Styx ~ USA ~ Chicago, Illinois

Styx was my first contemporary favorite band when I started collecting LPs instead of 45s. This would be 1977 and I was 12. No surprise that I gravitated to progressive rock (it would be another few years before I even knew what that term meant), and it was 'Castle Walls' (from The Grand Illusion) that initially drew me in. Along with 'Suite Madame Blue' from Equinox, this wonderful composition demonstrated that Styx could have been a successful progressive rock band had they tried. But why do that when they ultimately became megastars doing what they did best - marrying commercial FM radio hits with some sophistication. Styx are very much Chicago (the city) in their approach - brash, in your face, and as subtle as a train wreck. With added street smarts. They played both sides of the rock radio commercial fence and won most fans over. Today, Styx are one of those bands that creates handwringing from the modern critic. Aren't they just too cheesy? All that is endemic to late 70s and early 80s AOR? They don't get a pass like Steely Dan does. To be fair, I do think experiencing their albums from the era does help in this case. I was just coming of age myself, so music like this is more part of my DNA than an objective viewpoint all these years later. While obscurities such as Alpha Centauri, Gideon, etc... continue to roll in, and I (and others) heap much praise, they really aren't so much different from a musical approach. But superstardom has a way of bringing out the naysayers. And I too can be just that person when groups like REO Speedwagon and Journey find themselves on my turntable. Yuck - how could have anyone liked that I ask? While I personally think Styx is a cut above, not all who hear them agree.

Paradise Theatre (1981)

As noted in the summary, Styx were my favorite band in 1977 and 1978. By 1981 I was hiding from them, disassociating myself from my early fandom. Their prior album Cornerstone (1979) was a disaster with no redeemable qualities whatsoever. Not only that but by 1981 I was an early adopter of heavy metal having loaded up on Judas Priest and the Scorpions albums, plus getting on board with the new generation like Iron Maiden and Saxon. Such is the trajectory of the anger filled teenager going from age 12 to age 16. As would be the case throughout my life, when I first embraced Styx they weren't very popular with my school mates. By the time I was a sophomore in high school, they were extremely popular in the same way that Journey and Foreigner were. And Paradise Theatre was that album that propelled them to the highest ranks of respect among that crowd. Being the contrarian I was, my reflexive response was to hate it. So take that you soft-bellied weenies! About seven years ago I grabbed the CD for dirt cheap and made an objective go, but I wasn't impressed. Now I've found the LP for a buck, let's try it one more time. These past seven years has allowed me to ditch a lot of my prior bias' and embrace albums and styles of music that I once scoffed at. If you've noticed my latest motif, an album review without a cover means I didn't keep it. There's your clue. Even after all this time, my 2018 analysis was correct. The songwriting just isn't there. They have hits from this album like 'Too Much Time on My Hands', 'Snowblind', and 'The Best of Times' but they're just bad reminders to me of the sad state of radio in the early 80s. I do like that Styx boldly went forward with a concept album when doing such a thing was considered nerdy at best, and nerdy was not cool in those days. And I also like that the concept was about a glorious time (1920s) in their breeding ground of Chicago. So yea, certainly better than Cornerstone (not much is worse) but not even close to earning shelf space. (ED: Until I lucked into finding the Nautilus LP a month later, so I'm keeping it lol).

Ownership: 1982 Nautilus / A&M (LP). Gatefold. Acquired in 2025.

1981; 2/12/18; 2/23/25 (review)
 

Styx II (1973)

As noted on in the summary, Styx were my favorite contemporary act as a 12 year old. Going into my first year as an teenager, they also represented the first band I began to deep dive on. I believe Styx II was the second full length for me to own.

About 18 years ago I wrote the following (after acquiring the CD comp): "Styx II, the album famous for spawning ‘Lady’, starts to show the band tighten up their sound and composition structure. The first three tracks are awesome (including ‘Lady’) and features one of their best “pure prog” tunes with the eight minute 'A Day'. They don't sustain the momentum though. Each early Styx album has at least one hideous woofer, where they try to show that they can play old style 50’s rock and roll, and Styx II is no exception. The band were too diverse for their own good in the early years. ‘Lady’ didn’t become a hit until 1975 just after the release of their 5th album Equinox. From there they skyrocketed into the mainstream."

Yea, exactly that. Typical unfocused early Styx release. But it does include John Curulewski's greatest contribution to the group which would be 'A Day', a wonderful drifty melancholic proggy number. 'Lady' is a beautiful song, and the A&R guys missed the boat originally. That track would also predict their future. In the end, not really a great work overall, and arguably the worst of their original quartet of albums.

