Styx Albums (22)
'One with Everything'
Release Date 11/7/2006
Tracks 13
Label New Door
See Album Tracklist and Review
What The Critics Say
Rock bands classified as "progressive" have been pairing off with symphony orchestras for decades, sometimes with positive results, a good example being Procol Harum Live in Concert with the Edmonton Symphony Orchestra, that group's biggest selling album. According to guitarist/singer Tommy Shaw, who has been fronting Styx since a legal settlement with former singer/keyboardist Dennis DeYoung gave him, guitarist James "JY" Young, and mostly retired bass player Chuck Panozzo the right to perform under the band's name in 2001, the group mostly avoided hooking up with orchestras until an offer came in from the Contemporary Youth Orchestra (CYO) of Cleveland, OH, a massive ensemble of 115 musicians along with a 56-member choir, all of them teenagers. Their live encounter with the CYO constitutes their second release on Universal's New Door imprint, formed to revitalize the careers of veteran acts with large catalogs in the company's archives, following the 2005 covers collection Big Bang Theory. Actually, the idea of coming up with orchestral arrangements for Styx songs is not a bad one, or, at least, it wouldn't be if the present group was willing to choose from its entire repertoire, including the more melodic ballads written by the departed DeYoung. But a decision seems to have been made to avoid giving royalties to the band's former leader, so the songs all have to be Shaw compositions, numbers written by the present group, or covers. The result is a record that finds Styx rocking harder than it perhaps should under the circumstances. The CYO may be a worthy outfit, but most of the time it's nearly impossible to tell because they are inaudible as pitted against the amplified rock group. Early on, it sounds as if the mixing desk hasn't quite configured the room correctly, a common enough problem at concerts; the sound improves noticeably as the disc goes on. An early highlight is an arrangement of "I Am the Walrus" that follows the Beatles' original closely. The choir seems to be having a wonderful time singing "Woah" in the chorus. It's good, but it's not what one expects from Styx. The orchestra gets to peek out here and there, notably in the introduction to "Miss America," but it spends a lot of the evening doubling Lawrence Gowan's keyboard parts. At least it can be said that the youngsters are getting a good sense of what an arena rock concert is like, as Shaw treats them to a range of clichéd stage remarks such as, "One word: awesome!" He also talks about wanting to play all night, which, as usual, is a signal that the show is about to end. For no apparent reason, there is a new, original, studio-recorded track in the middle of the disc, "Just Be." It suggests that this faux Styx may be trying to turn into the faux Pink Floyd of the late '80s. ~ William Ruhlmann, All Music Guide
What The Critics Say
Like 2004's less than stellar Cyclorama, those looking for this to be the big Styx record that will catapult them back into the mainstream will be sorely disappointed in the contents of this record. It's not a CD of new material, rather, it's a 14-song collection of covers from some of the band's influences and all-time rock favorites. Starting with a live recording of the Beatles' "I Am the Walrus," the band works its way through the great rock & roll songbook with safe, relative ease. Also included are the Who's "I Can See for Miles," the Lovin' Spoonful's "Summer in the City," Blind Faith's "Can't Find My Way Home," Jimi Hendrix's "Manic Depression," Jethro Tull's "Locomotive Breath," and Free's "Wishing Well." All fine choices, and in combination with Styx's usual clean production and relaxed atmosphere around the usually serious album format makes Big Bang Theory a record that die-hard fans will enjoy and casual fans might regard as a passing novelty stopgap in between records.~ Rob Theakston, All Music Guide
What The Critics Say
Although they're not on par with Pearl Jam just yet for the largest amount of live albums released in the shortest amount of time, Styx surely lead the pack of veteran classic rock bands in the live album department. During the space of six years, from 1997 through 2003 (which saw Styx reunite with Dennis DeYoung, then hand the singer his walking papers, before replacing him with Lawrence Gowan), the Chicago arena rockers issued a staggering five live albums. Released in 2003, 21st Century Live features much of the same material as its predecessors, but differs in the fact that it's a double disc, comprised of a CD and DVD. Despite the fact that many fans will scream "Sacrilege!" at the mere thought of Styx carrying on without DeYoung (and they do have a valid point), the versions of such classics as "Snowblind" and "Renegade" still retain the original's grandiose power, and hardcore fans will be interested in sampling such Cyclorama-era tracks as "Yes I Can" and "These Are the Times" in a live setting. With such an overabundance of modern-day Styx concert albums now on the market, hopefully next time, the chaps will dig deeper into the vaults and issue an archival release. ~ Greg Prato, All Music Guide
