Styx -

Styx are an American symphonic/hard-rock band from Chicago, rooted in the early Dennis DeYoung–Panozzo brothers partnership. The band released four albums on Wooden Nickel between 1972 and 1974, with Styx II later yielding the delayed breakout single “Lady.”

After their move to A&M, Tommy Shaw joined the lineup for Crystal Ball. Styx then reached its peak with the platinum albums The Grand Illusion, Pieces of Eight, Cornerstone, Paradise Theatre, and Kilroy Was Here, carried by the hits “Come Sail Away,” “Blue Collar Man,” “Renegade,” “Babe,” “The Best of Times,” “Too Much Time on My Hands,” and “Mr. Roboto.”

Members: Dennis DeYoung (vocals, keyboards, accordion, 1961-99), Chuck Panozzo (bass, guitar, vocals, 1961-63, 1964-present), John Panozzo (drums, percussion, vocals, 1961-96), Tom Nardin (guitar, 1963-69), John Curulewski (guitar, synthesizer, autoharp, vocals, 1969-75), James “JY” Young (guitar, vocals, keyboards, 1970-present), Tommy Shaw (guitar, vocals, mandolin, 1975-83, 1995-present), Glen Burtnik (guitar, vocals, 1990-91, bass, vocals, 1999-2004), Todd Sucherman (drums, percussion, vocals, 1996-present), Lawrence Gowan (keyboards, guitar, vocals, 1999-present), Ricky Phillips (bass, vocals, 2004-present)

Background

The roots of Styx trace to a Roseland, Ill., neighborhood band, The Tradewinds, formed in 1961 by teenage pianist Dennis DeYoung and twin brothers Chuck (bass) and John Panozzo (drums). In 1964, guitarist Tom Nardini joined the band, which changed names the following year to TW4 (There Were 4). During the late Sixties, they played high school dances as the members attended Chicago State College. In 1969, folk guitarist John Curulewski replaced Nardini. Rock guitarist James “JY” Young joined in 1970, completing the original five-piece.

In 1972, the band signed to Chicago’s Wooden Nickel Records. Just prior to recording their first album, they changed their name to Styx, named after the underworld river in Greek mythology. The name had been used by three Sixties-era garage bands: Styx (from Kent, Ohio), The Styx (from St. Helena, Calif.), Butch Engle & The Styx (aka The Showmen, from Mill Valley, Calif.)

Styx

Styx released their self-titled debut album in August 1972 on Wooden Nickel.

Side one contains the four-part “Movement for the Common Man,” a thirteen-minute suite with movements by Young (“Children of the Land”) and DeYoung (“Mother Nature’s Matinee”), plus an excerpt from Aaron Copeland’s Fanfare for the Common Man. Side two contains DeYoung’s “Best Thing,” issued as the band’s first single.

The remainder of Styx consists of covers, a Young-sung apart from the DeYoung-vocalized “What Has Come Between Us,” which shifts through several ideas — opening piano fugue, colliding hard-rock riff, acoustic/harmonized song proper — that presage epics on future albums.

“Movement for the Common Man” surges through gritty leadwork, a clipped percussive break, street-spliced voices, and a keyboard-led final stretch. “What Has Come Between Us” drifts from a semi-classical intro into layered harmonies and a chorus that cuts into the closing jam. “Best Thing” trades Young and DeYoung leads across high harmonies, organ accents, and compact solo replies. “After You Leave Me” darkens the close with slower lead weight and a deliberate finish.

A1. “Movement for the Common Man” (13:11)
— a. “Children of the Land”
— b. “Street Collage”
— c. “Fanfare for the Common Man”
— d. “Mother Nature’s Matinee”
A2. “Right Away” (3:40) – Paul Frank

B1. “What Has Come Between Us” (4:53) – Mark Gaddis
B2. “Best Thing” (3:13)
B3. “Quick Is the Beat of My Heart” (4:49) – Lewis Mark
B4. “After You Leave Me” (4:00) – George Clinton

Sessions occurred at Paragon Recording Studios in Chicago with producers John Ryan and Bill Traut, who also oversaw the second and fourth Styx albums.