Ownership: 

1973 Wooden Nickel (LP). Acquired in 1978.

2005 Hip-O Select - The Complete Wooden Nickel Recordings (2xCD). See Man of Miracles at the bottom of this post. 

1978; 5//05 (notes); 11/12/23 (review)

The Grand Illusion (1977)

So here is where I started with Styx. I love the opening 'The Grand Illusion' which I think is the perfect blend of who Styx really were at this point: AOR, Hard Rock, Progressive Rock. In that order. Tommy Shaw really comes into his own with 'Fooling Yourself' and 'Man in the Wilderness', the latter featuring a killer guitar break. Shaw adds a touch of folksiness to most of his tunes, another lever for the band to pull on. Other than the proggy 'Castle Walls', my other favorite track was (and is) 'Miss America'. This tune is quite possibly James Young's finest hard rock composition. While I gravitated towards prog at an early age, I also had some pent up anger for a lot of reasons, and 'Miss America' helped me through some early aggression. As strange as this may sound, it was Styx that introduced me to the hard rock, and ultimately, heavy metal genres. Both still favorite styles of mine today, though the anger element is long gone from me. I appreciate the energy and tone they both bring.

That leaves the throwaway 'Superstars', the only track on the album I have no memory of despite hearing it hundreds of times. And then comes their blockbuster 'Come Sail Away'. It is an absolutely beautiful track. Had it been only three minutes - perfect timing for the radio - then I would have loved it. But that annoying chorus, which never stops, drives me batty. Why they felt it so necessary to carry that on for so long is a great mystery to me.

Ownership: 

1977 A&M (LP). Lyric insert and poster. Acquired in 1977.

A&M (CD) 90s press. Acquired in 2005.

1977 A&M (8-track). Yea, man. Acquired in 2026.

1977; 7//05; 11/6/23 (review)

Styx (1972)

I think to fully appreciate Styx's debut, one has to immerse themselves into the era from which they came. As I've mentioned a few times prior, while England and Europe had full blown progressive rock scenes operating in the early 70s, America's labels didn't support it. Couldn't see the commercial value. Album rock was an English thing. Singles are where it's at! This mindset prevailed despite massive sales going to English bands thriving in that market. It isn't like progressive rock didn't exist on these shores, it's that they were four to five years behind the curve. There were meager attempts (commercially speaking that is) by awesome groups that remain unfairly obscure such as Ram, Polyphony, and Sanctuary. But they were few and far between. The mid to late 70s saw the grassroots prog movement here finally explode - to strictly local and regional audiences. Essentially the major labels missed the boat. Something they were careful not to replicate as the States were the leader in future musical endeavors, the various styles of heavy metal in particular comes to mind.

So back to Styx. Their debut was a fish out of water. A prog rock record released by an American band. Now it didn't help that Styx weren't really all that progressive to begin with. It's 1972, so you're up against Yes' Close to the Edge and Genesis' Foxtrot as but two examples of hundreds. Styx is miles less interesting than that. What Styx really did was predict the regional nature of such music here in America. They couldn't be more Chicago-born even if they tried. Most folks were likely to discover Styx's debut after the fact, long after they were megastars. And in that scenario, they also fail, because this is a long way from their patented professional AOR / prog formula. Styx's debut is music for the local club set, not the arena.

With all of that in mind, were it a private press, or even a major label one-off flop, the album would have more underground fans. It's definitely charming. The lengthy opener 'Movement for a Common Man' has a lot of quality jams and songwriting. Besides, I heartily agree with the old codgers in 'Street Collage' lol. 'Best Thing' was their big bet on a hit. It's a really good song, but too heavy and dirty for 1972 pop rock. It's definitely an album rock cut. 'Quick is the Beat of My Heart' is another quality hard rock track. There's nothing weak on this debut, though it was hardly a bold statement going mightily forward. It sounds hedged primarily because Styx were never truly an all-out prog band. They were a Chicago bar band who extended their skills way beyond their peers. And it ultimately paid off.

Ownership:

1972 Wooden Nickel (LP). Acquired in 1985.

2005 Hip-O Select - The Complete Wooden Nickel Recordings (2xCD). See Man of Miracles at the bottom of this post.

1978; 1985; 5//05; 7/19/22 (review)

Equinox (1975)

One of the earliest albums I ever owned, I pretty much have this album memorized. It was one of my favorites when I was 13, a couple of years after its release. The album's two openers 'Light Up' and 'Lorelei' were FM radio staples in the late 70s. Both feature punchy synths and hard rocking guitars, the new formula for Styx once they joined the A&M record label stable. The only two tracks I don't recall are the last couple of cuts on the A side. I should remember 'Mother Dear' though, as it's an excellent organ driven proggy number. Perhaps a look back to their earliest albums. 'Lonely Child', yea OK, it's pretty forgettable. All of side 2 kicks ass. 'Midnight Ride' is patented James Young hard rock, with some ripping solos, and I've always appreciated his rough n' ready vocals. 'Born For Adventure' is another heavy prog oriented number, with some great bass work, and we used to go wild as kids when they phased the vocals towards the end. But it's closer 'Suite Madame Blue' that wins the blue ribbon, and is arguably the greatest progressive rock composition in Styx's career. The bit where the synthesizer melts down and the heavy guitar riff comes in and then they start singing "America" in harmony sends chills up one's spine. Equinox is part of my DNA by now, so no chance for objectivity here.

