies in the interim). The album’s only single, “Lorelei,” reached #36 in the U.S. and #6 in Canada in 1976.

Right out of the gate, Equinox's lead track, “Light Up,” fused the band’s best instincts for how to blend harmonies, keyboard hooks, and power chords together to memorable effect, resulting in a song that continues to grace many of Styx’s live set lists today - and it's one that features an amazing audience-participation moment (which we won't spoil here if you have yet to experience it in person yourself). Two other hard-driving singalong Equinox songs, “Lorelei” and “Suite Madame Blue,” are also in regular live rotation.

Equinox really was the start of some great records for A&M,” says Styx co-founding guitarist/vocalist James “JY” Young. “We had an evolved sense of who we were, and what we could accomplish. And our goals were then set that much higher. In the context of Styx, I think it all came together on that record.”

Adds guitarist/lead vocalist Tommy Shaw, who joined Styx only a few weeks after Equinox was released, “The first time I ever heard anything from Equinox was at my audition for the band, in Chicago,” he recalls. “And the first thing I heard was JY singing ‘Midnight Ride,’ which just blew me away.”

If you’d like to learn more about the origins of Equinox and what Styx thinks of it today, you can read all about it in our weekly Styxology column, which is available to all Styx Lounge Fan Club members. Learn how you can join here.




Ever wonder what it's like to be behind the scenes at a Styx show? Keep you eye out for new installments of the Backstage Pass Series to get your fill!

Our first is a clip from November 15th's show in Northfield, OH where we celebrated JY's birthday!




STYX ICON TOMMY SHAW HELPS RING IN THE HOLIDAY SEASON WITH SEVEN DAYS OF ROCK-FUELED FILMS PAIRED WITH DOCUMENTARIES IN THE ‘NOT SO SILENT NIGHTS’ EVENT, DEC. 5 TO 11

The Week-Long Event Includes Rock Docs Featuring Elvis, The Who, Janis Joplin, & Bob Marley, and Beloved Films Such as ‘TOMMY,’ ‘DETROIT ROCK CITY’ & ‘THAT THING YOU DO!’

Los Angeles – November 17, 2016 – HDNET MOVIES gets loud this December, with seven days of music-themed films paired with critically acclaimed documentaries in the “Not So Silent Nights”marathon, presented by STYX legend Tommy Shaw from Monday, Dec. 5 through Sunday, Dec. 11 starting at 7pE each evening. The weeklong event features films highlighting a breadth of music genres from early and classic rock to reggae and modern alternative, including groundbreaking artists such as Elvis Presley, Janis Joplin, Bob Marley, Roger Waters, Dave Navarro, and The Who.

“I'm excited to announce that I'll be hosting HDNET MOVIES’ ‘Not So Silent Nights,’ said Shaw. “Each night, for seven nights in a row, we will pair a Rock themed feature film with a Rock-umentary. Grab your favorite concert T-shirts and suit up for the shows! “

“Tommy Shaw is one of the most prolific and influential figures in rock,” said HDNET MOVIES General Manager Rachael Weaver. “He has a great deal of knowledge and respect for rock, and it was truly an honor to be able to work with him and learn from his unparalleled experiences in the industry as he presents this incredible lineup. There’s something here for everyone to enjoy, and I’m confident our viewers are going to love it.”

HDNET MOVIES will be celebrating the “Not So Silent Nights” stunt by giving away the ultimate Tommy Shaw prize pack. One lucky winner will receive a guitar signed by Tommy Shaw, and two tickets to Renegades in the Fast Lane at The Venetian Theatre in Las Vegas on Jan. 6 to 14, 2017. Other prizes include signed albums and tickets to the 2017 Styx Summer Tour. Participants can enter the contest here. http://hdnetmovies.com/cinemascoop/tommy-shaw

In STYX news, the legendary and multi-Platinum rockers--Tommy Shaw (vocals, guitars), James “JY” Young (vocals, guitars), Lawrence Gowan (vocals, keyboards), Todd Sucherman (drums) and Ricky Phillips (bass), along with the occasional surprise appearance by original bassist Chuck Panozzo--with very special guest star Don Felder (formerly of the Eagles) will take the Las Vegas stage for an unforgettable five-night limited engagement at The Venetian Theatre inside The Venetian in Las Vegas. The show, “Styx & Don Felder: Renegades In The Fast Lane,” will be held on January 6, 7, 11, 13 and 14, 2017. Tickets are on sale now at www.Venetian.com/StyxFelder.




by Mike Mettler

One With Everything: Styx and the Contemporary Youth Orchestra, was released by NewDoor/UMe 10 years ago today on November 14, 2006. It also shares a birthday with the Godfather of Styx, co-founding guitarist/vocalist James “JY” Young, who was born on November 14, 1949. Happy birthday, JY!

One With Everything emerged from the magical show Styx played with the Contemporary Youth Orchestra at the Blossom Music Center in Cuyahoga Falls, Ohio, on May 25, 2006. From the opening rush of “Blue Collar Man” to the majesty of the JY-led cover of Willie Dixon’s “It Don't Make Sense (You Can’t Make Peace)” to keyboardist/vocalist Lawrence Gowan’s ever-haunting “A Criminal Mind” to the uplifting all-in “Renegade” finale, One With Everything has, well, just about everything a Styx fan could want. (In addition to semi-regular airings on PBS affiliates and AXS TV, this concert event has also since been released on Blu-ray and DVD.)

Orchestral highlights include violinist extraordinaire Lavinia Pavlish joyously trading licks with JY on “It Don’t Make Sense” — “Give Lavinia some love!” guitarist/vocalist Tommy Shaw exclaimed at the song’s conclusion — as well as cello co-principals David Ellis and Eric Tannenbaum dueling quite furiously together during the intro to “Fooling Yourself.”

Back in May, Lavinia recalled for me how it felt playing “It Don’t Make Sense” onstage with Styx. “That song is so amazing. Some of their songs are so beautiful,” she noted with a smile. “Oh man — that was the highlight of my 17-year-old self! The solo was a written part, but JY is such an awesome musical communicator. He made me look good. It was all him!" Lavinia added with a chuckle.

This amazing event came about due to the sheer will of CYO conductor Liza Grossman, who has since become Styx’s official go-to conductor any time the band performs with an orchestra. Liza was at the podium when Styx did a pair of shows at the Schermerhorn Symphony Center in Nashville in February 2015 and at the beautiful outdoor Ascend Ampitheatre on May 21, 2016 with the Nashville Symphony. Liza also helmed Tommy Shaw’s recent solo turn with the CYO at the Waetjen Auditorium at Cleveland State University back on May 27, and she most recently conducted Styx and the world-class Colorado Symphony at the historic Red Rocks Ampitheatre in Morrison, Colorado this past August 29, an evening both Liza and Styx feel were career highlights.

“She just shined,” Tommy recalls about rehearsing and playing with Liza and the CYO in 2006. “She was a rock star from the way she took the stage and presented herself, and the respect she got from her kids. It was just a treat working with her. It was clear from the beginning that she was an engaging and enthusiastic person, and that the Contemporary Youth Orchestra was her creation, her idea, and her dream. She put it all together. We just love her, and we’ve continued to support the Contemporary Youth Orchestra because it’s such an awesome thing.”

Liza herself looks back on One With Everything with much personal and professional joy. “I still get, to this day, emails from fans who love that DVD and love that show, and they ask me about specific players in that orchestra: ‘Where are they now? What is she doing? What is he doing?’” she recounts. “I’ve been showing One With Everything to the musicians who are in CYO now. The youngest members of the orchestra were babies between the ages of 3 and 8 when we first did this, so they haven’t seen it. I think it’s important that they understand it and see there’s a history to it. It gives them a chance to see how relationships can develop with musicians who are already at a certain level in their careers. I think it’s going to be really effective for them. Since then, the orchestra has evolved immensely, and hopefully, I have as an educator and a conductor as well. I certainly know the band has evolved as musicians.”

My own personal Crystal Ball tells me Liza Grossman and Styx will likely be doing more live events together sometime in the not-so-distant future, so stay tuned...




by Mike Mettler

Man of Miracles, Styx's fourth studio album, was released 42 years ago today on Wooden Nickel Records on November 8, 1974. Produced by John Ryan and Bill Traut and engineered by Gary Loizzo, Man of Miracles — which was named, as many Styx albums have been, by co-founding guitarist/vocalist James "JY" Young — showed the band beginning to stretch its creative muscles even further in the studio, albeit with its fair share of hits and misses. Miracles was recorded at Golden Voice Studios in South Pekin, Illinois and remixed at Paragon Recording Studios in Chicago, and it peaked at #154 on Billboard's Top 200 Albums chart. (Styx wouldn't find their true studio and songwriting footing until their next album, 1975's Equinox.)

"I love the opulence of the title song," says original Styx bassist Chuck Panozzo about "Man of Miracles" (which appears as the last track on the album). He then pauses to sing the main harmonic line from the chorus before adding, "Critics may have called it 'pomp rock,' but, well, I'm sorry — we’re musicians, and we wanted to use our skills to make sounds that were all our own." (Hear, hear...)