What The Critics Say
During the '90s, such veteran arena rockers as Journey and Styx mounted comebacks, both of which featured all, or most of, their classic lineups. But in both cases, both reunions were fleeting, and instead of packing it up for good, both acts soldiered on with new frontmen -- in Journey's case, Steve Augeri got the nod to fill Steve Perry's shoes, while Styx replaced Dennis DeYoung with Lawrence Gowan. As most longtime Styx fans know, DeYoung brought balladry and also a flair for the dramatic to the band (Domo Arigato, "Mr. Roboto"?), while guitarist Tommy Shaw wanted the band to be a tried and true rock outfit. Now that Shaw has been appointed captain of the Styx ship, Cyclorama is expectedly more straight-ahead rock than anything he band has ever done, especially evident on such cuts as the album opener "Do Things My Way" and the goofy "Bourgeois Pig" (featuring special guest Billy Bob Thornton). But Styx misses the mark badly by trying to update their sound on "Kiss Your Ass Goodbye," which is an obvious attempt at honing in on Sum 41 and blink-182 territory. Additionally, while listening to such ambitious tracks as "These Are the Times," you can't help but think that the material would've been even better if DeYoung were still involved. As evidenced by Cyclorama, DeYoung is just too big a missing piece of the Styx puzzle. ~ Greg Prato, All Music Guide
'At the River's Edge: Live in St. Louis'
Release Date 7/9/2002
Tracks 11
Label CMC International
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What The Critics Say
The early 21st century saw two of the biggest arena rock draws of the early '80s, Journey and Styx, touring the concert circuit once more. But the only catch was that both of the groups' lead singers (and as many fans would agree, their most identifiable members), Steve Perry and Dennis DeYoung, were not present. But that didn't keep either band down, as replacements -- Steve Augeri and Lawrence Gowan, respectively -- filled the vacated slots. Both had no problem nailing the vocal lines of their predecessors, and Styx must have been eager to prove this, by issuing a staggering three live albums between 2001 and 2003 (and an additional one if you include 2000's half Styx/half REO Speedwagon set, Arch Allies: Live at Riverport). The James "JY" Young/Tommy Shaw-led latter-day Styx stick mostly to the classics of yesteryear throughout, and sound as vibrant as ever on such hard rockers as "Renegade," "Too Much Time on My Hands," and "Blue Collar Man," as well as on a pair of DeYoung originals, "Grand Illusion" and the group's first-ever hit, "Lady." Some longtime fans will refuse to accept anything Styx-oriented without DeYoung present, but for fans who are content getting the chance to be able to hear Styx classics performed live in the early 21st century, At the River's Edge: Live in St. Louis will be a welcome entry. ~ Greg Prato, All Music Guide
'Styx World: Live 2001'
Release Date 6/5/2001
Tracks 13
Label CMC International
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'Arch Allies: Live at Riverport'
Release Date 9/26/2000
Tracks 24
Label Sanctuary
See Album Tracklist and Review
'Brave New World'
Release Date 6/29/1999
Tracks 14
Label CMC International
See Album Tracklist and Review
What The Critics Say
Apparently, there are more die-hard Styx fans in the late '90s than anyone would have imagined, since Styx quietly went gold with Return to Paradise, their first release for CMC International. Some might say that the success was due to re-recordings that peppered Return, but that's not true -- it never would have sold that much if it didn't have new recordings, since that's what the hardcore fans wanted. Return to Paradise gave them some, but Brave New World presents the first full-fledged collection of new Styx material in nearly a decade. Skeptics would expect the album to be nothing but reconstituted arena-rock, but that's not entirely true. True, Brave New World is in that tradition -- after all, Styx was one of the architects of the style -- but they try new things too, such as Tommy Shaw's weird, neutered funk-metal on "I Will Be Your Witness" and "Number One," or