Ownership: 1975 A&M (LP). Lyric inner. Acquired in 1978.

1978; 7//05; 12/18/12; 12/27/21 (review)

Crystal Ball (1976)

I've owned this album in one form or another since 1978, when I was just starting to get into record collecting as an early teen. Styx was my first "favorite band" and even had a belt buckle of their emblem. Hey, I was a kid. Wish I still had it, I'm sure it's worth quite a bit today. Maybe I would even wear it! Yea, and my wife would kill me, so scratch that. In any case, Crystal Ball was never one of my favorites by the band and I hear it weaker than the two it sits between. But JY's hard rocking opener 'Put Me On' and Dennis DeYoung's slick 'Jennifer' provide some highlights. Crystal Ball is, of course, Tommy Shaw's debut with the band and he wrote the title track. It's a signature tune, and foreshadowed his excellent songwriting abilities for future albums. Side 2 kind of wheezes out even though it has progressive rock ambition. Regardless, Crystal Ball has aged well for me.

Ownership: 1976 A&M (LP). Lyric inner. Acquired in 1978.

1978; 7//05; 10/14/21 (review)

Return to Paradise (1997) 

This is a double live album that heralds the return of Styx to south Chicago. It features four out of five of the key protagonists, with only John Panozzo missing (who had recently passed away). This is one of those live albums that prove the band know how to play the songs they wrote. And nothing else. No improvisation, alternate arrangements, or different energy levels. Essentially one is hearing a play list. There are a couple of newer tracks thrown in, but given they aren't anything special, it's hardly a reason to buy it. Not for me.

Source: 1997 CMC (CD)

3/4/21 (review)

Cyclorama (2003) 

I've been long curious what Styx sounded like after Kilroy, but never took the chance on buying one of their new CDs. So the thrift shop is perfect for just this kind of album. Based on the contents of Cyclorama, it's a good thing I hesitated. Sometimes you wonder why they even bother with new albums. They should just do the Oldies Tour thing and hang it up. The magic of songwriting is gone. In Styx's case, the personnel is mostly gone too. Styx without Dennis DeYoung is already stating it's a different band. Drummer John Panozzo and original guitarist John Curulewski are long RIP. Bassist Chuck Panozzo has had serious health issues for many years, and only does cameo's for the band. Original guitarist James Young is still on board, and he was the hard rocker of the bunch, but unfortunately he takes a backseat role on Cyclorama. That leaves Curulewski's 1976 replacement Tommy Shaw as the de facto leader of Styx. And it pretty much sounds like a Shaw solo album with guests. Mostly this is boring folk rock or ridiculous ass-kissing AOR music (there's even a song with a title similar), without any decent hooks. The latter was irrelevant by 2003 anyway. There are a couple of good tracks, namely 'These Are the Times', and if you hang in to the end, 'One With Everything'. This last track shows Styx in full-on progressive mode, even more so than their classic 70s albums. More of that would have resulted in a late era classic. In the end, I can only rate the album as a disappointment. It should have been much better really, as they had the freedom to do what they wanted.

Source:  2003 CMC (CD)

3/3/21 (review)

 

Man of Miracles (1974)

Man of Miracles is the 4th album from south Chicago's favorite sons Styx. Objectively speaking, one could make a strong argument that this was Styx's weakest album of the 70s save the awful Cornerstone that closed off the decade.

Despite featuring a cover and title that indicates a prog rock extravaganza, Man of Miracles shows Styx splintering into two entirely different groups. The two guitarists - James Young and John Curulewski - appear to be moving Styx into a good times boogie rock club circuit band. This is evident by the two opening tracks 'Rock & Roll Feeling' and 'Havin' a Ball'. Later on Young bonks the 'A Man Like Me' and the whole band double dribbles the cover song 'Lies'. It's only later we see Young redeem himself with his trademark hard rocking 'Southern Woman', a blueprint for what was to come from him.

Oddly it's the much-maligned Dennis DeYoung that holds Man of Miracles together and saves it from a complete disaster. 'Golden Lark' is a beautiful ballad, one of his best, and among the album's highlights. 'A Song for Suzanne' promises similar, though DeYoung always had this gnawing habit of injecting a Broadway play type mentality into his songs. 'Evil Eyes' and 'Christopher, Mr. Christopher', while not highlights, are certainly well penned tracks. This all leads to the title track, and the one place Styx seems to be operating as a cohesive unit. Co-written by Young and DeYoung, 'Man of Miracles' demonstrates the best of Styx - James Young's heavy rock nature juxtaposed against DeYoung's full onslaught of proggy keyboards. It was an indication of what was to follow, and Styx were to become a force thereafter. If it weren't for the belated two-years-in-the-can hit 'Lady' suddenly thrust upon the FM radio airwaves, one could easily see Man of Miracles as Styx's swan song. But they caught a break and never looked back. Great things were to come for the boys from South Chicago.

