Dennis DeYoung Albums (7)
'One Hundred Years from Now'
Release Date 6/26/2007
Tracks 11
Label DEP
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What The Critics Say
Dennis DeYoung spent a fair chunk of his solo career denying the very sound of Styx (not quite the same thing as denying their songs, which he would continue to sing), going as far as Broadway to distinguish himself from the band and writing concept albums. One Hundred Years from Now, initially released in Canada in 2007 and appearing two years later in the States, retains some dramatic elements, but despite some heavy themes, it's more notable for its sound. It hits hard, sometimes bordering on heavy, fueled by arena hooks and power ballads, sounding more like Styx than any of his other albums, but One Hundred Years from Now isn't necessarily a throwback, thanks in part to DeYoung actively pondering the fate of the modern world, ranting against CNN, sneering about "who needs reality when you've got gigabytes" and singing a song about keeping hope alive. He might wonder what everything will look like in a century, but this is rooted in the 20th century, right down to the bleating synth sounds and thundering guitar that color these outsized rockers, but there's conviction in DeYoung's delivery and he simply sounds at home belting out power rockers and, especially, power ballads, both of which are in abundance here. It's that familiarity factor that works wonders for One Hundred Years from Now -- he's waited long enough to pursue this sound that he now approaches it with fresh ears, not necessarily reinventing it but reinvigorating it, resulting in his best solo album yet. ~ Stephen Thomas Erlewine, All Music Guide
'Music of Styx: Live With Symphony Orchestra'
Release Date 10/5/2004
Tracks 26
Label Rounder
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What The Critics Say
Recorded in Chicago in 2003, former Styx lead singer Dennis DeYoung returns to his hometown for a two-disc session filled with Styx's finest moments backed by a symphony orchestra. DeYoung performs all of the most memorable hits and his voice hasn't lost a step. There are also classical pieces from Mozart and Debussy intermittently planted about throughout the program. Diehard fans of Styx will no doubt enjoy this, but casual fans would be better served picking up a greatest-hits compilation to hear the band in its full sonic glory. ~ Rob Theakston, All Music Guide
What The Critics Say
Dennis DeYoung always sang as if he was on Broadway, so it only made sense that he eventually turned to show tunes in the mid-'90s with 10 on Broadway. This isn't a record that will satisfy many Broadway purists, but DeYoung hardly embarrasses himself with his versions of "Someone to Watch Over Me," "Summertime," "On the Street Where You Live," and "Memory," among other familiar tunes. It's not a particularly adventurous collection, either in terms of selection or performance, but it's pretty good for what it is. It's hard to imagine who will want to hear this outside of DeYoung fanatics -- Styx fans will complain it doesn't rock, show tune snobs will prefer Mandy Patinkin -- but it's still not bad. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Styx was only a year in the grave before lead singer Dennis DeYoung ventured out on his own with his solo debut, Desert Moon. The solo record does not represent a significant stylistic departure from Styx's brand of pop/rock, although the emphasis is heavier on the pop and not as heavy on the rock. DeYoung continues his gut-busting vocal strategy, belting out his notes. The singer also supplies the keyboards, of which there are plenty -- this is a mid-'80s record, after all. Tom Dziallo handles the wailing electric guitars and arranged the cover of Jimi Hendrix's "Fire." The album yielded a Top Ten hit in "Desert Moon." ~ Evan Cater, All Music Guide
What The Critics Say
One of the reasons why Dennis DeYoung and the rest of Styx had a falling out during the late '90s was the singer's desire to move into a more theatrical direction. But theatricality was always a love of DeYoung's, as evidenced by Styx's bombastic Kilroy Was Here presentation, as well as a stage musical production of The Hunchback of Notre Dame that the singer assembled in 1997. DeYoung sounds in fine voice throughout the CD version of the presentation (which he released himself), especially on such tracks as the set opener, "Who Will Love This Child." However, upon hearing the fabulously titled "Hey Quasimodo" you can instantly detect why DeYoung's preferred style was bound to clash with the more hard rock-minded Tommy Shaw and James Young. That said, if any rock vocalist was made for Broadway-esque material, DeYoung is the leading candidate, as evidenced throughout the bombastic The Hunchback of Notre Dame. ~ Greg Prato, All Music Guide