Styx II

Styx released their numerical second album in July 1973 on Wooden Nickel.

Side one bears the subtitle “Heads” and contains two songs apiece by DeYoung and Curulewski, including the latter’s eight-minute epic “A Day.” DeYoung wrote “Lady” as a tribute to his wife, Suzanne Feusi.

The second side, subtitled “Tails,” contains three DeYoung originals, including the seven-minute “Father O.S.A.,” which segues from a 70-second interpretation of Bach’s “Little Fugue in G.” Young sings the two side-ending DeYoung tracks: “You Need Love” and “I’m Gonna Make You Feel It.”

“You Need Love” accelerates from a sustained intro into quick solo breaks and a clipped organ passage. “Lady” glides from classical piano into darker harmonies and bolero-marked final choruses. “A Day” drifts through double-tracked voices, falsetto-lit replies, synthesizer sweeps, and a multi-meter solo passage. “You Better Ask” lurches through comic vocal turns, percussive organ accents, carousel color, and an echo-treated laugh.

“Little Fugue in G” peals from pipe-organ prelude into the broader “Father O.S.A.” sequence. “Earl of Roseland” climbs through lighter falsetto harmonies and loose break sections. “I’m Gonna Make You Feel It” barrels through full-voice harmonies, Moog color, and a double-time solo stretch.

A1. “You Need Love” (3:47)
A2. “Lady” (2:58)
A3. “A Day” (8:24)
A4. “You Better Ask” (3:55)

B1. “Little Fugue in G” (1:19)
B2. “Father O.S.A.” (7:10)
B3. “Earl of Roseland” (4:41)
B4. “I’m Gonna Make You Feel It” (2:23)

Wooden Nickel first lifted “Lady” as a single in September 1973 with “Children of the Land,” the earlier “Common Man” sequence. In 1975, after two further albums, “Lady” became their unexpected breakthrough hit when influential Chicago DJ Jeff Davis play-listed the track on his WLS AM program.

The Serpent Is Rising

Styx released their third album, The Serpent Is Rising, on Wooden Nickel in October 1973, three months after Styx II.

DeYoung contributed three songs: “The Grove of Eglantine,” “Winner Take All,” and “Jonas Psalter.” He sings on the first while Young handles the latter two.

Curulewski also contributed three songs: “As Bad as This,” “22 Years” (sung by DeYoung and Young), and the title-track. He also vocalizes “Krakatoa,” a 90-second soliloquy set to an electronic backing track by Beaver & Krause. “Krakatoa,” in turn, segues into a group-sung rendition of “Hallelujah Chorus” from Handel’s Messiah, recorded at St. James Cathedral, Chicago. “As Bad as This” contains the comedic postlude “Plexiglas Toilet,” mock-operatized by Curulewski and the Panozzo’s. “22 Years” features Wooden Nickel president Bill Traut on saxophone.

“Witch Wolf” stomps through a hard riff, stacked vocal replies, and clipped bridge turns. “The Grove of Eglantine” curls harpsichord and accordion color around measured verses and ornate section changes. “Young Man” charges through hard vocal lines and tightened bridge work. “As Bad as This” sinks into a low acoustic lament before “Plexiglas Toilet” veers into a calypso chant.

“Winner Take All” bounds through bright title phrases and broad group accents. “22 Years” chugs through straight-ahead riff figures, cowbell taps, and a saxophone outro. “Jonas Psalter” zigzags through meter changes, verse brackets, and a swollen close. “The Serpent Is Rising” grinds through a growling organ figure and raspy lead vocal. “Krakatoa” erupts as echo-treated speech over synthetic backing and closes on a glissando. “Hallelujah Chorus” crowns the sequence with massed voices and cathedral-scaled resonance.