Ownership: 

1974 Wooden Nickel (LP). Acquired in 1978.

2005 Hip-O Select - The Complete Wooden Nickel Recordings (2xCD). Encapsulates their four album run on RCA's Wooden Nickel imprint. Comes with liner notes and full album details.

1978; 5//05; 4/3/19 (review)

Also own: The Serpent is Rising; Pieces of Eight; Brave New World

4/3/19 (new entry)

Farm. 1971 USA-Illinois

About eight years ago I wrote for RYM:

I have a somewhat long history with this album. Back in the late 1980s when Genius Hans was just starting his career (such as it was), I was a computer programmer/developer for a tax software company. Yes, a tax software firm. Real cube dweller stuff. Sexy job, eh? One of the accountant's I worked with, and who I had become friendly with, was from Illinois, and he was about 15 years older than I. His wife - yes his wife - was once the main squeeze of a band member from... (oh c'mon guess?). And yes, she had the original album in her possession! And they let me borrow it. I liked it then... just as I like it now. It's a bit outside of my strike zone, but for guitar driven hard blues rock, mostly instrumental, it's quite good.

Naturally I asked if she was willing to sell it. Naw - too many memories. No telling if they still have it, but I'll guess yes. He just recently retired too (lucky bastard).

I never did buy the doggone thing. I should probably get one of the reissues just for the memories.

---

And I finally did just that - obtain a physical copy. Not much more to add from last night's listen, this is a special album for me because of the story above. Otherwise I probably wouldn't allocate precious collection space for a reissue LP such as this. In addition to what I say above, early The Allman Brothers comes to mind as a major influence, and the final track is a cover of 'Statesboro Blues', so there you have it. It's a short album, barely clearing 26 minutes.

Ownership: LP: 2022 Guerssen. Single sleeve with obi. Contains a four page insert that includes an interview from It's Psychedelic Baby. Also has some photos and other memorabilia. 

Originals haven't gotten any cheaper, but I can tell you Farm was going for a similar price in 1990. And I told my friend that back then. Some things will remain scarce. One wonders if that market ever softens.

1990; 1/18/16 (RYM); 12/15/23 (new entry)

Puzzle. 1973 USA-Illinois

This was a pleasant surprise. I was expecting soul music. Part of that is obvious because of the label, but also I had investigated this band in the past and didn't read anything of interest. Turns out to be a solid horn rocker with at least four killer tracks out of nine. I even like some of the poppier stuff, very much in the Chicago realm. A couple of stinkers, but that's OK and to be expected within the genre. Best tracks are the opener and closer of Side 1 and 'Suite Delirium' on Side 2. Solid album all around. Apparently the group is from Chicago as well, home of brass rock.

Ownership: LP: 1973 Motown. Single sleeve with lyric inner bag. This was a free throw-in to that big pile I recently purchased. There are 5 known pressings of this album. The others have a darker cover while this one is silver.

7/13/23 (new entry)

The Young Bros. ~ USA ~ Illinois

High Energy Rock (1978)

---4/13/11

The Young Bros. are more aggressive hard rock than most Christian albums. So much so, that I didn't even realize it was of the Faith until I heard some of the lyrics. Midwest group from Illinois, that fits well with other hard rocking albums from the area.

---5/14/23

Last night's listen added a +1. The review above is rather simple, and so is the music presented. Just like it says on the tin - high energy rock. One of the most consistent hard rock albums you'll ever hear. No messing around with ballads, boogie, or progressive ideas. Just riffing hard rock with solos, the way you wish all albums like this would go. Great sound too even though it was recorded in their home. You can file this with a myriad of other hard rock albums from the region like Full Moon, Granmax, Amulet, and IOU.

Ownership: 1978 GDS (LP). Yellow vinyl.

No reissues as of 3/31/25.

4/13/11 (review); 5/14/23 (update / new entry)

The Spoils of War. 1968-69 USA-Illinois (archival)

The Spoils of War is an archival release that includes a reissue of their only released product - which was an extended 7 inch EP (33 RPM). Very advanced for its era (1968/69). The music falls into the Fifty Foot Hose / United States of America category of experimental psychedelic music. Lots of early electronics of the beeping variety to augment the songcraft. Doesn't gel enough to take it to the 12 level, but these cats from Illinois had something special going on.

Ownership: LP+EP: 1999 Shadoks (Germany). Thick super stiff single sleeve with additional EP record. Numbered edition. Purchased new upon release. This was the first album released by the legendary Shadoks label (sometimes infamous unfortunately - but they started great). Most of what you see on Discogs comes from my copy (and what you see here, except for the front cover).

1999; 1/17/23 (LP 4.3); 3/28/23 (new entry)

Eardance ~ USA ~ Chicago, Illinois

Seek Opposites (1982)

---4/4/11

Of all the bands operating in the 80's Music / prog rock space, Chicago's Eardance are the most overtly 1980's King Crimson influenced. Right down to the Chapman Stick while the vocalist sounds exactly like Belew (or tries to). The primary difference between Eardance and KC is that our featured band today is definitely more jazz influenced, which adds a neat twist to a recognizable sound.