how James Young's songs push the heaviness quotient, or how the entire album is given a clean, contemporary sound. Ironic, then, that the record is a deeply cynical tirade at the '90s, this Brave New World. A true streak of bitterness runs through the record, culminating in the cringe-inducing assault on hipsters and pundits "High Crimes & Misdemeanors (Hip Hop-Cracy)" (there could be an attack on rap and hip-hop in the song, as well -- the title certainly suggests it and maybe the canned drum machine is supposed to recall hip-hop, but it's impossible to tell). As it turns out, Styx are luddites, scared or disgusted at everything the modern world has to offer (except for their biggest fan, Adam Sandler, who is thanked in the notes); there's a genuine distrust for anything new and deep longing for times passed (whether it's adolscence or the band's glory days, it's impossible to tell) pulsates throughout the album. For the devoted and doubters alike, that bitterness keeps things interesting, but Brave New World ultimately fails because the songs just don't catch hold. Whether they're good or bad, the themes are interesting, and Styx has a different feel for each song, but they have no hooks or melodies to make the memorable. Concept and construction may be enough to justify a spin of Brave New World, but only the hardcore fan will delve into its beliefs, contradictions and mysteries. ~ Stephen Thomas Erlewine, All Music Guide
'Return to Paradise'
Release Date 4/29/1997
Tracks 20
Label CMC International
See Album Tracklist and Review
What The Critics Say
Styx was one of the all-time favorite targets of many rock critics, but the mixture of bleeding-heart ballads, catchy arena rock, and ambitious art rock appealed to millions in the late '70s and early '80s. After 13 years apart, the Chicago-based band's classic lineup of vocalist/keyboardist Dennis DeYoung, vocalist/guitarist Tommy Shaw, vocalist/guitarist James Young, and bassist Chuck Panozzo reunited for a successful greatest-hits tour in 1996. Drummer Todd Sucherman replaced John Panozzo, who died of chronic alcohol abuse that year. The highly enjoyable, 17-song concert video Return to Paradise was filmed on the final date of the 1996 tour -- on the autumnal equinox -- in front of an enthusiastic hometown crowd at the Rosemont Horizon. The quintet seems to be having a blast. The tour's theme and stage setup was based on 1981's Paradise Theater (number one). As such, the boisterous "Rockin' the Paradise" is an appropriate opener. "Blue Collar Man (Long Nights)" maintains the full-tilt pace. A frantic jam ends "Too Much Time on My Hands." Before Young starts the dramatic "Snowblind," he reminds the fans that it was accused of containing satanic backward messages, lists the devil's many aliases, and says, "None of those bad guys had a damn thing to do with this next song." DeYoung dedicates "Show Me the Way" to John Panozzo; a photo of the late drummer is projected on the stage backdrop and the fans ignite a sea of lighters and candles. A blistering version of "Come Sail Away" ends the regular set; the encores are "Renegade" and "The Best of Times." (Although "Mr. Roboto" was regarded as a cheesy sci-fi embarrassment by many, its omission is disappointing.) The 1999 DVD includes many extras such as behind-the-scenes footage shot by Sucherman, an interview with Shaw, a photo gallery, and more. ~ Bret Adams, All Music Guide
What The Critics Say
Although Dennis De Young's concept about man being replaced by robots in the near future failed to get off the ground, Kilroy Was Here still harbored two of the band's best singles. "Don't Let It End" almost captures the same endearing qualities as their number one hit, "Babe," did four years earlier, peaking at number six, and the synthesized novelty of "Mr. Roboto" went all the way to number three, accompanied by a lively and rather extravagant Dennis De Young at the helm. It was the song's mechanically spoken chorus and slight disco beat that made it Styx's fifth Top Ten single up to that point, overshadowing the rest of the album's tracks. Pretentious, weakly composed, and rhythmically anemic, songs like "Cold War," "Heavy Metal Poisoning," and "Double Life" couldn't even keep the album's main idea interesting, solidifying the fact that Styx's forte was singles, not conceptual pieces. The saxophone playing from Steve Eison gathers some redemption, cropping up here and there, but even some decent guitar work from Shaw and Young can't save the rest of the album. Brought back to life in the late '90s in an automobile commercial, "Mr. Roboto" gained somewhat of a minor resurgence more than 15 years after its chart life. ~ Mike DeGagne, All Music Guide