In addition to the uplifting title track, Miracles boasted one other bona-fide FM radio favorite: JY and John "JC" Curulewski's "Rock & Roll Feeling," which features the quite telling lyric, "But I can't play no nine to five game/Hanging loose is all I know." However, on the subsequent RCA pressing of the LP, the band's cover of The Knickerbockers' Beatlesque 1965 Top 20 hit single "Lies" was replaced at the start of Side 2 by JY and Dennis DeYoung's "Best Thing," a track originally found on their self-titled 1972 debut album. Not only that, but the 1980 cartoon-cover RCA reissue of the album — simply renamed Miracles — replaced "Best Thing" with DeYoung and Chuck Lofrano's "Unfinished Song," a track that later appeared on The Complete Wooden Nickel Recordings double CD featuring Styx's first four albums in full, which was released by Hip-O Records/UMe in 2005. (Can't tell your Miracleswithout a scorecard, apparently...)

The striking painted cover art by Leon Rosenblatt (ID'ed as "Lee" on the back cover) is of a white-bearded grand wizard, seen manipulating by hand and/or other mystical forces the planet Saturn and an array of six of its moons. This design made a fairly recent callback/comeback as the main image on the front of a powder-blue t-shirt sold during the 2013-14 North American Tour. And if you look closely, you may also find the Miracles wizard in the background of some other more recent official Styx t-shirt designs — so happy hunting!

He was a man of miracles, riding golden meteorites...




by Mike Mettler

photos by Kathy Francis

“That was amazing.” It’s a little after 4 p.m. on October 23, and original Styx bassist Chuck Panozzo is a happy man, having just completed a one-man soundcheck on the circular stage that’s the hallmark of the NYCB Theatre in Westbury, Long Island in New York. While the rest of the band was on the tour bus en route from their hotel to the venue, Chuck was testing out an instrument he hadn’t played in many, many years — namely, an Alembic bass that had just been returned to him by two very special and quite dedicated people.

“It’s a beautiful bass, but it’s very heavy,” observed Styx guitar tech Greg Mandleke, the man who had been charged in recent weeks with getting the Alembic up to Styx’s rigorous performance standards. “I’ll take good care of her, and I’ll bring her up to the dressing room in a bit after I’ve had a chance to get her more battle-ready.”

Standing on a ramp behind drummer Todd Sucherman’s live rig, Chuck was visibly brightened at the prospect of finally being able to play the Alembic later in the evening on “Renegade,” the final song in Styx’s encore. “I don’t know how I’m going to lift it once I get out there, but I’ll try,” he joked. “It’s been over 10 years since I last had it, and more than 30 years since I played it with the band. On every tour, fans want to see something different. Tonight, they’ll get to see something they haven’t seen for decades.”

 

So just how did this truly wonderful gear reunion happen? Much thanks and praise must go to John and Kathy Francis, two lifelong Styx fans who were the unyielding catalysts for getting the Alembics back in the hands of their rightful owner. In a Styxoworld exclusive, John — with great input and additional clarification from his better half, Kathy — tell us jointly how it all came to pass.

Mike Mettler: For the uninitiated, please share Chuck’s history with the Alembics.

John Francis: Back in the day, Chuck usually laid down the low-end foundation for Styx on his 1980 Alembic Series I bass. He had previously used his first, 1977-build Series 1 Alembic — bought straight off the rack from a music store — on the Pieces of Eight and Cornerstone albums and tours.

But at that point, Chuck wanted a custom bass. He went to the Alembic factory in Santa Rosa, California, where he was presented with a myriad of options. Chuck joked about how much deforestation he was probably responsible for based on the beautiful exotic woods that were available options at the time, such as the rare ebony facings on the front and back of the instrument. According to sources at Alembic, only four instruments were ever made with that option!

Couple that with a distinctive Scorpion cut body shape, an unusual Scorpion cut Omega, and Alembic’s complex active electronics, and you’ve got a very unique and beautiful instrument.

Mettler: What other musicians have used Alembics over the years?

Francis: Chuck was in decidedly good company with other bassists of the day, including the likes of John Entwistle of The Who, Greg Lake of Emerson, Lake & Palmer, John Paul Jones of Led Zeppelin, John McVie of Fleetwood Mac, Mark King of Level 42, and the virtuoso musician most closely identified with Alembic basses, jazz bass legend Stanley Clarke.

Mettler: I know Chuck’s a fan of the Alembic’s LED feature.

Francis: One of the cool stories Chuck told us about this bass is the fretboard LEDs, which are inlaid in the side of the neck of the guitar. He explained that on the Paradise Theater tour, Styx opened the show with the band in total darkness, so he needed some sort of point of reference once he got out there onstage. Of course, these days, cool glow-in-the-dark paint and gaffer tape can be used to similar effect, but seeing those LED dots glow red in pitch black is certainly something to behold.

Anyhow, once he decided on the instrument specifications, Chuck waited over a year to get the bass. He recounted going to the NAMM show the following year, walking up to the booth and seeing his instrument there. He then reached for it, and the folks manning the booth said, “Hey, you can’t take that!” To which Chuck responded, “That’s mine!”

Chuck proceeded to use that bass almost exclusively on the latter part of the Cornerstone tour in 1980, as well as on the subsequent Paradise Theater and Kilroy Was Here albums and tours in 1981 and 1983.

Mettler: Tell me how you were able to retrieve the Alembics, and then get them back into Chuck’s possession.

Francis: When we learned, sadly, many years ago that these guitars were no longer in Chuck’s possession, we vowed that if we were ever given the opportunity, we would take on the mission to ensure that these basses did not end up getting “lost” in the world. We felt their special history, provenance, and pedigree had to be preserved.

Going as far back as March 2012, postings on the Internet began to surface, indicating that these guitars were “out there,” and possibly available for sale. For the next 4½ years, we pursued every lead in a concerted effort to make it happen. We knew we had to take the chance. We would just have to be tenacious as hell and figure it out as we went along.

After many twists and turns, ups and downs, and certainly a fair amount of disappointment and disillusionment, in May 2016, the planets suddenly aligned, and we were able to bring our mission to its fruition.

As Styx continued touring into the fall of 2016, we reached out to Chuck and told him we had something very special that we wanted to show him in person, and asked if it would be possible to meet before the Styx show in Stroudsburg, Pennsylvania on September 24. Working with the band’s management, we were able to arrange this special “reunion” for Chuck before the show.

As fans, it was extremely moving to see Chuck reunited with his basses and being able to hold them again. His mind seemed to drift off to some darkened stage, to another place and time from the not-too-distant past. It was a very special moment, for both him and us.

Mettler: It must have felt quite rewarding to see Chuck with that bass onstage at the end of the night.

Francis: We sat through the show with bated breath until the very last song of the night, “Renegade.” Out came Chuck, and the bass, as glorious as ever, gleamed under the stage lights. Chuck beamed, the crowd pointed and cheered, and we cried. It was transcendent. Watching from the shadows of the 14th row that night, it was a poignant coda to a journey and adventure that seemed improbable. As the line goes in the Cornerstone song “Never Say Never,” Ne dis jamais jamais…

 

More of the story behind the return of Chuck's beloved Alembics can be found in this week's installment of Styxology, which is available to every Styx Lounge member. Click on JOIN to find out how you can join the club today!




by Mike Mettler

Cornerstone, Styx's ninth studio album, was released 37 years ago today on October 19, 1979. It was the band's third triple-platinum-selling album in a row (cementing them as the first band ever to have achieved that vaunted sales feat, with another one to follow), and it spawned their first #1 single, "Babe." The intimate, Dennis DeYoung-penned ballad reached the pinnacle of the Billboard Hot 100 singles chart for 2 weeks in December 1979 (specifically, on the charts dated December 8 and December 15). The album itself peaked at #2 on Billboard's Top 200 Albums chart.

Cornerstone contains a number of key tracks in the Styx oeuvre. For example, guitarist/vocalist Tommy Shaw's mandolin-driven "Boat on the River" is, in fact, the band's biggest hit internationally, having topped the charts in Switzerland and reaching the Top 5 in countries like Germany, Austria, and the Netherlands. It's also the band's most-covered song, with many of those covers having been done in languages other than English. "It still amazes me how much impact that song has had on people over the years, and how far and wide it has reached all over the globe," Tommy admits.

For "Boat on the River," original bassist Chuck Panozzo did something new by playing a bowed, stand-up double bass. "It was something I hadn't done before in the studio," Chuck recounts. "Some people were skeptical about it, but that wasn't going to stop me from trying it. I thought it was the right thing to do for the song, and I think it worked out perfectly."

The album's vibrant lead track, Tommy's ever-uplifting "Lights," has become a staple in the back half of the band's current live set, and it was a standing favorite for Gary Loizzo, the band's late, longtime live engineer and studio co-producer who passed away in January 2016. Live, "Lights" features an original intro written and performed by drummer Todd Sucherman, Shaw on acoustic guitar throughout the entire song, and co-founding guitarist/vocalist James "JY" Young replicating the Ed Tossing-arranged middle horn section from the studio version on his electric guitar.

Cornerstone was recorded at Loizzo's own Pumpkin Studios in Oak Lawn, Illinois. "For me, Cornerstone was one of those albums that went together very well," Loizzo told me in 2015. "I was very hard on Johnny [John Panozzo, Styx's original drummer, who passed away in 1996] because I made him play nothing but foot, snare, and kick on a couple of tracks, and then he’d have to go and overdub toms and other stuff. Sometimes, the sound itself isn’t the most important thing — you’ve also gotta get the feel."

The album was named by JY, as they often are (he also named Man of Miracles and Equinox). Cornerstone's stunning artwork, which features a barn-door opening down the middle of the back cover that opens up to printed lyrics on both interior half-sides and a shiny, futuristic silver LP sleeve, was designed by Mick Haggerty. (Unfortunately, some of the latter-day LP reissues don't include the barn door.)