A1. “Witch Wolf” (3:57)
A2. “The Grove of Eglantine” (5:00)
A3. “Young Man” (4:45)
A4. “As Bad as This” (3:45)
A5. “Plexiglass Toilet” (unlisted, 2:22)

B1. “Winner Takes All” (3:10)
B2. “22 Years” (3:39)
B3. “Jonas Psalter” (4:41)
B4. “The Serpent Is Rising” (4:55)
B5. “Krakatoa” (1:36)
B6. “Hallelujah Chorus” (2:14)

Styx self-produced The Serpent Is Rising with engineere Barry Mraz.

Man of Miracles

Styx released their fourth album, Man of Miracles, on November 8, 1974, on Wooden Nickel.

The album closes the Wooden Nickel sequence with ten titles credited mostly to DeYoung, Young, Curulewski, and outside collaborator Ray Brandle. DeYoung contributes “Golden Lark,” “A Song for Suzanne,” “Evil Eyes,” and “Christopher, Mr. Christopher.” Young wrote “A Man Like Me” and shares the opening two tracks with Curulewski. Brandle joins Young on “Southern Woman” and Young–DeYoung on the title track.

“Lies” covers the 1965 single by The Knickerbockers. Later Wooden Nickel issues replaced the song with “Best Thing,” while the 1980 Miracles reissue placed “Unfinished Song” in the same side-two slot.

“Golden Lark” glides through orchestrated lift and ethereal DeYoung lines. “A Song for Suzanne” rises from a long intro to sharp synth blasts and guitar-rhythm interplay. “Evil Eyes” smolders through heavy theatrical color and fantasy-coded turns. “Southern Woman” lunges through a harder solo break and blues-leaning drive. “Christopher, Mr. Christopher” circles anthem-scaled phrases through a larger fantasy setting. “Man of Miracles” pounds its heavy riff beneath opulent keyboard color and a broad harmonic chorus.

A1. “Rock & Roll Feeling” (3:02)
A2. “Havin’ a Ball” (3:52)
A3. “Golden Lark” (3:21)
A4. “A Song for Suzanne” (5:19)
A5. “A Man Like Me” (2:49)

B1. “Lies” (2:41) – Beau Charles, Buddy Randell
B2. “Evil Eyes” (4:09)
B3. “Southern Woman” (3:11)
B4. “Christopher, Mr. Christopher” (4:01)
B5. “Man of Miracles” (4:58)

Styx recorded Man of Miracles in 1974 at Golden Voice Studios in South Pekin, Illinois, with John Ryan producing and Gary Loizzo engineering. Leon Rosenblatt designed the cover art, credited on the sleeve as Lee Rosenblatt.

Man of Miracles reached No. 154 on the Billboard 200 chart.

Equinox

Styx released their fifth album, Equinox, on December 1, 1975, on A&M Records.

The album opens the A&M sequence and marks Curulewski’s final Styx album. DeYoung wrote or co-wrote six of the eight titles; Curulewski contributed “Prelude 12” and shared “Mother Dear” and “Born for Adventure.” Side two places the short Curulewski instrumental before DeYoung’s side-closing “Suite Madame Blue.”

“Light Up” surges from a heavy opening into squealing synths, harmonized riffs, handclaps, and congas. “Lorelei” alternates a mellow keyboard figure with harder lead turns and dense group accents. “Mother Dear” grows from Moog counter-layers, then swells with a flowing organ/guitar riff that alternates with spacey sung passages and soaring synth cascades. “Lonely Child” shifts from acoustic restraint to heavier twang-edged color.

“Midnight Ride” pounds through Young’s fast lead vocal and a harder riff setting. “Born for Adventure” drops from a quirky classical-tinged jam into an echoed vocal line and a returning instrumental surge. “Prelude 12” places an acoustic guitar solo before the closing sequence. “Suite Madame Blue” ascends from quieter vocal sections into heavier jams and a broad final lift.

