With a string of three multi-platinum albums, Loverboy was one of the most successful mainstream hard rock groups of the early '80s. Comprised of vocalist Mike Reno, guitarist Paul Dean, bassist Scott Smith, keyboardist Doug Johnson, and drummer Matthew Frenette, the band formed in Toronto, Canada, in 1980 and immediately signed with CBS... [+] Read More

With a string of three multi-platinum albums, Loverboy was one of the most successful mainstream hard rock groups of the early '80s. Comprised of vocalist Mike Reno, guitarist Paul Dean, bassist Scott Smith, keyboardist Doug Johnson, and drummer Matthew Frenette, the band formed in Toronto, Canada, in 1980 and immediately signed with CBS Records. Later that year, their Bruce Fairbairn produced debut album appeared. Featuring the slick, hard-rocking singles "Turn Me Loose" and "The Kid Is Hot Tonite," the album went platinum in both Canada and America.

Loverboy recorded the follow-up, Get Lucky, in 1981. Driven by the anthemic "Working for the Weekend," the Fairbairn-produced record was a major success in the U.S. and Canada, yet it failed to gain an audience anywhere in Europe. Nevertheless, the band was a staple on AOR stations across North America, as well as a popular concert attraction. The band's good fortunes continued with the 1983 album Keep It Up. Again, Loverboy worked with Fairbairn, who kept their melodic yet tough sound intact; the album featured the hit single "Hot Girls In Love."

Loverboy's fortunes began to slip with 1985's Lovin' Every Minute of It, which was produced by Tom Allom (Judas Priest). Allom gave the band a harder edge, which didn't prove as commercially successful as their past records; nevertheless, the band's fans managed to make the album go platinum. Fairbairn returned from working with Bon Jovi to produce 1987's Wildside, yet the combination didn't prove as potent as before. After an extensive two-year tour, the band returned to Canada. In 1989, their greatest-hits record, Big Ones, was released. The same year Reno and Dean announced plans to make solo records, which effectively put an end to the group; a reunited lineup returned in 1998 with Live, Loud and Loose. Tragedy struck in November, 2000, when Scott Smith was swept overboard by a wave while on a boat near the California coast and he drowned. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

One of the first American-bred hard rock groups to challenge British supremacy in the early '70s, Montrose is still remembered as, if not the most successful, certainly one of the most influential bands of the era. In fact, many of the personalities responsible for the group's legendary, self-titled debut (producer Ted Templeman, engineer Don... [+] Read More

One of the first American-bred hard rock groups to challenge British supremacy in the early '70s, Montrose is still remembered as, if not the most successful, certainly one of the most influential bands of the era. In fact, many of the personalities responsible for the group's legendary, self-titled debut (producer Ted Templeman, engineer Don Landee, vocalist Sammy Hagar) would later become instrumental players in the formative and later-day career of the mighty Van Halen. And to his credit, though he ultimately lacked the focus and leadership skills to consistently guide his band's career, guitarist Ronnie Montrose was a true original of the instrument. His superlative playing aside, the avid big game hunter lived the double-entendre guitar-playing gunslinger lifestyle long before Ted Nugent made the combination famous.

After cutting his teeth as a session musician with the likes of Van Morrison and the Edgar Winter Group, guitarist Ronnie Montrose decided to form his own, self-named band in 1973. Enlisting the help of fellow session pros Bill Church (bass), Denny Carmassi (drums), and a talented, up-and-coming Californian singer named Sammy Hagar, Montrose soon released their eponymous first album in November of that year. Although it never broke the Billboard Top 100, Montrose eventually went platinum and was arguably the first full-fledged heavy metal album by an American band (early proto-metal efforts by Blue Cheer and Steppenwolf notwithstanding). With classics like "Space Station No. 5" and "Bad Motor Scooter" leading the charge to the nation's airwaves, it is still considered one of the finest, most influential releases of the decade, to boot. But trouble was already looming, as Church quit the group soon after and was replaced by bassist/keyboard player Alan Fitzgerald for the ensuing tour. Released less than a year after their debut, the erratic Paper Money proved to be a surprisingly diverse but unfocused follow-up that failed to match its predecessor's consistency or popularity. Making things worse, escalating tensions between Montrose and Hagar soon led to the latter's departure following the Paper Money tour. He went on to an increasingly successful solo career, and, of course, eventually Van Halen.