While most of the attention given to Cornerstone continues to shine on Side 1, lyrics from key Side 2 tracks like Tommy's album-closer, "Love in the Midnight," have occasionally been sung by its author before he launches into other songs acoustically onstage. The hard-charging "Borrowed Time" (the album's second single, which reached #64) has been discussed only in passing as a song that might be revisited live someday, and when I recently suggested to JY that I'd love to hear "Eddie" played live, he replied, "You might have to wait on that. But I'd keep it in the original key." (I'll be waiting...)

Cornerstone remains a strong pillar in Styx's recorded legacy, and it's an album worth revisiting via its recently, finely remastered vinyl form. And all roads lead to tranquility base...




Braiden Sunshine, the teenage phenomenon who sang “Renegade” on Season 9 of The Voice, finally meets his idol, Tommy Shaw, in Connecticut on September 25. Heres how it went.

 

by Mike Mettler

photo by Jason Powell

Sometimes, the good guys really do win. Styx fans will readily recall the tale of one Braiden Sunshine, the now 16-year-old Connecticut resident who sang “Renegade” on Season 9 of NBC’s hit vocal-competition reality show The Voice on November 16, 2015. Braiden was instantly voted into the next round the following night as a result, as his rousing version of “Renegade” shot straight up to #1 on the iTunes Rock Chart — and Styx’s original version of the song climbed into the Top 21.

“A true Renegade. That’s great! Go Braiden! I believe in him,” enthused one Tommy Shaw, the singer/songwriter of “Renegade,” in the wee hours of the morning of November 17 after he and the rest of Styx had watched Braiden sing their signature song, not long after the band had finished a gig in Thunder Bay, Ontario.

The teenager’s dream to see Styx live and meet the man who wrote the song he sang so well finally came true this past September 25, as Braiden and his super-supportive parents, David and Liz Sunshine, were in the audience when the band played a killer set at the Oakdale Theatre in Wallingford, Connecticut. (More on that exciting encounter in a bit.)

Last November, Braiden was quite humbled upon hearing Shaw’s response to his performance. “That was really cool, because he wrote the song!” he exclaimed to me in a Styxworld exclusive interviewconducted just a day after his rendition of it. “You know, you’re always afraid that people are going to judge you. I never would have thought he would reach out to me — let alone hear it, because I didn’t think he would have even paid attention to it. It’s just a little clip. But the fact that he took the time to send something and say something about it is really cool. And the fact that he liked it is even cooler! He wrote the song!”

Since his time as a Top Ten finalist on The Voice, Braiden has resumed pursuing his solo career, playing gigs whenever and wherever he can. Braiden will release a new single called “Heartbeat” next week on October 25 via iTunes, Amazon, and Apple Music, and you can find more info about what’s next for him at https://www.braidensunshine.com/.

At any rate, back at the Oakdale Theatre on September 25, Braiden and his family made their way backstage as Tommy and the band commenced their usual, behind-closed-doors post-show cooldown. As per custom, we would be given a very specific signal when it was time to make our way to his dressing room. Before meeting the man, Braiden took a few minutes to talk to your Styxologist about what he just saw, and how it all felt.

This is the first time I ever saw the band, yeah,” Braiden said. I really didn’t know what to expect. But when I walked in, I was blown away. They’re just so tight as a band. Everything is perfect. For a lot of bands, when they’re tight like that, it almost feels like it’s in a mechanical’ sense, because they’ve done it so many times, and the passion leaks its way out. But there is so much passion in what they do. Everybody is just having fun. Sometimes bands practice and practice and practice, and it sounds like they’re playing off the album — like they’re just playing the record. But Styx puts so much into it, and their passion just draws you in. It really engages everybody — and that’s something you don’t find every day.

At this point, we’re given “the signal,” and, as a group, we make our way toward Tommy’s dressing room, where Braiden and the creator of “Renegade” meet face to face for the very first time. Here’s how that conversation went, word for word.

Tommy Shaw: Wow. Braiden — you just knocked it out. We were up in Canada, on our way to Winnipeg after playing in Thunder Bay, Ontario. We all watched it together after the show, and it was great.

Braiden Sunshine: Yeah, it was fun. My coach, Gwen [Stefani], had sent me this really old ballad. I just wasn’t really clicking with it. I learned it, but I had “Renegade” ready. I brought it in and told her, “I really want to do this song. Do you really want to hear this other one you asked me to do?” She said, “Do it once and then do your thing, and then we’ll decide.” After she heard “Renegade,” she said, “Do that.” So that went well.

Tommy: Well, thank you. I’m honored.

Braiden: Hey, me too! (smiles all around) You guys were so tight tonight. I’ve never heard a band be so into it after doing it for so long. It’s crazy.

Tommy: It’s a lot of fun. It’s like a sports car. As hard as you’re willing to hit it, you can do it. It’ll go until it goes off the rails — but this band is great when we go off the rails!

Braiden: I didn’t know you guys were going to do the confetti [both near the beginning of the “Rockin’ the Paradise” encore, and toward the end of the encore prior to the conclusion of “Renegade”]. I didn’t see it at first because I was looking the other way, and then there was this total bombardment!

Tommy (laughs): Yeah, it was a double one. Well, we have fun out there. And you sang “Renegade” — it’s a fun song to sing, isn’t it?

Braiden: (nods) Oh yeah!

Tommy: All of them are like that. There’s not a song that we do that we don’t love. And we go deep into the catalog too, like when we play “Man in the Wilderness” [from Side 2 of 1977’s The Grand Illusion]. We were an album-rock band. Even if you didn’t buy the album when it came out, you’d listen to the radio, and you’d hear the whole thing. And then you could decide whether to buy it or not.

And the vinyl is so easy to get too. Everybody does a vinyl release now, and I still love it.

Liz Sunshine: Any recommendations for those just starting out?

Tommy: Just do what you love. Keep fighting for the music that you like to do, and you’ll always love doing it. If you’re feeling it, that’s half the job right there. (to Braiden) And don’t baby your voice!

Braiden: Oh, you know it! (all laugh) Trust me — I’ve been singing in a band since I was 9. When I was 11, I used to do 5-hour gigs every other day. It was fun, but it was challenging.

I used to play this place called the Roadhouse. It was an old bar, and when I was 11, I was really short — up until about 2 years ago. Anyway, I would jump up on the bar and sing AC/DC, and then run around the bar!

Tommy: Well, there you go! Just keep doing that. I went through a little phase where I thought maybe I should start taking it easy. But the easier I took it, the worse I got. So I just went back to laying it all out there.

Braiden: Cool. Oh, and just a sidenote: If you ever need a backup singer, I’m available!

Tommy: You’re a frontman — you don’t need to back anybody up! (all laugh)

 

If youd like to read more of my exclusive backstage conversation with Braiden Sunshine about Styx and the impact of “Renegade,” become a Styx Lounge member today! Just click on JOIN to learn how you can do so.




Keith Urban to Headline Nashville New Year’s Eve Celebration

Diverse Lineup for Jack Daniel’s Music City Midnight: New Year’s Eve in Nashville

Includes Styx, Moon Taxi, A Thousand Horses, Charlie Worsham and Fisk Jubilee Singers®

NASHVILLE – GRAMMY-winner Keith Urban will headline Jack Daniel’s Music City Midnight: New Year’s Eve in Nashville (#NashvilleNYE), the Nashville Convention & Visitors Corp announced today. Urban, who recently received four CMA nominations including for his latest album Ripcord, leads a diverse lineup that includes rock band Styx of “Come Sail Away” fame, indie-progressive band Moon Taxi, country acts A Thousand Horses and Charlie Worsham, and the Fisk Jubilee Singers®. The event is free and open to the public.

“What could be better than New Year’s Eve in downtown Nashville,” Urban said. “It’s an awesome way to ring in 2017, and I can’t wait for the party!”

Urban, a four-time GRAMMY winner, has released five No. 1 albums, including his most recent Ripcord, and recorded 21 No. 1 songs. He ranks No. 8 on Billboard’s All-time Country Airplay Chart and has the most consecutive top 10 songs on Billboard’s Country Airplay Chart (36). He is a Country Music Association Horizon Award winner and the first to go on to win the CMA’s Male Vocalist of the Year, a title he’s captured three times, and the coveted Entertainer of the Year. He is the first and only country artist to have served as an American Idol judge.

“The diversity of this hometown lineup underscores why we are Music City,” said Beth Seigenthaler Courtney, chairman of the Nashville Convention & Visitors Corp and president of DVL Seigenthaler. “From big stars to rising stars and from country to rock to indie, this A-list is only possible in Nashville. Join us and experience Keith Urban sharing the stage with Styx, Moon Taxi, A Thousand Horses, Charlie Worsham and the Fisk Jubilee Singers, and it’s all free. These acts attract incredible fans with explosive energy for a dynamic event.”

The event will take place at Bicentennial Capitol Mall State Park for the first time to accommodate growth and enhance security. Last year’s New Year’s event on Lower Broadway attracted a record 150,000 to downtown, generating $22.2 million in direct visitor spending.