A1. “Light Up” (4:12)
A2. “Lorelei” (3:20)
A3. “Mother Dear” (5:23)
A4. “Lonely Child” (3:49)

B1. “Midnight Ride” (4:18)
B2. “Born for Adventure” (5:10)
B3. “Prelude 12” (1:17)
B4. “Suite Madame Blue” (6:32)

Styx recorded Equinox in 1975 at Paragon Recording Studios in Chicago with Barry Mraz engineering and Rob Kingsland assisting. Chuck Beeson and Junie Osaki designed the sleeve under Roland Young’s art direction, with photography by Chris Micoine.

A&M lifted “Lorelei” as a January 1976 single (b/w “Midnight Ride”), which reached No. 27 on the Billboard Hot 100 chart. In 1976, “Light Up” appeared as a single (b/w “Born for Adventure”). Equinox reached No. 58 on the Billboard 200 chart.

Crystal Ball

Styx released their sixth album, Crystal Ball, on October 1, 1976, on A&M.

Crystal Ball introduces guitarist, singer, and songwriter Tommy Shaw, who replaced Curulewski after Equinox. Shaw composed the title track and co-wrote one song each with DeYoung (“Mademoiselle”) and Young (“Shooz”). DeYoung adapts Debussy’s “Clair de Lune” as a piano prelude to “Ballerina.”

“Put Me On” rushes from shrieking group vocals into zippy synth lines, full-tilt guitar figures, and an acoustic break. “Mademoiselle” bounces through Shaw’s lead, group-vocal replies, and upper-register bass turns. “Jennifer” floats on “da-da-da-da” vocal phrases before a cosmic lounge-like outro.

“Crystal Ball” gathers from an acoustic opening into heavier treatment and fluttering keyboard color. “Shooz” struts through a bluesy bass-line and Shaw–Young guitar interaction. “This Old Man” alternates sharply etched motifs and a compact break section. “Clair de Lune / Ballerina” unfurls from solo piano into keyboard-led drama, shifting motifs, electric guitar lines, and “la-la-la-la” vocals.

A1. “Put Me On” (4:58)
A2. “Mademoiselle” (3:55)
A3. “Jennifer” (4:07)
A4. “Crystal Ball” (4:26)

B1. “Shooz” (4:38)
B2. “This Old Man” (5:00)
B3. “Clair de Lune” (1:05)
B4. “Ballerina” (5:53)

Styx recorded Crystal Ball in 1976 at Paragon Recording Studios in Chicago with Barry Mraz and Rob Kingsland engineering.

A&M lifted “Mademoiselle” as an October 1976 single (b/w “Light Up”), which reached No. 36 on the Billboard Hot 100 chart. “Jennifer” followed in February 1977, with “Crystal Ball” issued in June. Crystal Ball reached No. 66 on the Billboard 200 chart.

The Grand Illusion

Styx released their seventh album, The Grand Illusion, on July 7, 1977, on A&M.

The Grand Illusion fixes the DeYoung–Shaw–Young vocal front line across eight titles split between individual compositions and group-credit pieces. DeYoung wrote the title piece, “Come Sail Away,” and “Castle Walls.” Shaw supplied “Fooling Yourself (The Angry Young Man)” and “Man in the Wilderness,” while Young contributed “Miss America.”

“The Grand Illusion” marches from an extended procession into stop-start verses, shifting motifs, and a closing guitar solo. “Fooling Yourself (The Angry Young Man)” glides from a synth sequence and acoustic strum into a later solo break. “Superstars” swells with a high-pitched unison line and master-of-ceremonies roll call. “Come Sail Away” crests from a piano front to a harder second movement and late solo passage.

“Miss America” snarls from a patriotic fanfare into a sharper verse and thick harmonies. “Man in the Wilderness” veers through dramatic theme changes and sectional turns. “Castle Walls” broods over a heartbeat-like bass line, Baroque-colored keys, and traded leads. “The Grand Finale” reprises title-track themes as a closing coda.