---3/22/23

This represents last night's listen as well. You just can't escape the Discipline vibes here. I almost get the impression they didn't really have a prog background until they heard the latest incarnation of Crimson. Another album where my rating remains unchanged but it's unique enough to keep.

Ownership: 1982 Touch (LP)

No reissues exist as of 3/31/25.

4/4/11 (review); 3/22/23 (new entry)

Food - Forever is a Dream. 1969 USA-Illinois

Hailing from Chicago, Food's only release Forever is a Dream is a really odd little album. At times it's spaced out pop psych, at others it's heavy psychedelic, while they also seem to have just left the garage. It's orchestrated, but not saccharine. The vocals are drifty and airy. I could swear I hear mellotron too, though it could just be real strings. It's also a long album for its type. I would get up to flip the record, only to realize there were two more songs on each side to go! I'd heard this album before, but in the wrong contextual mood. This is a good one for solitude late night quiet listening. Mrs. UMR would refer to this situation as "lonelytude". With that in mind, my rating went up +2.

Ownership: LP: 1969 Capitol. Single sleeve. Recent acquisition from JL. Very rare in its original state. Forever is a Dream did get reissued (appears legit) from a label in Australia called Ascension in 2000.

10/28/22 (new entry)

Trouble - Run to the Light. 1987 USA-Illinois

Trouble's 3rd album is very similar to the two efforts prior. There's more guest keyboards, and the pace is faster than your prototypical doom metal band, but essentially this is classic Trouble. Bone crushing riffs, and impassioned Christian vocals. Though concerning the latter, you have to study the lyrics to know that, it's not preachy in the slightest. This is where I get off the Trouble train. I've owned all their other works after this, but they're not to my taste, as they altered their sound.

Ownership: LP: 1987 Metal Blade. Single sleeve with lyric and merchandise inserts. Online acquisition from late last year. Similar story to the first album, in that I had my hand on this title to buy a few times, only to leave it back. I owned The Skull real time, but it didn't wow me enough to pursue the others further. I regretted that decision later, and now I'm paying for it. I found the first one at a Denver record store, but it wasn't cheap (but still a good deal). This one cost the exact same, but it was online, and what the heck, might as well snag it (perfect mint too). Won't likely ever find it in the wilds cheap. If I do, great, we can resell it....

new entry

Slauter Xstroyes - Winter Kill. 1985 USA-Illinois

It's been 5 years since we last spoke of Chicago's Slauter Xstroyes. I had just purchased Free the Beast, which is an archival release including what was to be their second album + demos, etc... But what of the debut, the album that did manage to get released? Well... it was impossible to find at a decent price. All the reissues were going for serious money and, of course, the original is priced sky high. Leave it to Cult Metal Classics of Greece to come through once again. This is the same label that brought us the Legend From the Fjords CD. 

As for the music, no surprise that this is exactly the type of metal I love. It's ridiculously non-linear, make-it-up-as-you-go, small-venue heavy metal. It's progressive for sure, though not in a calculated way. These guys keep spinning in different directions. It's not particularly heavy by metal standards - at least not by 1985 - but it's certainly of the genre. This is one of those albums you could hear 10 times in a row, and have 10 different opinions of it. Certainly pioneers like Iron Maiden and Mercyful Fate provide the blueprint, and then Slauter Xstroyes runs with it from there. Just like the more known Manilla Road, the only rule applied is an endless imagination. I know there are modern metal bands out there who attempt to make music like this. I haven't heard too many, but I think it would be tough to take a 2021 brain and relive the 80s underground experience. I missed Slauter Xstroyes in their day, but I was aware of others like them. It was a magical time for music such as this.

Ownership: CD: 2021 Cult Metal Classics (Greece). Recent online acquisition. Jewel case with booklet containing a retro 1998 interview from the label owner, which is informative. Also includes 3 bonus tracks, one a newly unearthed track from 1985! Another is a live track from 2015. And the other is a studio recording from 2016. So they did get back together for a short while anyway. Would love to see new product from these guys. 

Matter ~ USA ~ Chicago, Illinois

Luna Lounge (1998)

Like with Pye Fyte, Luna Lounge is another album languishing in my collection for 23 years untouched. This is the second album by Matter, a Chicago based band that almost no one seems to know about all these years later. I added both of them to Discogs many years ago, and one other person claims ownership on each. And about as many wants. Why? Because no one knows who they are. These are just as obscure as some of my SP / 45 finds of the last year.

Matter's primary focus is on space rock, but of the Sensations' Fix variety. Meaning more prog rock focused and less jamming. That is to say, my kind of space rock! Featuring mellotron (probably a patch) and Chapman stick, their sound is rooted in both the 70s and the 90s. Along with plenty of fuzz guitar of course. At times, when the music really gets going, they remind me of Mexico's Humus from the same time frame. There's a lot of diversity here and it's not monolithic as many space rock albums can be. If you can find it, grab it. Not selling mine anytime soon.