Jack Daniel’s Music City Midnight: New Year’s Eve in Nashville event sitewill open at 4 p.m. with a DJ. The raising of the Music Note by Mayor Megan Barry and the Fisk Jubilee Singers® will follow at approximately 6:15 p.m. After a performance by the Fisk Jubilee Singers®, Charlie Worsham will take the stage, followed by Moon Taxi, A Thousand Horses, Styx and Urban.

“As we host our first event at Bicentennial Mall, it is only fitting that the Fisk Jubilee Singers are special guest performers,” Courtney said. “The Jubilee Singers are the original global ambassadors for Music City with deep roots to nearby Jefferson Street, and we are thrilled that they are part of this show for the first time."

Room packages for Jack Daniel’s Music City Midnight: New Year’s Eve in Nashville are available at visitmusiccity.com/newyearseve.




An exclusive interview with the legendary Pittsburgh Steelers linebacker and newly inducted Hall of Fame member honored by Styx with a brilliant show at the Benedum Center on October 1.

 

 

by Mike Mettler

“I think I may just have to name this guitar ‘The Greene Monster’ in honor of Kevin Greene,” said Styx co-founding guitarist/vocalist James “JY” Young as his trusty guitar tech, Greg Mandelke, handed him one of his most recent acquisitions, a sparkling green customized Strat. And with that official pronouncement, Young stepped directly out onstage to sing “Miss America,” the classic cut from 1977’s The Grand Illusion that opened the second set of Styx’s triumphant two-hour performance at the Benedum Center in the heart of downtown Pittsburgh on October 1. The show was officially billed as being a “celebration” of the aforementioned Greene’s recent induction into the Pro Football Hall of Fame on August 6 — and what was also going to happen in town the very next day.

The Steel City still harbors much love for Kevin Greene, the legendary Pittsburgh Steelers left outside linebacker (1993–95) and the NFL’s third all-time sack leader (with 160.0). Although Greene had also spent time during his storied 15-year NFL career with the Los Angeles Rams, Carolina Panthers, and San Francisco 49ers, the man who wore number 91 had specifically requested his official Hall of Fame ring-presentation ceremony be held in Pittsburgh at nearby Heinz Field during halftime of the Steelers-Chiefs game on the night of October 2.

Not only that, but Styx, along with Greene’s classically trained wife, Tara, got to sing The National Anthem together before that game, and then Styx returned to the field prior to the ring ceremony itself to sing the opening stanzas of “Renegade” (their harmonies accompanied only by guitarist/vocalist Tommy Shaw’s acoustic guitar) before giving way to the studio version being pumped over the Heinz Field P.A. system to serve as the soundtrack for a highlight reel comprised of Greene’s greatest hits and sacks on the field. And Steelers fans, of course, all know just how important Shaw’s indelible “Renegade” is to their team in general (more on that in a bit).

“It was incredibly moving. I’m so proud of the man we met all those years ago,” Tommy told me the following day about playing for and supporting his good friend (and for the Steeler Nation at large). “I still think of Kevin as ‘that guy’ because that’s who he is, now seasoned by parenthood and other life experiences.”

Having also been a fan of Styx ever since he was a kid, Greene, who’s 54, was both humbled and honored to have the previous evening’s concert performed in his honor. “It’s so awesome to be back in the Steel City,” he said to the Benedum faithful from center stage, having been brought out there by JY himself to thunderous applause and chants of “Let’s go Steelers!” — right after Styx had finished their first set of the night. “I love Styx’s music,” Greene continued. “I’ve personally kicked a lot of ass to their rock & roll!”

The man and his family had arrived at the venue earlier that evening during Styx’s already underway soundcheck around 5:31 p.m., and the four of them stood waiting in the wings on Tommy and JY’s side of the stage. Greene, sporting his boss Hall of Fame jacket and a pair of killer snakeskin boots, air-drummed along with drummer Todd Sucherman’s flourishes during the run-through of “Fooling Yourself” before JY spotted them from his onstage position, and he briefly came over to say hello after the song had finished. Ever the taskmaster, JY excused himself to rejoin the 31-minute soundcheck, this time for a go at Tommy’s earliest showcase track, “Crystal Ball,” a song that also happened to be celebrating the 40th anniversary of its release on October 1, 1976. (Hardcore fans will also recall the last time Styx played the Benedum — back when it was still known as the Stanley Theater — in support of The Grand Illusion on December 9, 1977.)

Soundcheck came to an end around 5:49 p.m. after “Suite Madame Blue,” and the entire band came over to say their hellos to the family. Greene and I adjourned to JY’s private dressing room to sit down face to face and exclusively discuss why Styx music continues to mean so much to him, when he first met the band and where, and why he feels teamwork is a vital element for the success of both some of the sports teams he’s played on and of the band itself. There’s no doubt that Greene, a lifelong Renegade in his own right, has officially got it made.

Mike Mettler: Tell me about when you first became aware of Styx while you were growing up.

Kevin Greene: It must have been freshman year of high school [at Granite City High in Illinois] — the 1976, 1977 timeframe. It was the year The Grand Illusion came out, so it must have been 1977. My brother and I had that album on 8-track. We had it in the car, and it would click over at a certain point to the third or fourth track — you know how they do it, those 8-tracks. So, yeah, I’ve been a Styx fan for a long time.

Mettler: How did you come to interact with the band personally?

Greene: Well, I retired from playing after the 1999 season, and in 2000, I worked for ESPN. I believe the Super Bowl was down in Tampa that season, in January 2001. [Note: It sure was — Super Bowl XXXV was held at Raymond James Stadium in Tampa, Florida on January 28, 2001, where the Baltimore Ravens beat the New York Giants, 34-7.]

So I’m down there, and I had a little break in my ESPN commitment. I said to myself, “You know what? I heard Styx was playing locally.” [They were, at the USF Sundome in Tampa, along with REO Speedwagon and Survivor, on January 27, 2001.] I didn’t have a ticket, but I said, “I’m gonna go. I gotta find a way to get a ticket — outside, or whatever it takes — so I’ll finally have a chance to see Styx in concert.”

I walked out back where it looked like roadies were bringing in kegs of beer and other stuff like that. I walked up to one of them and said, “Hey, excuse me a second. Can I ask you a question?” I was basically going to ask if they were still selling tickets for the show, and he goes, “Kevin Greene! What the hell? What are you doing here?” I go, “Well, I’m a big Styx fan.” He goes, “Come on, man! They’d love to meet you!” So I said, “OK!” He took me up to a security guy, and I said, “My name is…” and he said, “…Kevin Greene!! Come here! This is where you need to be!”

Mettler: Wow. That sure worked out perfectly, didn’t it?

Greene: It was awesome! The next thing I know, I’m hanging with Styx in their locker room. I got to meet Tommy and JY and everybody, and I’m thinking, “Oh, this is so cool.” I said, “I’m a big fan of you guys.” And they said, “Well, we’re big football fans. We know who you are, Kevin — you were a helluva player. Where’s your hair?” (both laugh) By then, I had it cut back. But I’m thinking of growing mine back and keeping it longer, like yours.

And that’s how it happened. JY and I have maintained contact over the last 16 years or so, and I’ve gone to a couple more Styx concerts in that time. I go whenever they’re close. I’m still a dad, so I can only get away so much, you know? (chuckles)

Mettler: Your wife Tara got to sing The National Anthem with the band at Heinz Field before the Steelers-Chiefs game. How did that come about?

Greene: She always sang The National Anthem for all the teams I played for and she did really well, so they kept asking her to come back! She’s trained classically. She’s about 14 hours shy of her master’s degree in music and everything, but I married her away and made her a football wife! (both laugh)

I let the Rams know she sang The National Anthem. She went and auditioned, and they had her sing. She also sang with Carolina, San Francisco, and Pittsburgh. And she’s 9-1 when she sings. That’s pretty good. That’s a damn good record!

Mettler: Not too many people have a record like that. A team could be heading for a bye week in the playoffs with that kind of record.

Greene: Seriously! But I had great games when she sang. I had more sacks and recovered fumbles; all those deals. [Tara is now officially 10-1, as the Steelers trounced the Chiefs on Sunday night, 43-14.]

Mettler: Since we’re in Pittsburgh, there’s one specific Styx song that carries extra weight with Steelers fans: “Renegade.” I know the tradition of playing it late in a game started in January 2002, a few years after you left the team, but what does that song mean to you now?

Greene: Yeah! Obviously, I’m a fan of every one of their songs, but as far as “Renegade,” specifically — that’s a Steelers song. I hate to “claim” that one, but it is a Steelers song. It’s an ass-kicking song, and it just really speaks to the Steelers and the steel-mill town mentality. You know, we arerenegades, we are long hair, we’re out there being wild and free and having fun and kicking people’s asses. (Both laugh) What can I say?

Mettler: And how nice that it has become such a rallying cry for the Steelers defense.

Greene: Yeah, it’s neat.

Mettler: I talked with Jerome Bettis about “Renegade” last year, and it was great to hear how the guys on the offensive side of the ball are just as invested in the song as the defense is.

Greene: Generally speaking, I think it’s a defensive song, but it’s neat to hear that from the offensive perspective. Jerome’s a good dude. I’m glad you had a chance to talk to him. He gave me some pointers on my Hall of Fame speech.

Mettler: Those must have been some good pointers, then. Do you have any other favorite Styx songs?

Greene: You know what? Quite frankly, they just jumped out from the radio at me. One was “Crystal Ball,” about the future, and that karma that goes with it. And it came out 40 years ago today [on October 1] — isn’t that something?

