THE GRAND ILLUSION

Styx's seventh album "The Grand Illusion" (released on 7/7/77) was my first listening exposure to the band, and a decent exposure it was. From what I had heard from the band before purchasing this album, they were either progressive or pop.. and I was expecting a synthesis of both styles when I first popped "TGI" into my CD player. I was actually not too far off the mark. This album marks a bit of a turning point from their early 70s progressive noodling, to their hit single-oriented work in the late 70s and 80s. The best of both worlds are highlighted in this work, and it is done rather well.

1. The Grand Illusion (4.5/5)- This song captured me. Great message with a kicking array of guitars and keyboards, also love the fanfare-style drumming. This song is Styx every bit of the way.. dramatic balladry, crunchy guitar, soaring melody, and talented musicianship all rolled into one. GREAT introduction to the album, too... sets the tone with Dennis DeYoung acting as a bit of a ringmaster to the "Grand Illusion" he's inviting us all to experience. I really enjoy this song, perhaps a bit more could've been done with it, but it's above-average for what it is.

Song Highlight: About 1:39 and 3:05 in, two very different guitar solos highlight the styles and flair of Tommy Shaw and James Young.. one being very biting, the other very melodic.. both fit the song in their own way, great supplements to the song.

2. Fooling Yourself [The Angry Young Man] (5/5)- Absolutely brilliant number.. again, a message that is easy to relate to highlighted by great instrumental work. The song has a very rustic and wise feeling to it, if one closes their eyes while listening to the intro I'd be willing to bet images of minstrels and castles frolicking in the sun would come up. The keyboards in the song have a very "flauty" feel to them, and there is ample use of acoustic guitar in the background to appease any fans of acoustic rhythm work.

Song Highlight: The intro through 1:19.. excellent instrumental passage.. and at 3:04 there begins an keyboard solo highlighted by a VERY simple, but quite effective bassline jiving away. Dennis DeYoung is a wizard behind the rack, but keeps himself in the pocket very well and doesn't over-do his soloing. Also... cool little coda with about a minute left in the song... acoustics melding with some more DeYoung synth work.

3. Superstars (2/5)

Hard to follow up a one-two punch of "FY(TAYM)" and "TGI," to be certain. This song just really seems to drag to me for some reason. More simple basslines, and airy keys (Hammond B3?) in the background, some riffs... Almost the same kind of formula set by the first two songs, but nothing makes "Superstars" stand out to me. I don't brand many things cheesy, but the chorus gets close to being called so by myself. After I got familiar with this album, this one began to get skipped about five times out of ten... I guess I really have to be in a certain mood for it.

Song Highlight: Nifty guitar solo about 2:09 in.. almost a saving grace to this plodding tune. It's followed up by the return of DeYoung's ringmaster character in the first song, but he sounds slightly more maniacal in this one. A monologue by DeYoung here... it could be seen as really tacky, or as a stroke of genius.. I guess it just depends on what you're into.

4. Come Sail Away (5/5)

Quite possibly Styx's most popular song that doesn't feature a robot main character. A fantasy epic that is yearning, rousing, dreamy, hopeful... you could take almost any positive or energetic adjective and plug it into an explanation of this song, and it would fit. It starts out as a very down-tempo ballad, like many 70s rock classics. Of course, the more you listen to the song, the more it keeps building. Probably one of the most "progressive" yet most "poppy" tunes at the same time. Thundering drum fills, crunchy riffs, anthemic chanting and singing, melodic guitar solos... there's something for everyone to like in this song, provided they haven't already heard it over a million times on the radio.

Song Highlight: 3:19 in, so begins a very artful interlude... Swirling keyboards make an atmospheric scene. Serene and whimsical... and then BAM! The guitar comes back in, in a most dutiful manner, rocking things out and bringing the song towards its dramatic climax.

5. Miss America (3/5)

Song starts out sounding like it will be a slow, keyboard-heavy tune. And then James Young comes chugging in with an authoritative riff, that I like... until the singing kicks in. I'm not a fan of James Young's voice.. far more generic and less theatrical than DeYoung's or Shaw's. I suppose it works for the song, even though it sounds like he's trying to force out a sizable burp during the whole thing. A different song probably could've worked better here, but the Styx boys have to throw JY his bone on every album. It's probably one of JY's tastier bones, regardless. The instrumental ability demonstrated here is the best part to this normal rocker.

Song Highlight: 2:30 in, DeYoung stamps his mark on the song! Devastating synth solo! NICE!

6. Man in the Wilderness (2/5)

Not a huge fan of this song either. It's really down-tempo and really medieval-feeling, kind of like "FY(TAYM)"'s wimpy little brother or something. Halfway through the song, it feels like "Miss America" part 2, in fact, the riff almost feels like it's directly ripped from the previous song. Turns from a plodder into more standard classic FM radio fare... and then back into a plodder. Sure, there are sweet keyboard accentations and everything.. and the rhythm section's attack of simple (bass) and alloverthefrigginplace (drums) are doing what they've been doing through most of the album. It works for the music, and I enjoy it.... but this song, really, honestly.... it's good music, but.... it's wholly unremarkable.

Song Highlight: Really... none at all.

7. Castle Walls (4/5)

This one drips of the various fantasy-charged themes (musically and lyrically) that have been all over the album. It starts out down-tempo and understated like "MitW" but.. there seems to be something different. I really can't put my finger on it. I wasn't a huge fan of "MitW" but I enjoy this tune. Just when I begin to figure it out, the song highlight comes in...

Song Highlight: Something like 1:55 in, there is a very Neal Schonesque guitar mini-solo that leads into some very charged DeYoung synth work... and there is plenty of tribal-sounding drums ricocheting in the background, the occasional power chord... The synths get a little more intense, and then.... zip. It stops completely. It could be disappointing to some but genius to others. I personally really enjoyed it. I was expecting a monster solo, perhaps a very pretentious one, but... it stops short of what it could've been. Leaves the listener hanging. A guitar solo follows shortly thereafter, but it's nothing spectacular. Still, the synth work was very well-done.

8. The Grand Finale (1.5/5)

Nothing to look at here, unless you (faithful and good prog listener) do nothing but album-listens. Sums up the album's concepts and songs in one tidy little song. Has choruses and lyrics, riffs and fills from every song on the album. Works well for what it is, I suppose, but has nothing much to offer. Shades of Queen! The guitar solo, one of the only things different on this song from the rest, reeks of Brian May's influence.

Overall Rating: 3.375 out of 5 Stars

SUMMARY: An above-average album that fuses poppier music with progressive ways. While I find it a bit unfair to lump all of these bands into one group, as they all offer something different and original to rock music, fans of Foreigner/Journey/Boston/Queen/REO Speedwagon will probably find maximum enjoyment with this album. However, progheads who prefer King Crimson/Pink Floyd/Marillion/Genesis/etc. will also be content with the excellent musicianship and concepts displayed. Hey, it's a concept album, where can you go wrong? This is a great rock album, but in terms of "progressive" rock, it will come up short of having an excellent rating. It has enough progressive flourishes, however, to keep even the most meticulous of beard-strokers happy.