A1. “The Grand Illusion” (4:37)
A2. “Fooling Yourself (The Angry Young Man)” (5:31)
A3. “Superstars” (3:55)
A4. “Come Sail Away” (6:07)

B1. “Miss America” (5:02)
B2. “Man in the Wilderness” (5:50)
B3. “Castle Walls” (5:58)
B4. “The Grand Finale” (1:57)

Styx recorded The Grand Illusion in 1977 at Paragon Recording Studios in Chicago with Barry Mraz and Rob Kingsland engineering. Mike Reese mastered the album at the Mastering Lab in Los Angeles.

The Grand Illusion appeared in a sleeve with Roland Young art direction, Chuck Beeson design, Jim McCrary photography, and a Kelly and Mouse cover painting based on René Magritte’s The Blank Signature.

A&M lifted “Come Sail Away” as an August 1977 single (b/w “Put Me On”), which reached No. 8 on the Billboard Hot 100 chart.

“Fooling Yourself (The Angry Young Man)” followed in February 1978 (b/w “The Grand Finale”) and reached No. 29.

The Grand Illusion reached No. 6 on the Billboard 200 chart.

Pieces of Eight

Styx released their eighth album, Pieces of Eight, on September 1, 1978, on A&M.

Pieces of Eight retains the Shaw-era five-piece and adds mandolin and autoharp to Shaw’s credit. DeYoung and Young share “I’m O.K.” and “Queen of Spades,” while Shaw supplies the three singles. DeYoung places the brief instrumental “The Message” before “Lords of the Ring,” and Shaw closes the album with “Aku-Aku.”

“Great White Hope” charges through a harder Young lead and broad group chorus. “I’m O.K.” peals from an a cappella opening into hard chord hits, a cathedral-sized organ solo, and a theatrical close. “Sing for the Day” skips over sprightly acoustic strums and elaborate synth figures. “The Message” signals “Lords of the Ring” with an atonal keyboard intro. “Lords of the Ring” swells through theatrical lead placement and a large instrumental section.

“Blue Collar Man (Long Nights)” grinds through a staccato riff and growling Hammond. “Queen of Spades” erupts from quiet opening lines into rapid-fire leads, then returns to the opening figure. “Renegade” barrels out of triple-stacked vocal sections into heavy electric guitar and a middle-eight harmony break. “Pieces of Eight” swells from a piano-led opening into an anthemic chorus and intricate middle-section interplay. “Aku-Aku” dissolves into a serene instrumental signoff.

A1. “Great White Hope” (4:23)
A2. “I’m O.K.” (5:42)
A3. “Sing for the Day” (4:56)
A4. “The Message” (1:08)
A5. “Lords of the Ring” (4:31)

B1. “Blue Collar Man (Long Nights)” (4:03)
B2. “Queen of Spades” (5:38)
B3. “Renegade” (4:13) – Shaw portrays a fugitive: the subject of a manhunt on the verge of capture. Kayak explored this theme on “Crime of Passion” from their 1978 album Phantom of the Night.
B4. “Pieces of Eight” (4:45)
B5. “Aku-Aku” (3:00)

Styx recorded Pieces of Eight in 1978 at Paragon Recording Studios in Chicago with Barry Mraz and Rob Kingsland engineering. The group recorded “I’m O.K.” at Paragon and St. James Cathedral in Chicago. Hipgnosis designed the cover.

A&M lifted “Blue Collar Man (Long Nights)” as a September 1978 single (b/w “Superstars,” with some copies backed with “Aku-Aku”), which reached No. 21 on the Billboard Hot 100 chart.

“Sing for the Day” followed in December 1978 (b/w “Queen of Spades”) and reached No. 41. “Renegade” appeared in March 1979 (b/w “Sing for the Day”) and reached No. 16.

Pieces of Eight reached No. 6 on the Billboard 200 chart.