Ownership: 1998 private (CD). Acquiring in 1998.

1998; 6/9/21 (review)

Also own: Matter (1993)

6/9/21 (new entry)

Trouble. 1984 USA-Illinois

I had my hands on this album a couple of times in the 80s while still in college, but just couldn't pull the trigger. I had recently purchased The Skull, and as mentioned in that post, I wasn't overwhelmed at the time. It's an album that has grown in stature with me some threefold. Obviously new copies of the debut were still around at normal prices. In retrospect, it probably was the right move, only in that the debut is not that dissimilar to The Skull. Perhaps a bit more Black Sabbathy and less mid paced 80s metal crunch, but essentially it's in the same ballpark. And because of that, I also think this album is great. They were pioneers of thoughtful slow metal, when just about everyone else was going a mile a minute - and not necessarily thinking it through either. Trouble has transcended time very well.

Ownership: LP: 1984 Metal Blade. Single sleeve. Recent acquisition from a local Denver record store. It was on the wall where the expensive and rare stuff is. And it wasn't cheap for sure, but still a bargain compared to what it's selling for online. Mint too and still in shrink. Even if I bought one new in 1985 or 86, it's likely it would not have remained in this good of shape!

new entry

Remedy - The Golden Voice Sessions. 1970-1974 USA-Illinois (archival)

Like last week's Freedom North, Remedy were yet another band I recently discovered via a 45 rpm release. In this case, it lead me to an obscure archival album called The Golden Voice Sessions. Of the two tracks on the 7", only one was really any good. Fortunately, the excellent track 'Prayer for the People' was the representation of the album, and the weak song (both tracks are here) is the only one like that. This is a very strong early 70s styled Midwest hard rock album with progressive rock aspirations. Plenty of great organ and guitars. Good songwriting too. One of many bands that should have made it. It's never too late to discover right? There's some moments here that recall the great Micah. Some of you are probably thinking that the Golden Voice Studios sound familiar, and you would be right. Many famous Midwest bands found themselves down in Pekin to record their albums (Head East, Styx, Starcastle, and many more). Definitely one to seek out.

Ownership: LP: 2016 Alona's Dream. Recent online acquisition. Single sleeve. Comes with a very informative insert with a full history of the band. Unfortunately they don't date each of the tracks, except for the single which is from 1974. In fact, the insert says the recordings go to 1975, so there's some inconsistencies as well. Nevertheless, a great archival release (excellent sound too).

Seiche - Demo Press. 1981 USA-Illinois

Years ago, CD Baby featured a release by a band called "The Seiche". I never could figure out if it was a CD or a CD-R, though I'm pretty sure it was the latter. To this day, it's still not in Discogs. Whatever the case, my impression upon hearing it was very favorable. Then I forgot all about them. Until I read about this reissue from Jackpot. Given that a CD release wasn't on the horizon, I plunked down for the LP (straight from the label), and here we are.

And where are we? At the very best of the late 70s and early 80s American grassroots creative hard rock movement. Right before the NWOBHM scene hit the States, many bands were forming in the garage and making a go at a Rush like sound, with perhaps a bit of early Van Halen intensity. Other bands from my collection that we've featured on the UMR in this style would include Message (New Mexico) and UHF (Florida). Long tracks, lots of invention, and some incendiary guitar leads. It was a creative and exciting time, one that lead to an explosion of interesting underground music throughout the 80s. Unfortunately we have scant examples of music such as this. That unique strain of progressive hard rock. Not progressive rock. Not hard rock. It's something different and both styles are blended together. Other references would be fellow Chi-Town underground obscurities Proteus and Ariel.

Buy it.

Ownership: LP: 2019 Jackpot. Recent online acquisition. Single sleeve with a 4 page insert filled to the brim with information about the band. Great sound. No bonus, though I'm sure for most everyone, the album itself is a bonus. 

Trouble - The Skull. 1985 USA-Illinois

I bought this LP when it first came out, though I have to admit it didn't overwhelm me much. In 1985 I would have been looking for something heavier, and most certainly faster. The genre of Doom Metal was still in its infancy, even if the granddaddy of all metal bands themselves were technically the founders (Black Sabbath of course...). With prog and Krautrock calling my attention more and more in college, metal bands struggled to gain favor. This was the only Trouble album I bought back in the day. It more or less sat unwanted in the collection for some 25 years, until one day I plopped it on the turntable, and it finally opened up to me. There were a few metal LPs like that, ones I was fortunate to keep, mainly out of neglect. Hearing it on CD for the first time this week hasn't changed my perspective at all. There are some good riffs here, a few changes per track, and I really like Eric Wagner's unique preachy delivery. Much is said about the lyrical content - even back in the 80s they were referred to as "white metal", which was a reaction to the more prominent term "black metal". Religion is of course what we're talking about here, not skin tone. But it's an interesting juxtaposition, primarily because it comes from a rooted Catholic perspective rather than the expected hollow born-again nauseam. It's different for certain, and makes the music just that much more powerful. A fine album that continues to age well.