Hagar's replacement was relative newcomer Bob James, but it was new full-time keyboardist Jim Alcivar who quickly placed his stamp on the group's appropriately titled third album Warner Bros. Presents Montrose!. Released at the tail end of 1975 and produced by Ronnie himself, its pedestrian songwriting and generally plodding, tepid sound alienated what was left of the band's remaining faithful and led to Fitzgerald's departure soon after (he later became a member of Night Ranger). New bassist Randy Jo Hobbs performed on Montrose's last-ditch effort, 1976's Jack Douglas-produced Jump on It. Also poorly received and boasting a ridiculously ill-fated album cover to match, it never had a chance and the musicians soon went their separate ways. Carmassi joined Hagar's solo band (also featuring Bill Church by then) and later played with Heart and many others. As for committed outdoorsman Ronnie Montrose, the guitarist took some time off to enjoy his other hobbies before releasing three albums with new band Gamma in the early '80s. He would finally record under the Montrose name once again for 1987's Mean, a one-off affair featuring singer Johnny Edwards (later, briefly of Foreigner), bassist Glenn Letsch, and drummer James Kottak (soon to form Kingdom Come, and eventually a member of the Scorpions).

In early 2002, Ronnie Montrose gathered bassist Chuck Wright (Quiet Riot), drummer {$Pat

Torpey} (Mr. Big) and singer Keith St. John (Burning Rain) for a new Montrose lineup. They played West Coast dates throughout the year in support of their Rhino compilation The Very Best of Montrose. Plans for a studio album were in the works for 2003. ~ Ed Rivadavia, All Music Guide [-] Hide

Marvin Lee Aday was a singer and occasional actor who, for reasons never definitively answered, recorded under the name Meat Loaf. In all likelihood a childhood nickname, the tag stuck, and many puns followed as the performer -- who tipped the scales at well over 300 pounds -- became one of the biggest chart acts of the 1970s before enjoying a... [+] Read More

Marvin Lee Aday was a singer and occasional actor who, for reasons never definitively answered, recorded under the name Meat Loaf. In all likelihood a childhood nickname, the tag stuck, and many puns followed as the performer -- who tipped the scales at well over 300 pounds -- became one of the biggest chart acts of the 1970s before enjoying a commercial renaissance two decades later.

Meat Loaf was born in Dallas, Texas. The product of a family of gospel singers, he moved to Los Angeles in 1967 and formed a group known as both Meat Loaf Soul and Popcorn Blizzard. The band earned some renown through opening gigs in support of the Who, the Stooges, and Ted Nugent before Meat Loaf won a role in a West Coast production of the musical Hair. During a tour stop in Detroit, he and a fellow castmate named Stoney teamed to record the 1971 LP Stoney & Meat Loaf for Motown's Rare Earth imprint.

After a tenure in the off-Broadway production Rainbow (In New York), Meat Loaf earned a slot in More Than You Deserve, a musical written by classically trained pianist Jim Steinman. An appearance in the cult film The Rocky Horror Picture Show followed, and in 1976 Meat Loaf also handled vocal duties on one side of Nugent's LP Free-for-All. Soon, Meat Loaf re-teamed with Steinman for a tour with the National Lampoon Road Show, after which Steinman began composing a musical update of the Peter Pan story titled Never Land.

Ultimately, much of what Steinman composed for Never Land became absorbed into 1977's Bat Out of Hell, the album which made Meat Loaf a star. Produced by Todd Rundgren, the record was pure melodrama, a teen rock opera which spawned three Top 40 singles -- "Two Out of Three Ain't Bad," "Paradise by the Dashboard Light," and "You Took the Words Right Out of My Mouth" -- on its way to becoming one of the best-selling albums of the decade.