Cornerstone

Styx released their ninth album, Cornerstone, on October 19, 1979, on A&M.

Cornerstone places DeYoung’s Fender Rhodes and accordion credits beside guitar synthesizer and autoharp credits for Young, with Shaw adding mandolin and autoharp. Saxophonist Steve Eisen solos on “Why Me.” Arnie Roth supplies strings and string arrangements to “First Time” and “Love in the Midnight,” while Ed Tossing provides horns and horn arrangements on “Lights.”

“Lights” fans out from a staged opening into acoustic guitar, Shaw’s open vocal, a vaudeville bridge, and a short electric accent. “Why Me” brightens the theater-sized lead with pronounced keyboards and saxophone accents. “Babe” softens into a restrained vocal message and warm, rounded tones. “Never Say Never” clips Shaw’s lead against steady rhythm and brighter accents. “Boat on the River” glides on mandolin, accordion, and a tight European-flavored pattern.

“Borrowed Time” jolts through a sharp opening and split-speaker chant. “First Time” lingers over a simple, patient vocal line. “Eddie” hardens with sharper leads and urgent Young vocal. “Love in the Midnight” gathers from a quiet opening into a fuller midsection and final lift.

A1. “Lights” (4:37)
A2. “Why Me” (3:35)
A3. “Babe” (4:26)
A4. “Never Say Never” (3:07)
A5. “Boat on the River” (3:10)

B1. “Borrowed Time” (4:58)
B2. “First Time” (4:23)
B3. “Eddie” (4:15)
B4. “Love in the Midnight” (5:22)

Styx recorded Cornerstone in 1979 at Pumpkin Studios with Rob Kingsland and Gary Loizzo engineering. Ted Jensen mastered the album at Sterling Sound in New York. Cornerstone appeared in a sleeve by designer Mick Haggerty with photography by Aaron Rapoport.

A&M lifted “Babe” as a September 1979 single (b/w “I’m O.K.”), which reached No. 6 on the UK Singles Chart and rose up the Billboard Hot 100 chart. On the week of December 8, “Babe” reached the No. 1 spot, ousting the Streisand/Summer duet “No More Tears (Enough Is Enough)” and holding the summit for two weeks before Rupert Holmes took the honors with “Escape (The Piña Colada Song).”

“Why Me” followed in late December 1979 and reached No. 26. In March 1980, “Borrowed Time” appeared as a US single and reached No. 64, while “Boat on the River” became a European single.

Cornerstone reached No. 2 on the Billboard 200 chart.

Paradise Theatre

Styx released their tenth album, Paradise Theatre, on January 16, 1981, on A&M.

Paradise Theatre uses the rise and closure of Chicago’s Paradise Theatre as an album concept, with “A.D. 1928,” “A.D. 1958,” and “State Street Sadie” as period markers around the main songs. Initial vinyl copies carried a laser-etched band logo on side two.

Steve Eisen and Bill Simpson add saxophones. Mike Halpin and John Haynor add trombones, while Dan Barber and Mark Ohlsen add trumpet and flugelhorn under Ed Tossing’s horn arrangements.

“A.D. 1928” glides as a brief DeYoung-led opening line before the segue into “Rockin’ the Paradise.” “Rockin’ the Paradise” kicks into staged ensemble drive and harder DeYoung–Shaw vocal handoffs. “Too Much Time on My Hands” clips synth effects around Shaw’s lead, top-end harmonies, and one guitar solo. “Nothing Ever Goes as Planned” sashays through horn-section accents and stage-band turns. “The Best of Times” returns the opening line under DeYoung’s lead and a broad ensemble rise.

“Lonely People” bursts from crowd chatter into synthesized big-band color and a low-slung vocal entry. “She Cares” leans into 1950s-tinted Shaw phrasing and saxophone trim. “Snowblind” darkens between a lowered dramatic movement and a hard-clenched jam. “Half-Penny, Two-Penny” climbs into a mini-suite crescendo and closing title shouts. “A.D. 1958” reprises the opening line as a brief bookend. “State Street Sadie” exits through a short saloon-piano routine.