And then there’s another song called “Superstars” [from The Grand Illusion]. Tommy sings that he sees you “calling from the shadow of the 14th row, and I’ve had the same dreams you’ve had a few short years ago.” He’s saying, basically, “I was just like you.” I would listen to that in high school, and I’d be thinking, “Man, I could be like that. I could get on that stage.” But I got on a different stage. (smiles)

I think “Fooling Yourself” [also from The Grand Illusion] is another good one because there’s a part in it that goes, “Get up, get back on your feet, you’re the one they can’t beat.” I’ve always felt that way about myself. Once I set my mind to something, nothing’s going to stop me. And that’s what I did.

And like I said, quite honestly, a couple of nuggets from their songs like those jumped out of the radio at me, and I’d go, “He’s right — what he’s singing about.” I know when I set my jaw and make up my mind — and again, I’m thinking this back when I was 16 and 17 — it’s so true! “If I could just do that and be so focused and so determined, I could be where they are! I could be an entertainer!” — which is what I was, on the field.

Mettler: You felt Styx’s music and lyrics were speaking to you personally.

Greene: Their songs were sung with conviction. To write the songs they were writing — that comes from the heart. When I would listen to the songs like “Superstars” and hear those lines about seeing you there in the 14th row, saying, “trust me — we were just like you a few years ago.” If you tweak it the right way, you could say, “He’s right!”

So what’s the difference from being in the 14th row and being a rock star? Drive, desire, determination, dedication, commitment, love, fire, piss and vinegar, and passion, all rolled up into one. [smacks hand into fist for emphasis] For play after play after play after play. And at the end, you see where the cards shake down. And for me, that just happened to be the Hall of Fame — (pauses) which is kind of cool. (smiles)

Mettler: Was there a crossroads kind of moment where you followed the advice you heard in those Styx songs and said, “Screw it — I’m not letting anything stop me”?

Greene: That’s a good question. It was in my third year of college, and I didn’t play for the Auburn Tigers for the first 2 years. I knew I was going to graduate the following year and move on. I just wanted to play for the Auburn Tigers, and it was either now or never. I didn’t want to get to the point when I was 35 and say, “I think I could have played football — shoulda, coulda…”

So I came to that juncture in my life where I said, “F it — I’m going to walk on, and let the chips fall where they may.” I played my junior and senior years at Auburn, and I also played my fifth year there, and then I slipped into the pros — and now I’m walking tall. (laughs heartily)

 

Mettler: You’re being quite modest when you say you “slipped into” the NFL, Kevin.

Greene: Well, I had a lot of people around me. I know the Hall of Fame is an individual award, but for me, it’s not necessarily that way. In Pittsburgh, if I didn’t have [linebacker] Greg Lloyd [Sr.] on the other side of me where the other team had to account for him, then they would have double-teamed me, and that would have taken me out of every game.

And not just us two, but we had [inside linebacker] Levon Kirkland and [linebacker] Chad Brown on the inside, and on my corner, who played with me but none other than Hall of Famer [cornerback] Rod Woodson. He helped me. [Defensive back] Carnell Lake helped me. They all helped me. I had a lot of help along the way. Although I do wear the individual Hall of Fame jacket, there are a lot of people who helped me put this jacket on.

Mettler: It’s like that Steel Curtain teamwork from the ’70s — and the kind of teamwork we also see onstage with Styx. They all do something together that they can’t do individually.

Greene: No question, no question. Correct. I think you’re spot on. And I love seeing how they do that. In order to be successful, whether you’re in a band or in a team sport, you’ve got to have that brotherhood, because there’s no other way. When you get people working together, loving each other, and putting their egos and ambitions on the shelf, you can come together and [claps hands] — you can accomplish big goals, and big things.

Mettler: Last thing: Why do you think Styx music endures to this day?

Greene: Styx have really just stood the test of time, haven’t they? And they love it. They’re just enjoying it now — probably more than ever! They respect it, they enjoy it, and they realize just how blessed they are. It comes through in the way they play, and how much fun they have out there.




by Mike Mettler

Crystal Ball, Styx's sixth studio album and the first to feature Tommy Shaw on guitar and vocals, was released 40 years ago today on October 1, 1976. Recorded at Paragon Studios in Chicago and produced by Styx with assistance from Barry Mraz, Crystal Ball reached #66 on the Pop Albums chart, and "Mademoiselle" (with lead vocals from Shaw) reached #36 on the Pop Singles chart. Crystal Ball has been certified as Gold by the RIAA (with sales of over 500,000), but considering how long ago that certification was done (i.e., in the pre-CD era!), it's very likely to be well over the million-selling mark at this point.

"We knew right away Tommy was a superstar," says original Styx bassist Chuck Panozzo. "His songwriting, playing, and singing on Crystal Ball immediately elevated the band. And," Chuck adds with a laugh, "he's a pretty decent-looking guy too."

Shaw had been recruited to replace original Styx guitarist/vocalist John "J.C." Curulewski once the tour to support Equinox got underway in December 1975. As recording commenced for the new album in 1976, Shaw reached back to his days in MS Funk to emerge with key elements for songs like the quite apropos album opener "Put Me On" and the title track, which, as he notes, "was a song I was playing in the bowling alley back in Montgomery, Alabama."

"Crystal Ball" remains a fixture of the band's live set to this day, and Tommy even resurrected some of the lyrics that were edited out of the recorded version of the song during his recent solo performance with the Contemporary Youth Orchestra (CYO) in Cleveland back on May 27. (The filmed version of that show is expected to air on AXS TV sometime in 2017, with a Blu-ray/DVD release to follow at some point thereafter.)

One lifelong fan of "Crystal Ball" is Loverboy lead singer Mike Reno. "It's one of my favorite songs," Reno confirms. "That song is a total inspiration to me. When I was living in Calgary and playing in a bar band, I was hoping I could be like Styx someday and write songs that good myself. And now I'm proud to call Tommy my friend."

Dennis DeYoung masterfully performed French composer Claude Debussy's impressionistic 1890 instrumental "Clair de Lune" (which translates to "moonlight" and was inspired by French poet Paul Verlaine's 1869 poem of the same name) on piano as the intro to the album's final heartfelt track on Side 2, "Ballerina," which immediately followed the poignant tribute to DeYoung's father, "This Old Man."

At the beginning of Side 2 came "Shooz," featuring some Southern-flare slide guitar courtesy of the band's Alabama native, counterbalanced by co-founding guitarist/vocalist James "JY" Young's patented Hendrixian fire. "I think they were only going to let me have one of those moments on the album," chuckles Tommy. Adds JY, "I do love The Allman Brothers and I'm not sure if we did them justice, but that was our attempt to go there. Our style had already been established, but Tommy was known for doing that kind of stuff in the clubs. I actually hoped we could have moved the band more in that direction."

BTW, if you happen to like hearing that kind of Allman Brothers-inspired vibe, keep your ears peeled for whenever Tommy and JY play certain riffs in tandem on "Man in the Wilderness" and "Pieces of Eight" during Styx's extended live sets.

We'll do a deeper dive into Crystal Ball in the weeks and months ahead over in Styxology, my weekly insider's column that's exclusive to Styx Lounge members. Click on the Join header to learn more about how you too can become an official Styx Fan Club member.




Backstage with Renegade Rockers Styx

By Resident Styxologist - Mike Mettler

Photos by Jason Powell

If there’s one thing that can be said of Styx, the uber-popular multiplatinum-selling rock band born and bred in Chicago, it’s that they never give less than 100 percent during their live shows — even during the soundchecks. And it was quite evident the band was already firing on all cylinders during the soundcheck they did at the New Jersey Performing Arts Center (NJPAC) in Newark on September 22, which commenced promptly at 5:09 p.m., less than 2½ hours before showtime later that evening.

Styx ultimately performed two full hour-long sets to an enthusiastic crowd at the NJPAC that night, comprised of both mega hits (“Renegade,” “Too Much Time on My Hands,” “Come Sail Away”) and deep cuts (“Man in the Wilderness,” “Pieces of Eight,” “Snowblind”) alike.


The aforementioned soundcheck started with the always galvanizing set opener “The Grand Illusion,” with keyboardist/vocalist Lawrence Gowan leading the charge as guitarist/vocalist Tommy Shaw galloped up the riser steps located behind powerhouse drummer Todd Sucherman. Bassist/vocalist Ricky Phillips anchored the beat as co-founding guitarist/vocalist James “JY” Young took an incendiary solo at the lip of the stage on his green Stratocaster, a fairly recent addition to his guitar arsenal. There were fewer than 10 people in the hall at that time, but the band played on as if they were in front of a full house. It’s an admirable display of pre-gig gusto, especially considering Styx has averaged more than 100 live shows per year, every year, since 1999.
Backstage with Renegade Rockers Styx
That’s not to say the band doesn’t have its fair share of moments of levity. Before running through one of Shaw’s signature tunes, “Crystal Ball,” Styx punctuated the end of “Fooling Yourself (The Angry Young Man)” with a shuffle that could best be described as how a Vaudevillian lounge act wearing rumpled tuxedos might end every song they play. It’s somewhat of a signature song-coda wink/nudge maneuver during many a Styx soundcheck, in fact, but it’s also one you’d never hear during an actual show...

Read more at BestofNJ.com!