A sequel was planned, but in 1981 Steinman issued his own solo debut, Bad for Good. After Meat Loaf released his own follow-up, Dead Ringer, rumors began flying, and it was reported that Loaf had been unable to record the songs which comprised the Steinman album due to physical and emotional problems. Eventually, Steinman filed suit against Meat Loaf and his label, Epic, and none of his songs appeared on the 1983 Meat Loaf effort Midnight at the Lost and Found. After subsequent records like 1984's Bad Attitude and 1986's Blind Before I Stop bombed, the singer declared bankruptcy and began physical and psychological rehabilitation to restore his road-ravaged voice.

After several years in relative obscurity, Meat Loaf and Jim Steinman reunited in 1993 for Bat Out of Hell II: Back Into Hell, which continued the original's storyline and duplicated its thunderous sound. The follow-up proved almost as successful than the first Bat Out of Hell, selling over five million copies and yielding a massive hit single with "I'd Do Anything for Love (But I Won't Do That)." Without Steinman, he returned in 1995 with Welcome to the Neighborhood. The career-long concert compilation Live Around the World followed one year later, but Meatloaf released no more new material until well into the 2000s. Finally he recorded Couldn't Have Said It Better, which was released on Sanctuary in 2003. ~ Jason Ankeny, All Music Guide [-] Hide

Fusing the complexity of British prog rock with an American heartland sound representative of their name, Kansas were among the most popular bands of the late '70s; though typically dismissed by critics, many of the group's hits remain staples of AOR radio play lists to this day. Formed in Topeka in 1970, the founding members of the group --... [+] Read More

Fusing the complexity of British prog rock with an American heartland sound representative of their name, Kansas were among the most popular bands of the late '70s; though typically dismissed by critics, many of the group's hits remain staples of AOR radio play lists to this day. Formed in Topeka in 1970, the founding members of the group -- guitarist Kerry Livgren, bassist Dave Hope, and drummer Phil Ehart -- first played together while in high school; with the 1971 addition of classically trained violinist Robbie Steinhardt, they changed their name to White Clover, reverting back to the Kansas moniker for good upon the 1972 arrivals of vocalist/keyboardist Steve Walsh and guitarist Richard Williams. The group spent the early part of the decade touring relentlessly and struggling for recognition; initially, their mix of boogie and prog rock baffled club patrons, but in due time they established a strong enough following to win a record deal with the Kirshner label.

Kansas' self-titled debut LP appeared in 1974; while only mildly successful, the group toured behind it tirelessly, and their fan base grew to the point that their third effort, 1975's Masque, sold a quarter of a million copies. In 1976, Leftoverture truly catapulted Kansas to stardom. On the strength of the smash hit "Carry On Wayward Son," the album reached the Top Five and sold over three million copies. 1977's Point of Know Return was even more successful, spawning the monster hit "Dust in the Wind." While the 1978 live LP Two for the Show struggled to break the Top 40, its studio follow-up, Monolith, the band's first self-produced effort, reached the Top Ten. That same year, Walsh issued a solo record, Schemer-Dreamer.

In the wake of 1980's Audio-Visions, Kansas began to splinter; both Hope and Livgren became born-again Christians, the latter issuing the solo venture Seeds of Change, and their newfound spirituality caused divisions within the band's ranks. Walsh soon quit to form a new band, Streets; the remaining members forged on without him, tapping vocalist John Elefante as his replacement. The first Kansas LP without Walsh, 1982's Vinyl Confessions, launched the hit "Play the Game Tonight," but after only one more album, 1983's Drastic Measures, they disbanded. In 1986, however, Kansas re-formed around Ehart, Williams, and Walsh; adding the famed guitarist Steve Morse as well as bassist Billy Greer, the refurbished band debuted with the album Power, scoring a Top 20 hit with "All I Wanted." When the follow-up, 1988's In the Spirit of Things, failed to hit, seven years passed before the release of their next effort, Freaks of Nature. Always Never the Same followed in 1998. Seeing the return of founder singer/songwriter Kerry Livgren, Somewhere to Elsewhere was released in 2000. ~ Jason Ankeny, All Music Guide [-] Hide

Rooted in the campy theatrics of Alice Cooper and the sleazy hard rock of glam rockers the New York Dolls, Kiss became a favorite of American teenagers in the '70s. Most kids were infatuated with the look of Kiss, not their music. Decked out in outrageously flamboyant costumes and makeup, the band fashioned a captivating stage show featuring dry... [+] Read More

Rooted in the campy theatrics of Alice Cooper and the sleazy hard rock of glam rockers the New York Dolls, Kiss became a favorite of American teenagers in the '70s. Most kids were infatuated with the look of Kiss, not their music. Decked out in outrageously flamboyant costumes and makeup, the band fashioned a captivating stage show featuring dry ice, smoke bombs, elaborate lighting, blood spitting, and fire breathing that captured the imaginations of thousands of kids. But Kiss' music shouldn't be dismissed -- it was a commercially potent mix of anthemic, fist-pounding hard rock driven by sleek hooks and ballads powered by loud guitars, cloying melodies, and sweeping strings. It was a sound that laid the groundwork for both arena rock and the pop-metal that dominated rock in the late '80s. Kiss was the brainchild of Gene Simmons (bass, vocals) and Paul Stanley (rhythm guitar, vocals), former members of the New York-based hard rock band Wicked Lester; the duo brought in drummer Peter Criss through his ad in Rolling Stone and guitarist Ace Frehley responded to an advertisement in The Village Voice. Even at their first Manhattan concert in 1973, the group's approach was quite theatrical; Flipside producer Bill Aucoin offered the band a management deal after the show. Two weeks later, the band was signed to Neil Bogart's fledgling record label, Casablanca. Kiss released their self-titled debut in February of 1974; it peaked at number 87 on the U.S. charts. By April of 1975, the group had released three albums and had toured America constantly, building up a sizable fan base. Culled from those numerous concerts, Alive! (released in the fall of 1975) made the band rock & roll superstars; it climbed into the Top Ten and its accompanying single, "Rock 'N' Roll All Nite," made it to number 12. Their follow-up, Destroyer, was released in March of 1976 and became the group's first platinum album; it also featured their first Top Ten single, Peter Criss' power ballad "Beth." A 1977 Gallup poll named Kiss the most popular band in America. Kiss mania was in full swing and thousands of pieces of merchandise hit the marketplace. The group had two comic books released by Marvel, pinball machines, makeup and masks, board games, and a live-action TV movie, Kiss Meet the Phantom of the Park. The group was never seen in public without wearing their makeup and their popularity was growing by leaps and bounds; the membership of the Kiss Army, the band's fan club, was now in the six figures. Even such enormous popularity had its limits, and the band reached them in 1978, when all four members released solo albums on the same day in October. Simmons' record was the most successful, reaching number 22 on the charts, yet all of them made it into the Top 50. Dynasty, released in 1979, continued their streak of platinum albums, yet it was their last recorded with the original lineup -- Criss left in 1980. Kiss Unmasked, released in the summer of 1980, was recorded with session drummer Anton Fig; Criss' permanent replacement, Eric Carr, joined the band in time for their 1980 world tour. Kiss Unmasked was their first record since Destroyer to fail to go platinum, and 1981's Music From the Elder, their first album recorded with Carr, didn't even go gold -- it couldn't even climb past number 75 on the charts. Ace Frehley left the band after its release; he was replaced by Vinnie Vincent in 1982. Vincent's first album with the group, 1982's Creatures of the Night, fared better than Music From the Elder, yet it couldn't make it past number 45 on the charts. Sensing it was time for a change, Kiss dispensed with their makeup for 1983's Lick It Up. The publicity worked, as the album became their first platinum record in four years. Animalize, released the following year, was just as successful, and the group had recaptured their niche. Vincent left after Animalize and was replaced by Mark St. John; St. John was soon taken ill with Reiter's Syndrome and left the band. Bruce Kulick became Kiss' new lead guitarist in 1984. For the rest of the decade, Kiss turned out a series of best-selling albums, culminating in the early 1990 hit ballad "Forever," which was their biggest single since "Beth." Kiss was scheduled to record a new album with their old producer, Bob Ezrin, in 1990 when Eric Carr became severely ill with cancer; he died in November of 1991 at the age of 41. Kiss replaced him with Eric Singer and recorded Revenge (1992), their first album since 1989; it was a Top Ten hit and went gold. Kiss followed it with the release of Alive III the following year; it performed respectably, but not up to the standards of their two previous live records. In 1996, the original lineup of Kiss -- featuring Simmons, Stanley, Frehley, and Criss -- reunited to perform an international tour, complete with their notorious makeup and special effects. The tour was one of the most successful of 1996, and in 1998 the reunited group issued Psycho Circus. While the ensuing tour in support of Psycho Circus was a success, sales of Kiss' reunion album weren't as stellar as anticipated. Reminiscent of the band's late-'70s unfocused period, few tracks on Psycho Circus featured all four members playing together (most tracks were supplemented with session musicians), as the band seemed more interested in flooding the marketplace with merchandise yet again instead of making the music their top priority. With rumors running rampant that the Psycho Circus Tour would be their last, the quartet announced in the spring of 2000 that they would be launching a U.S. farewell tour in the summer, which became one of the year's top concert draws. But on the eve of a Japanese and Australian tour in early 2001, Peter Criss suddenly left the band once again, supposedly discontent with his salary. Taking his place was previous Kiss drummer Eric Singer, who in a controversial move among some longtime fans, donned Criss' cat-man makeup (since Simmons and Stanley own both Frehley and Criss' makeup designs, there was no threat of a lawsuit) as the farewell tour continued. With the band scheduled to call it a day supposedly by late 2001, a mammoth career-encompassing box set was set for later in the year, while the summer saw perhaps the most over-the-top piece of Kiss merchandise yet -- the "Kiss Kasket." The group was relatively quiet through the rest of the year, but 2002 started with a bang as Gene Simmons turned in an entertaining and controversial interview on NPR where he criticized the organization and berated host Terry Gross with sexual comments and condescending answers. He was promoting his autobiography at the time, which also caused dissent in the Kiss camp because of the inflammatory remarks made towards Ace Frehley. Frehley was quite angry at the situation, leading to his no-showing of an American Bandstand anniversary show. His place was taken by a wig-wearing Tommy Thayer, but no one was fooled and the band looked especially awful while pretending to play their instruments during the pre-recorded track. The appearance was an embarrassment for the group and for their fans, but Simmons was quick to dismiss the performance as another in a long series of money-oriented decisions. ~ Stephen Thomas Erlewine & Greg Prato, All Music Guide [-] Hide

After successfully establishing themselves as one of America's best commercial progressive rock bands of the late '70s with albums like The Grand Illusion and Pieces of Eight, Chicago's Styx had taken a dubious step towards pop overkill with singer Dennis DeYoung's ultra-schmaltzy ballad "Babe." The centerpiece of 1979's uneven Cornerstone... [+] Read More

After successfully establishing themselves as one of America's best commercial progressive rock bands of the late '70s with albums like The Grand Illusion and Pieces of Eight, Chicago's Styx had taken a dubious step towards pop overkill with singer Dennis DeYoung's ultra-schmaltzy ballad "Babe." The centerpiece of 1979's uneven Cornerstone album, the number one single would sew the seeds of disaster for the group by pitching DeYoung's increasingly mainstream ambitions against the group's more conservative songwriters, Tommy Shaw and James "JY" Young. Hence, what had once been a healthy competitive spirit within the band quickly deteriorated into bitter co-existence during the sessions for 1980's Paradise Theater (and all-out warfare by the time of 1983's infamous Kilroy Was Here). For the time being, however, Paradise Theater seemed to represent the best of both worlds, since its loose concept about the roaring '20s heyday and eventual decline of an imaginary theater (used as a metaphor for the American experience in general, etc., etc.) seemed to satisfy both of the band's camps with its return to complex hard rock (purists Shaw and JY) while sparing no amount of pomp and grandeur (DeYoung). The stage is set by the first track, "A.D. 1928," which features a lonely DeYoung on piano and vocals introducing the album's recurring musical theme before launching into "Rockin' the Paradise" -- a total team effort of wonderfully stripped down hard rock. From this point forward, DeYoung's compositions ("Nothing Ever Goes as Planned," "The Best of Times") continue to stick close to the overall storyline, while Shaw's ("Too Much Time on My Hands," "She Cares") try to resist thematic restrictions as best they can. Among these, "The Best of Times" -- with its deliberate, marching rhythm -- remains one of the more improbable Top Ten hits of the decade (somehow it just works), while "Too Much Time on My Hands" figures among Shaw's finest singles ever. As for JY, the band's third songwriter (and resident peacekeeper) is only slightly more cooperative with the Paradise Theater concept. His edgier compositions include the desolate tale of drug addiction, "Snowblind," and the rollicking opus "Half-Penny, Two-Penny," which infuses a graphic depiction of inner city decadence with a final, small glimmer of hope and redemption. The song also leads straight into the album's beautiful saxophone-led epilogue, "A.D. 1958," which once again reveals MC DeYoung alone at his piano. A resounding success, Paradise Theater would become Styx's greatest commercial triumph; and in retrospect, it remains one of the best examples of the convergence between progressive rock and AOR which typified the sound of the era's top groups (Journey, Kansas, etc.). For Styx, its success would spell both their temporary saving grace and ultimate doom, as the creative forces which had already been tearing at the band's core finally reached unbearable levels three years later. It is no wonder that when the band reunited after over a decade of bad blood, all the music released post-1980 was left on the cutting room floor -- further proof that Paradise Theater was truly the best of times. ~ Ed Rivadavia, All Music Guide [-] Hide

Flashback: Best of .38 Special is a terrific compilation of the Southern rock group's biggest hits, including "Caught Up in You," "If I'd Been the One," "Back Where You Belong," "Wild-Eyed Southern Boys," and the non-LP soundtrack contribution "Teacher Teacher." Since Flashback was released in 1987, it doesn't contain their biggest hit, 1989's... [+] Read More

Flashback: Best of .38 Special is a terrific compilation of the Southern rock group's biggest hits, including "Caught Up in You," "If I'd Been the One," "Back Where You Belong," "Wild-Eyed Southern Boys," and the non-LP soundtrack contribution "Teacher Teacher." Since Flashback was released in 1987, it doesn't contain their biggest hit, 1989's syrupy ballad "Second Chance," but it remains a comprehensive overview of their best moments, and makes a convincing case that they were the last great Southern rock singles band. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Aerosmith's Greatest Hits remains one of the most popular and enduring best-of collections by any rock band, selling nearly ten million copies in the U.S. alone since its release. But when it was issued in 1980, the band had just about reached its nadir. With original guitarist Joe Perry gone (and Brad Whitford soon to follow), Aerosmith had... [+] Read More

Aerosmith's Greatest Hits remains one of the most popular and enduring best-of collections by any rock band, selling nearly ten million copies in the U.S. alone since its release. But when it was issued in 1980, the band had just about reached its nadir. With original guitarist Joe Perry gone (and Brad Whitford soon to follow), Aerosmith had turned into a directionless, time-consuming ghost of its former self. Since there would be a three-year gap between 1979's Night in the Ruts and 1982's Rock in a Hard Place, Greatest Hits was assembled, more or less, to fill the void and buy the band some time. With the album clocking in at only 37 and a half minutes, many Aerosmith classics are not included, such as what many consider the band's quintessential track, their cover of "Train Kept a Rollin'." The only poor selection is the forgettable "Remember (Walking in the Sand)," but nine out of ten are bona fide classics -- "Dream On," "Same Old Song and Dance," "Sweet Emotion," "Walk this Way," "Last Child," "Back in the Saddle," and "Draw the Line." Also featured is their venomous cover of the Beatles' "Come Together," previously only available as a single and on the soundtrack to the 1978 movie Sgt. Pepper's Lonely Hearts Club Band. For the casual fan, Greatest Hits will do the job, as well as its sister album, 1988's Gems. ~ Greg Prato, All Music Guide [-] Hide

ZZ Top returned after an extended layoff in late 1979 with Degüello, their best album since 1973's Tres Hombres. During their time off, ZZ Top didn't change much -- hell, their sound never really changed during their entire career -- but it did harden, in a way. The grooves became harder, sleeker, and their off-kilter sensibility and humor began... [+] Read More

ZZ Top returned after an extended layoff in late 1979 with Degüello, their best album since 1973's Tres Hombres. During their time off, ZZ Top didn't change much -- hell, their sound never really changed during their entire career -- but it did harden, in a way. The grooves became harder, sleeker, and their off-kilter sensibility and humor began to dominate, as "Cheap Sunglasses" and "Fool for Your Stockings" illustrate. Ironically, this, their wildest album lyrically, doesn't have the unhinged rawness of their early blooze rockers, but the streamlined production makes it feel sleazier all the same, since its slickness lets the perversity slide forth. And, forget not, the trio is in fine shape here, knocking out a great set of rockers and sounding stylish all the time. Undoubtedly one of their strong suits. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

For Styx II (1973), the Chicago-based quintet of John Curulewski (guitar/synthesizer/vocals), Dennis DeYoung (keyboard/vocals), brothers Chuck Panozzo (bass/vocals) and John Panozzo (drums/percussion/vocals) and James "J.Y." Young (guitar/vocals) continue much in the same vein as their eponymous debut. The primary difference was the inclusion of... [+] Read More

For Styx II (1973), the Chicago-based quintet of John Curulewski (guitar/synthesizer/vocals), Dennis DeYoung (keyboard/vocals), brothers Chuck Panozzo (bass/vocals) and John Panozzo (drums/percussion/vocals) and James "J.Y." Young (guitar/vocals) continue much in the same vein as their eponymous debut. The primary difference was the inclusion of the DeYoung power ballad "Lady" -- which catapulted the combo into the Top Ten Pop Singles survey at an admirable number six. The collection was their first to rely entirely upon band-penned originals, kicking off with the rousing "You Need Love." The performance sounds similar to Queen's earliest sides, especially DeYoung's commanding vocals which provide a distinct and dramatic quality. The aforementioned "Lady" is equally dynamic, contrasting the delicate and ethereal introduction with the comparatively emphatic conclusion. The extended "A Day" is an outlet for Curulewski's underrated skills as both a composer and singer. The brooding melody is fused to an aggressive instrumental centerpiece highlighting the dual fretwork of Curulewski and Young as they rival the Allman Brothers' synchronous string-benders Duane Allman (guitar) and Dickey Betts (guitar). "You Better Ask" is a more predictable straightforward rocker, again displaying Curulewski's diversity and versatility, although beyond that the track is not really all that interesting. Conversely compelling is DeYoung's transcription of a Johann Sebastian Bach tune, titled here Little Fugue in 'G'. The overture is played to great effect on an organ in the sanctuary of the Cathedral of St. James, located just down the street from the recording studio. Engineers ran audio cables between the two, capturing the interlude live. It takes the listener into another key entry, the seven-plus-minute "Father O.S.A.," "Earl of Roseland" and "I'm Gonna Make You Feel It" suitably bring Styx II to a close with a pair of hearty up-tempo harbingers, pointing toward the AOR direction that Styx would continue to explore on subsequent albums. ~ Lindsay Planer, All Music Guide [-] Hide