A1. “A.D. 1928” (1:07)
A2. “Rockin’ the Paradise” (3:54)
A3. “Too Much Time on My Hands” (4:31)
A4. “Nothing Ever Goes As Planned” (4:46)
A5. “The Best of Times” (4:17)

B1. “Lonely People” (4:38)
B2. “She Cares” (4:18)
B3. “Snowblind” (4:58)
B4. “Half-Penny, Two-Penny” (4:34)
B5. “A.D. 1958” (2:31)
B6. “State Street Sadie” (0:27)

Styx recorded Paradise Theatre in 1980 at Pumpkin Studios in Oak Lawn with Rob Kingsland and Gary Loizzo engineering and Will Rascoti assisting. Ted Jensen mastered the album at Sterling Sound.

Jeffrey Kent Ayeroff and Chuck Beeson handled art direction and design; Chris Hopkins illustrated the package, with photography by Marc Hauser, Greg Murry, and John Weizenbach. The front cover depicts the ritzy 1928 opening of the Paradise Theatre at 231 N. Crawford Ave. On the back cover, the same facade appears dark and dilapidated after its 1956 closure.

The Paradise Theatre belonged to the chain of fifty Chicago-area movie palaces operated by the Balaban and Katz Theater Corporation, whose Chicago Theatre — built in 1921 at 175 North State St. — remains a city landmark. Despite its lauded opening and opulent interior, the Paradise Theatre lost business after the 1929 arrival of talkies, which didn’t resonate in the theatre’s domed interior.

A&M lifted “The Best of Times” as a January 1981 single (b/w “Lights”), which reached No. 3 on the Billboard Hot 100 chart. Styx filmed soundstage clips for “The Best of Times” and “Rockin’ the Paradise.” The latter became the 10th video aired by MTV on August 1, 1981, the cable music channel’s first day of broadcast.

“Too Much Time on My Hands” followed in March 1981 (b/w “Queen of Spades”) and reached No. 9 on the Hot 100. The video mixes segments from the same soundstage performance with bar scenes where each member outshines the other with a gimmick.

“Nothing Ever Goes As Planned” appeared in July and reached No. 54, followed by “Rockin’ the Paradise” / “Snowblind” in November.

Paradise Theatre reached No. 1 on the Billboard 200 chart.

Kilroy Was Here

Styx released their eleventh album, Kilroy Was Here, on February 28, 1983, on A&M. The title comes from a WWII-era graffiti tag.

Kilroy Was Here is a concept album set in a fascist dystopian future where rock music has been outlawed by the Majority for Musical Morality (MMM). future order that outlaws rock music. DeYoung conceived the album and stage production around Robert Orin Charles Kilroy (ROCK), a former rock star long-imprisoned by Young’s character, MMM leader Dr. Everett Righteous. Shaw portrays Jonathan Chance, a young ROCK admirer and freedom fighter.

The album expands the group’s keyboard and vocoder palette. DeYoung adds accordion; Young and Shaw add vocoders, and Shaw adds shamisen. Steve Eisen, Dan Barber, Mike Halpin, Michael Mossman, and Mark Ohlsen provide saxophone, horn, and trumpet parts.

“Mr. Roboto” clamps mechanized synth parts to DeYoung’s theatrical lead, vocoder replies, and Japanese title phrases. “Cold War” drives Shaw’s lead across synth-clap accents, a guitar entry, and a brief solo. “Don’t Let It End” swells from DeYoung’s balladic lead into a late harder lift. “High Time” bounds through theater-bright DeYoung lines and real-horn bursts.