Ownership: LP: 1985 Metal Blade. The original LP is a single sleeve with a lyric inner sleeve. Cool artwork. As noted above I bought this new real time while still in college. 

6/11/20 (new entry)

Ashby Ostermann Alliance ~ USA ~ Chicago, Illinois

Ashby Ostermann Alliance (1981)

Chicago based Ashby Ostermann Alliance is a good example of early 80s fusion mixed with a strong rock aesthetic. This latter element is often missing in the progressive rock & jazz rock genres. In fact the AOA album doesn't give that indication early. It seems to be pointed in the direction of Latin Jazz, but about midway through Side 1, the guitarist (that would be Ashby fyi...) begins to take over. Then the compositions take on more complex forms, and before you know it, you have a mighty fine progressive fusion album on your hands. I wouldn't be surprised to hear that these guys knew or played with fellow Chicagoan group Proteus. Hard to grab a story line here, but I think this one would go down a storm with the obscure fusion LP buying community. Neat cover art too.

Dusty Groove, the superb record shop from Chicago whose primary focus is in the soul-jazz-funk-fusion fields of music, had a used copy of AOA album that had recently sold (this was years ago, at the time of the CDRWL entry). Their quick review says "Obscure fusion from the Chicago scene – played by a group with heavy guitars from Vince Ashby and wailing keyboards from Dennis Ostermann! The sound is jamming, but with some nice tight moments that almost get funky." That's spot on as well.

Ownership: 1981 Divide (LP)

2/22/12 (review); 6/11/20 (update / new entry)

Ides of March ~ USA ~ Chicago, Illinois

Vehicle (1970)

Long before Jim Peterik made his name as the author of Survivor's 'Eye of the Tiger', he had another major hit with 'Vehicle'. Personally I think it's one of the greatest of energetic horn rock tracks. Not sure if this is still the case, but not too long ago one would still here this song at Chicago Bears games (appropriate since that's where the band were from). After this, most of the original material is serviceable for the horn rock genre, though not extraordinary. And the Creedence Clearwater Revival homage 'Factory Band' is best skipped over. But the other two monster tracks here are the extended cover tunes, with highly original arrangements: 'Wooden Ships' and 'Symphony for Eleanor'. I've always liked The Beatles' 'Eleanor Rigby', but without any doubt, this is by far my favorite version of the track. And it rocks too!

Ownership: 2003 Rhino Handmade (CD). On Friendly Strangers with Common Bond. There are no less than 7 A/B singles included here, though some are just double-ups from the LP. Package is filled out with full liner notes, photos, and great sound. Encompasses one full CD plus a mini CD (fortunately full size so you can play it in all CD players). The CD originally could only be purchased from Warner Bros direct marketing, which I dutifully accomplished not long after its release. It's been since repressed by Wounded Bird. Not sure if they have the full liner notes though. Acquired in 2004.

First copy: 1970 Warner Bros. (LP). Acquired in 1995.

1995; 10//04; 2/28/15; 4/22/20 (review)

Common Bond (1971)

The Ides of March's second album could be described as a mix of Crosby, Stills, and Nash combined with Blood, Sweat, and Tears. Definitely a prototypical North American pop rock sound of its era. There are two great tracks here though, that make it well worthwhile. First is 'Superman', which was the mandatory follow up to their massive hit 'Vehicle'. It may be a rewrite, but it rocks out in the same fashion, and the horn charts are killer here. Second is the lengthy progressive jam of 'Tie-Dye Princess'. It's too bad we have such few examples of The Ides of March performing long form music, because in each case, they are a very entertaining unit with expert musicianship. Personally I find the lyrics charmingly antiquated. 'Ogre' is also a good track, with its raunchy soulful hard rock sound. As for the rest, it's mostly folk based pop rock. Contrary to the "Rolling Stone standard" type review, I find the horns are about the only saving grace to what are otherwise ordinary compositions.

Ownership: 2003 Rhino Homemade (CD). On Friendly Strangers with Vehicle.

10//04; 2/28/15; 9/3/16; 4/24/20 

1/22/17 (new entry)

Starcastle - Citadel. 1977 USA-Illinois

"OK Starcastle, enough is enough, time to produce a hit record!" So the good guys from Illinois roll back into the studio - ah but now we're going to invest heavily and ensure you stay on track: You're going to London to record with a big time producer! That'll do the trick. And what did Starcastle manage to come up with? A prog album! Oh for crying out loud, says the record company.

It's definitely more of a sincere attempt at AOR friendly music than prior. And in this case there's less Yes, and far more fellow regional Midwest superstars Styx into the mix this time. The obvious pandering for hits such as 'Can't Think Twice' and 'Could This Be Love' are pathetic and demonstrate what happens when you record something that just isn't you. But the rest isn't that far removed from Fountains of Light or the debut. Even in short compositional form, Starcastle puts in plenty of thought provoking ideas. Because that's who they are. While Citadel is the 3rd best of a three album run, it's still quite excellent and closes the book on one of America's best - and most derided - progressive rock bands.