STYX

SALUTES NEWEST MEMBER OF THE FOOTBALL HALL OF FAME

PITTSBURGH STEELERS LINEBACKER KEVIN GREENE

AS PART OF PITTSBURGH CONCERT OCTOBER 1;

 

BAND SET TO PERFORM NATIONAL ANTHEM

AT PITTSBURGH STEELERS/KANSAS CITY CHIEFS GAME

DURING “SUNDAY NIGHT FOOTBALL”
OCTOBER 2

 

September 27, 2016 -- As any STYX fan in Pittsburgh, PA knows, their signature track “Renegade” has been an adopted theme song of the Pittsburgh Steelers football team for over a decade. They’ve sung the national anthem at many Steelers games in recent years and they’ll be proudly singing it once again at the Steelers vs. Kansas City Chiefs game on Sunday, October 2, which will be nationally televised on NBC’s “Sunday Night Football” at 5:30pm PT/8:30pm ET.

That same weekend, on Saturday, October 1, the band will dedicate their headlining show at Benedum Theatre in Pittsburgh to former Steelers Linebacker Kevin Greene, who was inducted into the Pro Football Hall of Fame on August 6, 2016. In his career, he played 228 games in 15 seasons, garnering 160.0 sacks, and being named to appear on the 1990’s All-Decade Team. Tickets are available on the venue’s website.

Kevin Greene will be awarded his Hall of Fame ring at Sunday’s game as part of a ceremony taking place at halftime.

As founder/guitarist/vocalist James “JY” Young explains, “STYX met Kevin Greene for the first time when we performed at the Super Bowl in 2001. We were impressed with Kevin’s football career as well as the fact that he is a huge STYX fan from Southern Illinois. We’re profoundly honored to be a part of the Pittsburgh tradition of celebrating their Hall of Fame Inductees, especially this time as Kevin is being inducted. He’s a great guy, friend and football player. STYX is proud to be a part of the traditions as ‘Renegade’ has become a part of the 21st century Steeler Culture.”

"I grew up in Southern Illinois a STYX fan,” continues Kevin Greene.” It was great to finally meet the guys in 2001. We have been friends ever since, and I'm excited that my beloved Steelers have adopted the STYX song ‘Renegade’ as the unofficial Steeler fight song in the new millennium. Looking forward to a great concert Saturday in Pittsburgh. I'll be there!!!"

The love for “Renegade” at all Steelers games started at a playoff game against the Cleveland Browns on January 5, 2002. The Steelers were down 24-7 well into the third quarter. During a commercial break, a crew member at Heinz Field (home of the Steelers) decided to play “Renegade” in an effort to get the fans riled up and boost the momentum of the team. It was a moment that helped the team come back to win the game 36-33 and subsequently change Steelers history. Now, during the third quarter of Steelers home games, a video compilation of defensive plays are shown with "Renegade" playing in the background.

In further STYX news, the band--Tommy Shaw (vocals, guitars), James “JY” Young (vocals, guitars), Lawrence Gowan (vocals, keyboards), Todd Sucherman (drums) and Ricky Phillips (bass), along with the occasional surprise appearance by original bassist Chuck Panozzo—is already planning their schedule for 2017 which will include a five-night limited engagement with very special guest star DON FELDER—formerly of the Eagles--at The Venetian Theatre inside The Venetian Las Vegas. The show, “Styx & Don Felder: Renegades In The Fast Lane,” will be held on January 6, 7, 11, 13 and 14, 2017. Tickets are on sale now at www.Venetian.com/StyxFelder.

For “Styx & Don Felder: Renegades In The Fast Lane,” STYX has created an exclusive set list and brand new stage production, while DON FELDER is also working on some exciting plans of his own for the Vegas extravaganza. The multi-show run will pay tribute to both STYX’s and DON FELDER’s combined 45-plus years as one of the most successful rock and roll bands in history and one of rock’s most illustrious guitar legends.

Meanwhile, September 2 marked the long-awaited release date of STYX: LIVE AT THE ORLEANS ARENA LAS VEGASon DVD, Blu-ray and Digital Formats via Eagle Rock Entertainment. It captures the band performing in July 2014 such fan favorites as: “Too Much Time On My Hands.” “Fooling Yourself (The Angry Young Man),” “Renegade,” and more. It also includes a special surprise visit from DON FELDER for a rousing performance of “Blue Collar Man (Long Nights).”




The band joins forces with the Colorado Symphony to deliver a show for the ages.

by Mike Mettler

photo by Jason Powell

Even the weather knew it needed to step aside and respect showtime. When Styx took to the stage at 7:35 p.m. Mountain time at the beautiful Red Rocks Ampitheatre in Morrison, Colorado on August 29, the rain had stopped, the wind had calmed, and the sun was still out in force, adding the right elements to the naturally gorgeous backdrop for a magical night where the strong multi-genre foundation of Styx music and the classical accompaniment of the world-class Colorado Symphony — guided by the steady hand, as always, of the band’s official conductor-on-call, Liza Grossman — meshed in fine, fine harmony.

“This is the best orchestra we’ve ever played with,” declared co-founding guitarist/vocalist James “JY” Young, and it was hard to argue with the Godfather of Styx’s assessment. The band had spent the prior day rehearsing with the Symphony at Boettcher Concert Hall in nearby Denver, and you could already tell something special was in the air when that 2-hour rehearsal officially got underway around 3:30 p.m. (broken into two segments due to the union-required half-hour break) on the afternoon of August 28.

Many notes and tweaks were made during that rehearsal, as they often are, but it was clear both band and symphony were already in sync. The guitar-wielding bandmembers — JY, guitarist/vocalist Tommy Shaw, bassist/vocalist Ricky Phillips, and co-founding bassist Chuck Panozzo — all faced the symphony as they played and sang. Drummer Todd Sucherman faced toward the hall itself as per usual, doing his thing on a scaled-down Yamaha kit just to stage left of Liza’s podium, while keyboardist/vocalist Lawrence Gowan was perched behind a black Steinway & Sons piano. The band ran through most of the impending Red Rocks set, including tackling the critical back half of “Come Sail Away” a total of four times, as both JY and Todd consulted with Liza so the section in 3/4 time and A flat was wholly on point.

Early on in the rehearsal, monitor engineer Evan McElhinney walked onstage to check the vocal fills in the band’s monitors. The band harmonized briefly on the beginning vocals for “Light Up” so Evan could achieve the required balance. When JY noted that both he and Todd couldn’t hear Gowan’s vocals on “The Grand Illusion,” he suggested Evan put his vocal in Ricky’s monitor instead. “Feel OK?” Evan asked after making the adjustment. JY nodded his approval. Each time JY and Tommy traded off solos, their axes sounded damn good to me whenever I stood down front near JY’s Fender DeVille amp, which was positioned facing JY between his and Tommy's positions.

“Can you make some silly sounds with your mouth?” Tommy joked with Gowan before leading into the acoustic intro to “Man in the Wilderness.” The Symphony’s string section was humming throughout the whole track, especially during Tommy’s acoustic-to-electric transition. “Good! That was awesome!” Liza said after the song finished — and I second that sentiment.

The next day at Red Rocks, about 3 hours before showtime, JY came out front and stood on the steps near stage right to see what things looked like from the eventual audience’s point of view. “I prefer playing in the elements,” he told me. “It adds an extra kick only Mother Nature can provide.” A light drizzle and some wind continued to linger, however, pushing soundcheck back a bit to 5:05 p.m., until production manager Brian Wong gave the OK to uncover all the onstage gear and proceed. In the wings, Gowan sang, “Good men through the ages… Still I wonder, yes I wonder…” — key lines from the 1970 Creedence Clearwater Revival classic, “Who’ll Stop the Rain.”

Finally, someone or something did stop the rain, and soundcheck started with “Renegade,” which hadn’t been played during the previous day’s Denver rehearsal. The four interlaced introductory “Oh mama” harmonies were spot on from the get-go, and the Symphony was right there with them. After the first “Renegade” run-through, Todd and Liza conferred about the tempo during “the jig is up” giddyup sequences to make sure everyone kept things tight, a word both the band and symphony members used on their own to describe how it felt playing together. Yes indeed, we were definitely in for a spectacular night ahead.

As the Symphony commenced the show at 7:35 p.m. with the grand swell of “Overture,” the wheels were turning in Tommy Shaw’s head. “We should use that for something,” he mused about earmarking it for the future, pausing to hug the SoundBard before heading up the ramp to the Red Rocks stage from stage left.

And then it was on.

When Gowan settled into the beginning of “Lady” at his keyboard, Liza briefly came offstage on stage right, and pulled a few tissues out of a box sitting on the roadcase where production manager Jeff Heintz was stationed. Liza took of her glasses, dabbed her eyes, and smiled. “I’m a little overwhelmed right now,” she said, with clear emotion in her hushed voice. “This is #1 on my bucket list. A dream come true.” And with another smile, she returned to her podium. Later, during the first encore, “Rockin’ the Paradise,” the ever-mischievous Gowan jumped onto said podium, grabbed Liza’s baton, and “conducted” the orchestra for a few bars himself, perhaps recalling a certain sequence in Fantasia (or perhaps not). When I later winkingly called Gowan a “conductor usurper,” Liza responded, “I like the shtick!”

Before tackling “I Am the Walrus,” Gowan noted how The Beatles themselves had performed in this very location on August 26, 1964. “I looked that date up before we went onstage,” he told me with a grin during the set break as we located the replication of the ticket for that very show in my ever-present Beatles American Tour 1964 notebook — and we then found out that ticket cost only $6.60, with tax!

During the set break, the band was clearly pumped at what had just occurred. “Does it feel as good as I think it does?” exclaimed Tommy. (Note to T: That’s a full-on affirmative.) “Amazing,” Liza concurred. “That was f---ing great!” enthused manager Charlie Brusco, high-fiving everyone as they entered the dressing room.

JY applauded his bandmates and reiterated, “This is the best orchestra show we’ve done in terms of the vibe, and everything. When the crowd turned on all those cellphone lights [during ‘Light Up’], it was magical.” In the hallway between the dressing room and the hospitality room, Liza assessed: “That was a hot first half!” Gowan came over to her to discuss the strategy in the second set for when he would transition from his 2-minute original piano piece “Khedive” directly into “Pieces of Eight”: “To cue you, I’ll count 1-2-3-4, because I do know how to count!”

The second half of the show was just as thrilling — though the wind did pick up quite a bit and some Symphony members had to scramble to secure their scores, as a few pages blew onto the stage in front of the band as well as off to the sidestage behind the percussion section. One of the lead violinists stood up, leaned over, and gave Liza a large rubber band to keep her oversized score books battened down on her podium.

After the performance, Colorado Symphony percussionist Michael Tetreault was quite impressed with how the evening came off overall. “It felt like we had all already done this together a dozen times,” Tetreault told me while standing outside the band’s dressing room. “Everything was really tight, and Todd [Sucherman] had a lot to do with it. My favorite performance of the night was ‘Come Sail Away.’ The thing that strikes me the most about Styx is that they love what they’re doing.”

“The orchestra was excellent,” Chuck Panozzo observed while seated on one of the dressing room couches. “From the stage, the rocks themselves looked like they were framing an ocean and a waterfall of people. I’m now 3 years into remission, and I’ve learned to appreciate evenings like this even more.”

Before heading out to the bus, Ricky Phillips noted, “The evening was so vibey, so I knew it was good. My job is to stay tight all night, and keep the foundation tight with Todd. It’s hard for us to hear the orchestra when we’re onstage, but I can tell it was special when my heart is beating at the same time as what we’re doing out there.”

Now that Liza has crossed off her top bucket list conducting-related item, what’s next? She says her #2 venue is The Hollywood Bowl out in California — so let’s keep our collective fingers crossed that the masters of the Styx touring and routing universe have that locale in mind for sometime in 2017, or beyond.




by Mike Mettler

Styx's mega-triple-platinum smash success Pieces of Eight was released 38 years ago today by A&M Records on September 1, 1978. Featuring a stunning cover design by Hipgnosis — the British company known for creating album-package artwork for Pink Floyd, Led Zeppelin, UFO, 10cc, and scores of other bands — Pieces of Eight become the second of four consecutive Styx albums to sell two million (or more) copies, the first time any band in rock history had ever done so.

Pieces of Eight features many key tracks in the Styx canon that remain staples in the band's current live set: the always hard-charging "Blue Collar Man" (the show's bring-it-on-home song, before which vocalist/guitarist Tommy Shaw often encourages the audience to "shake it — you don't have to break it!"), "Pieces of Eight" (which has keyboardist/vocalist Lawrence Gowan's furiously engaging original piano instrumental "Khedive" as its intro), "Sing for the Day" (an acoustic-driven Shaw treasure that also served as the title for his May 27 solo show with the Contemporary Youth Orchestra in Cleveland), and, of course, "Renegade," the set-ending barnburner that has gained additional life not only as a fourth-quarter rallying cry for the Pittsburgh Steelers but is currently serving as the theme for the upcoming Season 2 of the quite intense Netflix drama Narcos.

Me, I'm also partial to the Gowan-sung version of "Queen of Spades," which appears in 2011's two-disc Regeneration collection. (His unbridled cackle before the line, "You lose!" is priceless.) Styx performed Pieces (the first Styx album your humble Styxologist ever bought) in full alongside 1977's epic The Grand Illusion on tour for a few select dates in 2010, which can be found on the live CD, DVD, and/or Blu-ray set, The Grand Illusion/Pieces of Eight Live (Eagle).

Of "Renegade," possibly his most well-known and most enduring song, Shaw told me, "I wrote that song in my living room on my piano back when I lived in Michigan. Nobody else was around, and for it to become something that Steelers players and fans love, and is now a part of a show I enjoy watching, is so surreal to me! I'm so grateful for how much it means to our own fans, and how it endures to this day." Oh, Mama!




It's that time again! The official Styx professional football pool!

Pool sign-up closes on 9/12.

TOP 10 slots will win prizes:

  • 1st place: 2 tickets to a STYX show of choice (with a mutually agreed upon date) AND a signed NFL football by STYX or a signed Guitar.
  • 2nd place: Either a signed NFL football or a signed guitar (whichever one 1st place doesn't choose)
  • 3rd place: A signed photo of Styx and a signed copy of the Live at Orleans DVD
  • 4th – 10th place: a $25 dollar voucher, good at any STYX Merch Tent (where STYX is playing, not valid via the webstore)

Jon the pool HERE




The STYX concert originally scheduled for Wednesday, August 31 at the Lafayette Theater in Lafayette, IN has been cancelled. Due to the promoter not meeting his financial obligations and production problems within the venue.

Regrettably, there is no rescheduled date. Ticket refunds will be available at point of purchase.

If fans purchased pre-sale tickets through Styxworld.com, they will receive an email from styxworld.com within the next 24 hours with refund information.

We apologize for any inconvenience this may cause.

-Team Styx




STYX & DON FELDER:

RENEGADES IN THE FAST LANE

EXCLUSIVELY AT THE VENETIAN LAS VEGAS

JANUARY 6 – 14, 2017

 

Tickets On Sale Friday, August 26 At 10 A.M.

Las Vegas, NV (August 22, 2016) -- Rock legends STYX with very special guest star DON FELDER—formerly of the Eagles--will take the Las Vegas stage for an unforgettable five-night limited engagement at The Venetian Theatre inside The Venetian Las Vegas. The show, “Styx & Don Felder: Renegades In The Fast Lane,” will be held on January 6, 7, 11, 13 and 14, 2017. STYX’s pre-sale starts Monday, August 22 at 10 a.m. PT through Thursday, August 25 at 10 p.m. PT. American Express cardholders can purchase tickets starting Wednesday, August 24 at 10 a.m. PT through Thursday, August 25 at 10 p.m. PT. Tickets go on sale to the general public on Friday, August 26 at 10 a.m. PT at www.Venetian.com/StyxFelder.

For these special performances, STYX--Tommy Shaw (vocals, guitars), James “JY” Young (vocals, guitars), Lawrence Gowan (vocals, keyboards), Todd Sucherman (drums) and Ricky Phillips (bass), along with the occasional surprise appearance by original bassist Chuck Panozzo—has created an exclusive set list and brand new stage production. DON FELDER is also working on some exciting plans of his own for the residency. The multi-show run will pay tribute to both STYX’s and DON FELDER’s combined 45-plus years as one of the most successful rock and roll bands in history and one of rock’s most illustrious guitar legends.

"I have been an admirer of DON FELDER's unique gifts as a guitar player for decades,” says STYX’s James “JY” Young. “Finally meeting him and having him on the same bill as us in 2014 was great fun. He’s like a long lost brother to me. We are going to have some great fun and nights of musical excellence sharing the stage with Don at The Venetian. Can't wait!!!”

STYX’s Tommy Shaw continues, “Sharing the stage with DON FELDER over the years in various situations has always been a blast, a smile fest, where the joy of playing music is front and center. That's the way we do it in STYX too, so you can see why we are all so excited to be coming together for our first Las Vegas installation at The Venetian. Good friends, good music, it's gonna a treat for us all!”

“I’m so excited to be sharing the stage at The Venetian with my good friends STYX,” said DON FELDER. “This is going to be one ‘ROCKING’ show in the most ‘ROCKING’ city in the U.S. Come join the fun and party with STYX and I this January. See you there.”

“We’re thrilled to welcome two legends of rock to The Venetian Theatre when STYX and DON FELDER take the stage in January,” said Bobby Reynolds, Vice President of Booking for AEG Live. “Fans can look forward to a night full of hits along with some surprise production elements. It’s going to be five nights of incredible rock ‘n roll.”

Additionally, September 2 marks the long-awaited release date of STYX: LIVE AT THE ORLEANS ARENA LAS VEGASon DVD, Blu-ray and Digital Formats via Eagle Rock Entertainment. It captures the band performing in July 2014 such fan favorites as: “Too Much Time On My Hands.” “Fooling Yourself (The Angry Young Man),” “Renegade,” and more. It also includes a special surprise visit from DON FELDER for a rousing performance of “Blue Collar Man (Long Nights).”





by Mike Mettler

photo by Jason Powell

Neither rain nor extra innings could keep Styx from delivering an exciting set following the New York Mets-San Diego Padres game during Pride Night at Citi Field in Flushing, Queens in New York this past Saturday night, August 13. The threat of inclement weather kept stadium officials from allowing fans on the field as originally planned during the band's performance, but Styx soldiered on with a power-packed 65-minute set that wowed the 25,000 quite vocal, enthusiastic, and attentive attendees who remained. (It's always a special thrill to hear a stadium crowd sing the chorus of "Too Much Time on My Hands" back to the band, let me tell you...)

It took the Mets 11 innings to topple the Padres, 3-2, and Styx didn't get to take the field until 10:57 p.m. Undeterred by cramped quarters on the centerfield stage itself and some weather-affected gear challenges (the heat index hovered close to 100 most of the day) — and even the rare occurrence of a broken guitar string — the band powered its way nonstop from set opener "The Grand Illusion" right on through to set closer "Renegade," wrapping the raucous set at 12:03 a.m. Sunday morning.

While keyboardist/vocalist Lawrence Gowan entertained the crowd with his "Bohemian Rhapsody" precursor to "Come Sail Away" — also including, naturally, a few bars of "Piano Man" in homage to local legend Billy Joel — the rest of the band came offstage to towel off and change wardrobe for the big finale. Taking a moment to catch his breath, guitarist/vocalist Tommy Shaw told me he was having a ball. "It feels good. It's crazy, fun, and moist up there!" he exclaimed with a laugh. 'I was looking for a way to run out into the crowd during one of the solos, but I didn't think I'd be able to make it back to the stage in time."

Earlier in the evening, promptly at 6:58 p.m., Styx first took to the field and gathered around home plate to sing the National Anthem a cappella, their only accompaniment being Tommy's Gibson Hummingbird acoustic guitar. You can see the clip I shot of it on Styx's Facebook page. Of that special moment, drummer Todd Sucherman (who first posted the clip himself) sagely observed, "The sonic slapback delay is always the hardest thing about singing the National Anthem at a game. You can hear Mike was close enough to capture us acoustically, and then you can hear the delay coming back from the stadium’s PA system. That’s why we huddle closely together, so we can stay together and not get the timing messed up from what we hear coming back at us louder than our own voices! But it’s always an honor and a thrill."

Incidentally, the last time Styx performed the National Anthem before a sporting event was prior to the AFC Divisional Playoff game between the Pittsburgh Steelers and the San Diego Chargers at Heinz Field in Pittsburgh on January 11, 2009. (The Steelers won that game, 35-24, so perhaps Styx isn't much of a good-luck charm for San Diego-based teams...)

After the on-field Anthem rehearsal and right before the band went into catering to have dinner together around 5:10 p.m., production manager Brian Wong approached Tommy in the hallway with a suggestion about the night's upcoming set list. Initially, "Crystal Ball" had been slated to appear after "Miss America" and before "Light Up," but Wong suggested "Lights" go in there instead. Bassist Ricky Phillips then offered that the band's always electric cover of "I Am the Walrus" be slotted in its place because "that song is perfect for this crowd." Sucherman concurred, saying, "New York is a Beatles town." Everyone agreed, and the set swap was duly made.

It was a good call. As Gowan told me after the show, "That was fantastic! What a great Beatles moment to have, just a few feet from where John Lennon dragged his elbows up and down the keyboard at Shea!" Gowan is referring to the legendary night that occurred 51 years ago today, in fact, when The Beatles played Shea Stadium on August 15, 1965. Lennon clearly had a lot of fun when he put his guitar down for "I'm Down" and literally elbowed his way through some of the song on his Vox Continental stage organ. Eagle-eared listeners may have even caught Gowan tossing in a lyric or two from "I'm Down" during the back half of "Walrus." (Built in 1964, Shea Stadium was ultimately demolished to make way for additional parking for the adjacent and much more modern ballpark, Citi Field, in 2009.)

While post-game stadium shows are not something the band plans to do all the time, manager Charlie Brusco noted the Mets have now won two games with Styx in the building, so their batting average remains perfect. "We got out there and did what we wanted to do — and we're batting a thousand," Brusco observed, and who could argue with that?




by Gary Graff - Billboard

Video hasn't killed the radio star for Styx. It's only enhanced it, as far as the band members are concerned.

The upcoming Live At The Orleans Arena Las Vegas DVD -- coming out Sept. 2 with an exclusive live premiere of "Light Up" below -- is the latest in a series of concert videos Styx has released since its last album of new material, Cyclorama, came out in 2003. The steady stream includes One With Everything with the Cleveland Contemporary Youth Orchestra in 2006 and the The Grand Illusion, Pieces Of Eight Live full-album show in 2012. Live At The Orleans Arena documents a more traditional Styx show and suits the group better than a new studio album right now.

"Look, we know what people want from us, and it's 'Come Sail Away' and 'Lady' and 'Light Up' and 'Too Much Time On My Hands' and...the hits," co-founder and guitarist James "J.Y." Young tells Billboard. "We're doing great on the road now, better than ever, and we're getting a lot of young people too, which is really gratifying. So why put in all that time and money into making something (new) that people may or may not by when we can put out something we know they want and they'll really like."

Fellow guitarist Tommy Shaw, meanwhile, likes the idea that the videos help keep Styx visible -- literally -- in an altered music environment. "Since radio has changed so much, this is something that's a little harder to lose control of," Shaw explains. "It's more of our doing than something that's just out there streaming, and you don't know where it's playing, if it's playing, are you getting compensated for it. We shoot it. We edit it. We put it out and we know how many are sold. It really feels like ours." The Las Vegas show was filmed during July of 2014, and for now the video, which includes bonus band and crew member interviews, is the most recent document of Styx in concert. "We haven't shot one since then," Shaw says. "I don't think we've held any back, either. But I'm sure we'll do more when we feel the time's right."

Read more at billboard.com!




By James Wood - AXS

It just wouldn’t be summer without the music of Styx. For more than four decades, these legendary rockers have been bringing their arsenal of chart-topping hits, hard-driving deeper tracks, and incredible stage presence to enthusiastic audiences across the country.

The band—which consists of Tommy Shaw (vocals, guitars), James “JY” Young (vocals, guitars), Lawrence Gowan (vocals, keyboards), Todd Sucherman (drums) and Ricky Phillips (bass), prides itself on outdoing themselves each and every night. It’s a testament to their insatiable work ethic and musical tenacity.

Styx is currently in the midst of another summer tour. One which promises to bring the soundtrack of summer as well as a few surprises. AXS recently spoke with vocalist and keyboardist Lawrence Gowan about Styx’s current tour, his solo albums and the musical experience that changed his life.

AXS: What can fan fans expect from this year's Styx tour?

Lawrence Gowan: When you see a Styx show there’s an emotional arc in the ride and adventure as well as an epic escape. To accomplish that, we play the most expected and rocking songs, like “Renegade,” “Blue Collar Man,” “The Grand Illusion,” “Come Sail Away,” and “Miss America.” Then we’ll augment that depending on where we are in the country. We try to include at least one song from what we call “The Big 4”—the four consecutive triple platinum albums, as well as a few things from the seventeen years that I’ve been in the band. We may even do a few songs that weren’t singles, like “Man in the Wilderness” or “Pieces of Eight”. That’s what you can expect as far as the menu goes.

Read more at axs.com!




Lawrence Gowan’s two solo albums, Lost Brotherhood and You Can Call Me Larry will both be released on iTunes TOMORROW Friday, July 22nd. This will be the first time ever fans will be able to access his solo music through the music platform.

Get your mice ready to click! You can find the albums on iTunes through the links below:

Lost Brotherhood

You Can Call Me Larry




By Darryl Sterdan, Postmedia Network

Gowan might not have a criminal mind — but he does have two musical ones.

First and perhaps foremost, the Toronto singer has spent the last 17 years as the frontman for American arena rock mainstays Styx. But when he’s not belting out ’70s and ’80s classics like “Lady,” “Come Sail Away” and “Lorelei” for them, he returns to his own intermittent solo career. And not surprisingly, switching hats is sometimes easier said than done.

“They are very different entities in a lot of ways,” the 59-year-old Gowan (first name: Lawrence) agrees. “I use a different set of gears with Styx than I do with my solo shows. When I’m singing a song like Grand Illusion at a Styx show, there’s a certain bravado of those lyrics that’s a stark contrast to the more internalized and idiosyncratic lyrics of (solo) songs like Strange Animal or Criminal Mind. I have to put my voice in a different place and shift my mindset accordingly.”

These days, he’s shifting more frequently: Along with his Styx gig, the Can-Rock vet is celebrating the digital reissue of two albums from his back catalogue — 1990’s Lost Brotherhood and 1993’s ‘… but you can call me Larry.’ In keeping with his yin-yang creative life, they’re contrasting affairs: The first maintains the synth-heavy prog-rock sound most listeners associate with him, while the latter is an artistic curveball that’s as unpretentious as its title, trading electronics and grandeur for guitar-based singer-songwriter rock.

After hitting the National Post Sessions studio to give us a live sample of his wares, the quick-witted vocalist called up from one of Styx’s 112 concerts this year to chat about Norma Desmond’s beauty tips, yadda-yaddaing the Rock and Roll Hall of Fame and that time his mullet failed him.

Q: It must be cool to have these two albums back in circulation again.

A: Yeah! There are only six Gowan albums in total. Four of them have been on iTunes for at least 10 years. And there’s a greatest hits record that does include a few of the songs on this album. But to finally have these two available in their entirety is significant. Particularly in light of the fact that on Lost Brotherhood, (Rush’s) Alex Lifeson is the featured guitarist — and he’s in the Rock and Roll Hall of Fame now, 26 years after that record came out.

Q: And it’s all due to that guest spot.

A: (Laughs) I think it is. Entirely. You can draw a line straight back to there and you’ll see that was the turning point in his career — that solo in Lost Brotherhood. And it’s what led him to that riveting speech he gave at the Hall of Fame induction.

Read more and watch Gowan perform with Ricky Tillo at nationalpost.com!



Subscribe to RSS feed for News

All Dates