This summer, Styx will embark on the United States to play their The Grand Illusion record in its entirety. So, for July, it was only right to highlight the same record. In comparison to their last record, 1976’s Crystal Ball, the band had struck gold. The record shot to No. 7 on the Billboard 200 and has been certified Platinum three times over.
This phenomenal record kicks off with the title song. The intro feels like a marvelous medieval hoorah. The opening is grand, bold and solidifies the band’s signature sound from the first note. This was only Tommy Shaw’s second record with the band and it’s great to finally hear him come into his own. Styx has always been known to have great harmonies and vocals. Look no further than the chorus, Dennis DeYoung leads the charge, but in the background, you can hear the perfect harmonies of James Young and Shaw. One of the best things a band can do is create sounds that go across the speakers or headphones. At one point around the three and a half minute mark, you hear John Panozzo’s drums sliding across left to right.
By the time that song ends, another keyboard entrance greets you and you’re listening to “Fooling Yourself (The Angry Young Man).” For the first minute and change, DeYoung dazzles listeners with his keyboard mastery. Once the entire band kicks in, you don’t come barging in, it’s a soft acoustic opening. Later in their career, the band would release “Our Wonderful Lives” off of 2021’s Crash Of The Crown, which has a similar opening. This track features Shaw at the helm of lead vocals. A great call and response is very useful, if done right. While Styx incorporates this tool early on in the record, it’s done right and makes for a great sing-along song on this track. Just as the opening of the track, the ending follows the acoustic guitar giving way to the keyboard to wiz around to the end.
Song three, “Superstars,” features a similar pattern to “Fooling Yourself (The Angry Young Man).” There’s a slight call and response, yet this song has more of a jump in the beat. There’s a neat section where Shaw and Young harmonize on the guitars and follow each other around the fretboard – similar to how Kiss did it on “Detroit Rock City.”
Right after “Superstars,” “Come Sail Away” appears as song No. 4. “Come Sail Away” checked in at No. 8 when it was released in January. This song is the perfect hard rock / operatic anthem tied around a ballad. The first two and a half minutes feature the ballad section with DeYoung at the piano before the rest of the band kicks in for the rock and roll section. This song is such an earworm, you’ll be singing it for the rest of the day once you hear it. I love how the band uses the keyboards and guitars to create a feeling of forward motion through time and space to carry the song from one section back to the chorus. In the background, Shaw can be heard shredding away on his guitar, adding another complex yet amazing layer to this tune.
Song five is “Miss America.” From the start, there is a darker, more gritty tone to this track. For the first time on this record, Young leads the charge on vocals. His voice fits this song perfectly. He has more of an edge in his voice when he sings, which fits the sound of this song. I like how the band dabbles in the hard rock sphere on this song and isn’t afraid to take chances and try new avenues instead of sticking to their signature sound. Panozzo isn’t overpowering the rest of the band on this song on the drums. Producer Barry Mraz did an excellent job of making sure each band member didn’t overshadow the others’ instruments, creating a sound of equality and teamwork.
“Man In the Wilderness” appears as song six. I like how the band had a face-melting song like “Come Sail Away” before introducing a slower-paced song like “Man In the Wilderness.” In the middle of the tune, there’s a great instrumental break that allows Shaw to step away from the lead vocals and noodle around on his guitar for the solo. “Man In the Wilderness” plays very well when paired with “Castle Walls.” Between the mystical feelings both songs bring out, their a good one-two punch of deep cut Styx songs that add to the meat and potatoes of the entire record. What makes the two tunes different from each other is that “Castle Walls” has more of the Styx signature keyboard than “Man In the Wilderness.”
The record closes with “The Grand Finale.” I love it when bands close out records with a mashup of songs on the record. It adds a sense of “the album is now over, here it is in a minute synopsis.” It’s a great way to tie the entire record up and close out the album. It’s also spectacular to see how the band can transition from song to song so smoothly without any hiccups.
On The Grand Illusion, Styx caught lightning in a bottle. This record is what helped them jump to the next level of arena rockers in the 1970s. There are so many great songs that explore different emotions on this song, yet they’re all under the Styx banner of rock and roll. This is one of the must-listen albums for any fan of great 1970s arena rock and roll.
Rating: 7.5/10
Tracklist:
1. The Grand Illusion
2. Fooling Yourself (The Angry Young Man)
3. Superstars
4. Come Sail Away
5. Miss America
6. Man In the Wilderness
7. Castle Walls
8. The Grand Finale
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My love for live music started with my first concert ever, Guns N’ Roses back in 2016. Since then, I’ve been able to capture photos of some amazing artists like Alice Cooper, Judas Priest, Ace Frehley, and Post Malone. I am based in New York/New Jersey and go to school in Connecticut majoring in Journalism and I am always looking for the next concert to attend.