After this, Starcastle finally gave in and produced for the record company a real pop rock album. All their fans left, sales plummeted, and Starcastle were no more. That's a lesson in life for all: NEVER give in to the masses. They don't care about you, so don't care about them. Do what you do, and if they appreciate, consider it a blessing and stay true to your integrity.

Ownership: 

2009 Rock Candy (CD). Booklet with full historical essay, interviews with the band, and great sound. Still no bonus tracks though. Acquired in 2019.

1977 Epic (LP). Picture disc. Definitely for show, that's for sure. I mean honestly, if Epic were really serious about Starcastle being a commercial rock act, they really should have gone with different artwork. It screams prog. And 42 years later, thank goodness they did what they did. But at the time, who knows what they were thinking. Acquired in 2021.

First copy: 1998 Renaissance (CD). Acquired in 2005.

4//05; 10/13/14; 5/15/16; 12/14/19 (review)

Shadowfax - Watercourse Way. 1976 USA-Illinois

Shadowfax were a band from Chicago, who made a name for themselves on the New Age specialty label Windham Hill back in the 1980s and 90s. Watercourse Way is their debut from many years prior to that, and has very little in common with the sound that made them famous. Here Shadowfax is following the same footsteps as fellow Windy City denizens Streetdancer. That is to say, a band who studied Mahavishnu Orchestra's Inner Mounting Flame, and made a go of it. There are some ferocious instrumentals here (and one vocal) track, and fans of intense jazz rock/fusion are highly encouraged to pursue. There are two acoustic pieces, one a Medieval styled walk in the park ('Petite Aubade'). The other is the title track, an Asian styled piece similar to Oregon. These latter 2 would be the blueprint for their future.

For what seems most of my life, I was informed that the CD was inferior to the original LP. Truth be told, I only knew the album's sound via the CD so I didn't know the difference. I bought a sealed LP copy some 25 years ago - but I never wanted to break it! Typical record collector... In any case, it turns out the LP is still a sub $5 album, so I bought another one in shrink just to listen to it and compare. I haven't heard this album in forever, and possessed no musical memory of it, so I started with the vinyl for the comparison and then listened to the CD. Honestly I don't think there's that much difference. For certain, the CD sounds much better. The mix is far more clear, and the 2 acoustic tracks really shine better here - which isn't surprising given the heritage of both the band and the label at this point. As for the heavier tracks, I hear the keyboards moved up front a bit more, but it isn't like they hid the fiery guitar (not sure how one could do that to be honest). Nor did they erase the mellotron or anything crazy like that (I had read that they did too, jeesh folks don't pay attention do they?). The only flub up I see is the album cover. They really should have used the cool nature setting of the original LP. But I can understand why they wanted to use their standard aesthetic. I do appreciate the rougher original too. So I think it's worth keeping both (or all 3 in my case lol).

Ownership: LP: 1976 Passport. Single sleeve. Own two copies as noted above (one sealed). The sealed copy was acquired at the Record Exchange in Kansas City (1991)

CD: 1985 Lost Lake Arts. Jewel case release with short history. Lost Lake Arts is Windham Hill's label for reissues and archival material before joining the label. 

11/10/91 (first listen); 9/21/18 (review/new entry)

Pentwater - Ab-Dul. 2007 USA-Illinois

Already a charter member of the Pentwater fanboy club, I just had to get the new album, even though these guys haven't released anything in 30 years and the album cover art leaves much to be desired. With most reunions, I duck for cover, figuring the band had long forgotten why anyone wanted to hear them in the first place, ergo the irrational desire for a quick FM hit. As if all the 18 year old girls will start swooning for 55 year old geezers singing about lost loves, or worse, some sort of fairy queen eaten by a jester elf. But this is Pentwater, and these guys were an intellectual bunch even among the intellectual, so it's no surprise they came up with another winner. It's not perfect, and there were a couple of tracks that seemed to imply that maybe Neil Diamond had it right all along. But they catch themselves, and throw something in 13/8 with a mellotron on top and the world is all perfect again. Very few groups can pull off melody and complexity like Pentwater.

Ownership: CD: 2007 Beef

2007; 10/10/17 (new entry)

Aziola Cry - Ellipsis. 2005 USA-Illinois

Aziola Cry are a band from Chicago who took instrumental mid 70s King Crimson as a blueprint - and who were lead by a stick bass player - and then added a heavy metal undertone. It's "so 2005". I kind of like it anyway.

Ownership: CD: 2005 Translation. Comes in a nice digipak. Very obscure release, and I added it to Discogs myself in the last few months. Since then, one other person has claimed ownership. I wonder if albums like these will get discovered at a later date in the same way as the 1970s and 80s are being mined now?

5/16/06; 10/13/16 (new entry)