“Heavy Metal Poisoning” snarls through backmasked voices, Young’s preacher bark, heavy riff figures, and a final child response. “Just Get Through This Night” lingers through atmospheric Shaw phrases and a backward-recorded solo. “Double Life” stomps through dark harmony and lean electronic backing. “Haven’t We Been Here Before” softens Shaw’s line with DeYoung replies and an effects-loaded harmony break. “Don’t Let It End (Reprise)” reprises “Mr. Roboto” into a looser Chance–Kilroy handoff and old-rock fade.

A1. “Mr. Roboto” (5:26)
A2. “Cold War” (4:21)
A3. “Don’t Let It End” (4:53)
A4. “High Time” (4:28)

B1. “Heavy Metal Poisoning” (4:54)
B2. “Just Get Through This Night” (6:01)
B3. “Double Life” (3:43)
B4. “Haven’t We Been Here Before” (4:04)
B5. “Don’t Let It End (Reprise)” (2:22)

Styx recorded Kilroy Was Here in 1982 at Pumpkin Studios in Oak Lawn with Gary Loizzo, Will Rascati, and Rob Kingsland engineering. Jim Popko served as apprentice engineer, and Ted Jensen mastered the album at Sterling Sound.

A&M lifted “Mr. Roboto” as a February 1983 single (b/w “Snowblind”), which reached No. 3 on the Billboard Hot 100 chart. “Don’t Let It End” followed in April 1983 (b/w “A.D. 1928” / “Rockin’ the Paradise”) and reached No. 6. “High Time” appeared in August 1983 (b/w “Double Life”) and reached No. 48.

Kilroy Was Here also generated a 10-minute Brian Gibson short film that opened the 1983 tour and later appeared with the Caught in the Act concert video.

The film sets a future America where Dr. Everett Righteous and the Majority for Musical Morality ban rock music and imprison Robert Orin Charles Kilroy, a former rock singer framed for murder. Jonathan Chance, a young Music Underground figure, hijacks an MMM broadcast with outlaw video footage and draws Kilroy’s attention. Kilroy disables a Roboto guard, takes the robot mask as a disguise, and escapes prison. Chance then breaks into the Paradise Theatre, now recast as an anti-rock museum, where the disguised Kilroy steps from the shadows and reveals himself. In concert, that reveal fed directly into “Mr. Roboto.”

Kilroy Was Here reached No. 3 on the Billboard 200 chart.

Caught in the Act

In April 1984, Styx released the live double-album Caught in the Act, recorded on April 9–10, 1983, at Saenger Theater, New Orleans.

The album documents the Kilroy Was Here tour and adds the studio track “Music Time,” recorded in January 1984 before Shaw’s first departure. The set presents the 1975–84 lineup’s final album document, with material drawn from Equinox through Kilroy Was Here.

A1. “Music Time” (4:42)
A2. “Mr. Roboto” (4:38)
A3. “Too Much Time on My Hands” (4:35)
A4. “Babe” (4:40)

B1. “Snowblind” (5:03)
B2. “The Best of Times” (6:08)
B3. “Suite Madame Blue” (8:22)

C1. “Rockin’ the Paradise” (4:04)
C2. “Blue Collar Man (Long Nights)” (4:22)
C3. “Miss America” (5:59)
C4. “Don’t Let It End” (5:12)

D1. “Fooling Yourself (The Angry Young Man)” (5:34)
D2. “Crystal Ball” (5:56)
D3. “Come Sail Away” (8:06)

Styx recorded the live material on April 9–10, 1983, at the Saenger Theater in New Orleans with the Westwood One Mobile. “Music Time” came from January 1984 sessions at Pumpkin Studios in Oak Lawn. The group completed overdubs and mixing at Pumpkin Studios with engineers Gary Loizzo, Will Rascati, Rob Kingsland, and Biff Dawes; Ted Jensen mastered the album at Sterling Sound.

A&M lifted “Music Time” as an April 1984 single (b/w “Heavy Metal Poisoning”), which reached No. 40 on the Billboard Hot 100 chart. Caught in the Act reached No. 31 on the Billboard 200 chart.

Discography: