STARCASTLE

STARCASTLE is slavishly imitative of Yes, but other influences can sometimes be discerned. If you can forgive the band their shameless lack of originality (I certainly can't), the track "Lady of the Lake" is pretty good, but I find this group to be strictly non-essential. I don't know if they ever developed their own sound, because the formulaic, imitation-Yes approach on this disc made me ignore all subsequent releases.

One for the "deleted" bin!

Of all these mid-70's US prog bands, the only one that got a real exposure was Starcastle, but I take it that it was mainly because they landed a recording contract with the Epic (CBS) label contract, which got them wide distribution. But compared to the Pentwater, Citadel, Mirthrandir or Yezda, these guys were not really more deserving, since they also leaned heavily on their British prog influences. Actually, of all these mentioned, this Illinois sextet was probably the most derivative of all of them, that they could qualify as Yes clones. Personally, I always had a hard time taking these guys seriously, partly because of their ridiculous (though proggy) name and their even-more ridiculous album artworks, but of course, even as a teenager, though I loved Yes, I couldn't understand why these guys aped them so much. Not only they they not better their idols, but they used one more person (a second guitarist) to achieve that dubious goal.

Opening on the 10-mins+ Lady Of The Lake, right away, you'll check to see if you haven't misplaced a Yes disc inside a Starcastle sleeve. Once you're reassured that you weren't too drunk last night or that your brother wasn't playing a prank on you, you wonder (and check in reference books) if Yes had not recorded an album under a pseudo for the rivals Epic/CBS of their Atlantic (WEA) label. Once you're sure that Starcastle is no joke, you'll also find that they are no Yes pastiche, like the Rutles were to the Beatles. Don't get me wrong, the final result is a competent prog rock, if you disregard the Yes soundscapes, but where it hurts is that there isn't one ounce of originality in the album, or the subsequent ones. Neither Elliptical Reasons, nor Forces on the A-Side will dispel the unease either. The shorter flipside is no different, but to be honest, it would be too fastidious to start enumerating or citing the Yes borrowings on each songs on the album. I thought I'd let you do that, should you find that amusing. Even the two shorter pieces (both under three minutes) do not sound anything but Yes. OK, enough said. If you don't mind your music to sound "ala" and you like Yes enough to accept copies, no doubt Starcastle's discography will be right up your alley. Hardly (not at all) essential, but competent ebough to warrant a rounding uo to the third star on our rating scale.

You like YES? get this record! I never seen a progressive group resembling so much to YES like STARCASTLE. In many songs, I see the "Close To The Edge" influence (the experimental guitar on "Lady Of The Lake", the keyboards on "Sunfield", the vocals on "To The Fire Wind"). The bass, the vocals, the keyboards and the guitars sound like YES!! Bits on "Forces" remind me the good TRIUMVIRAT of ELP. Definitely the best album of STARCASTLE.

One of the more unjustly reveiled prog rock bands, STARCASTLE is that band that I'd recommend highly if you like YES and don't mind a band copying their sound. STARCASTLE came from Champagne-Urbana, Illinois, same place as REO Speedwagon. In fact REO's original vocalist Terry Luttrell was STARCASTLE's vocalist as well. STARCASTLE consisted of Luttrell, keyboardist Herb Schildt, bassist Gary Strater, drummer Stephen Tassler, guitarist Matthew Stewart, and guitarist Stephen Hagler. Tassler used roto-toms, Strater used a Rickenbacker bass, and Herb Schildt used Mini Moog and Hammond organ.

The album opens up with "Lady of the Lake", complete with Steve HOWE-like guitars and Rick WAKEMAN-like organ, you might think you're listening to a lost Yes recording. The vocal harmonies, not to mention Luttrell's ANDERSON-like vocals is very much like YES. And that YES-like sound is obvious with songs like "Elliptical Seasons", "Forces", and "Sunfield". "Sunfield" oddly reminds me of something off "Tormato", although that album wouldn't even see the light of day for two more years. "To the Fire Wind" has vocal harmonies in one passage that's more like CROSBY, STILLS, NASH & YOUNG than YES (probably to show that YES' vocal harmonies were influenced by CSNY). There are also a couple instrumental pieces as well too. Definately underappreciated prog rock, but given the label this band was on (Epic Records), it could have been a lot worse. So if you don't mind a band cloning YES, get this, if you can't stand that idea, avoid.

There's nothing wrong with Starcastle that a little originality would not have cured...It's not that the music is that bad, it's just...not good. All kidding aside (...), this "poor mans' Yes" is not nearly as bad as some claim. I even liked Elliptical Seasons, much of Forces, and the second half of Sunfield (which includes - hold on to your hats - a section in 9/8!). The music is super-derivative, with the band "mimicking" Yes' various sounds: Wakeman's keyboards, Squire's bass, Howe's guitars (less successfully), and the groups' "trademark" vocal harmonies. Starcastle are actually reasonably good, disciplined musicians, and they capture one of the most classic Yes "sounds" - Squire's deep bass against the higher notes of Wakeman's keyboards and/or Howe's guitars - pretty well. As well, the vocals, though painfully obvious "clones" of Yes, are actually not bad (though they have far too many "dit-dit" sections). The lyrics are perhaps less successful in their attempts to "capture" Yes: although they are filled with colors, seasons, and space references (the word "sun" is used quite a lot), they simply can't match the unique "other-worldly" pseudo-gravitas quality of many of Anderson's lyrics. (Whereas it was fun to take lots of LSD and try to figure out what the heck Anderson was talking about, reading Starcastle lyrics on LSD might send one on a "bad trip"...) One odd thing is that all the songs end with abrupt stops: apparently, the band never learned how to "fade" - and some of the songs might actually have benefitted from it. / Although Yes purists (and many others) consider Starcastle a joke, they are not as painful to listen to as, say, Ayreon or other super-bombastic, pompous, pretentious bands: although Starcastle "wears its influence on its sleeve," at least they have some respect for that influence, and have some fun with their music.

STARCASTLE have been historically slagged and tagged as nothing more than a plastic second rate YES clone band to which I do not subscribe to. Without a question the music of YES shaped this band and musically there are some very strong similarities, but having said that the first album is total enjoyment with 7 great songs. STARCASTLE blend fantasty- space keyboards, Richenbacher bass lines, and pointed guitars with some fantastic vocal harmonies. Musically these guys were top notch with shifting time signature changes, instrumental prowess and their unique ability to create that certain prog lovers Dream-like fantasy themes. So let the debates continue to rage on whether these guys were original but with way I say they were very progressive ! An excellent album

As a youngster I had seen Starcatle's third album 'Citadel' on the racks and was intrigued by the cover art, but never made the purchase, so I had hankered after the band's records for years and was tempted when their fikrst and second albums came up on a random e-bay search on vinyl. A couple of weeks later and the records arrived, in good nick and just itching to be dropped on the turnatble. But, oh, the fear and trepidation. I had heard in the years of waiting that they were nothing but sad Yes plagiarists, slavish wannabes who could only badly ape their heroes. They lacked spark, invention, individuality. And initially I feel into the negative camp. They did indeed sound a lot like Yes, but a Yes without the drive, fire and aggression. It all sounded a bit... well, limp. And so I tucked the records into the collection under 'S' and also 'Failed Experiment'. And there they sat, for months on end. But something drew me back. No idea why, but there was something there begging for another chance and now I'm really glad I gave them another shot. This first Starcastle is a little gem. A pleasant little gem. No it doesn't have the inventivenes of prime period Yes, or the fiery skill of Yes. But it dfoesn't matter. This is a record that despite the handicap the band gives itself by pledging such faithful allegiance to its heroes, does stand on its own two feet. And it does so by blending some really good melodies with a very American (to my ears) take on the Yes template. This could only have come from the States. There's bits of Kansas, Styx, any AOR sound you care to mention. There must be something in the midwest water for all these bands to share the same sense of melody. Couple that with some great playing (particularly from keys and bass) and you've got an album that ticks a lot of the right boxes. The albums sets it's stall out early with the first, biggest and best track, Lady of the Lake, which is built on a lovely revolving guitar and organ riff which is quickly bolstered by some pedalling Squire-like bass playing. It gives way to a lovely harmony-rich verse which is just, well, happy. It's feelgood summertime AOR prog, if such a thing could be said to exist. There's a very Yes mid section (driven by a Howe-esque solo from Hagler) which in turn gives way to dreamy ambient section fleshed out with guitar swells and washy keys before it's all wrapped up with a reprise of the verse in the big finale. That sets the template for the whole album. 'Elliptical Seasons' is a sparkling 12-string acoustic guitar-driven song, the guitar bathed in large washes of string synths (very mid-70s AOR and you can almost draw a straight line from this to something like Triumph). It also features some lovely harmonies and a neat monosynth solo. Forces is very Yes, with singer Terry Luttrell really turning on the pseudo-Jon Anderson affectations, complete with the Yes man's trademark do-do-do-do vocalisations. It's a shame that they choose to so so slavishly ape these Yes trademarks because they certainly had enough of their own identity to have forged a career other than as being 'the best band in the world that isn't quite Yes'. Having said that, this is a real grower. It's a charming album, has some great playing, some lovely melodies and won't disappoint. If you're a hardcore Yes fan then it might annoy you greatly but once you accept the limitations their adulation of Yes imposed upon Starcastle then you'll learn to love this.

Oh my! Imagine being a really talented prog musician in the US in the mid 70s. Imagine meeting other such musicians. Imagine finding out that you are all fans of Yes. Imagine playing superb music together. Imagine recording it. Imagine playing it to your deaf grandma whose most recent musical investment was a coin given to an organ grinder's monkey. Imagine getting whacked around the side of the head by said ancient as even she instantly spots your shameless plagiarism!

Sorry, about that reverie. You'll have to forgive the imagination I put into it, because I found that I had to supply all the imagination when it comes to this record. Sure most bands have influences, and there are some bands who may project theirs a little too strongly (in fact Starcastle's compatriots Yezda Urfa and Cathedral both also suffered from a questionable degree of allegiance to the Yes cause), but very rarely do bands go through these lengths to imitate their idols (the other obvious example being Japan's Bi Kyo Ran whose King Crimson fixation was also too much!)

I honestly can't imagine (there's that word again) what must have gone through the minds of the musicians who made this. Because let me tell you, they are damn good musicians. But, why oh why, does every song here sound like a Yes outtake? Take Elliptical Seasons, great vocals from Terry Luttrell, outstanding acoustic guitar touches (I'm not sure if its Stewart or Haggler who did it) and some great keyboard lines from Herb Schildt. The problem is that Messrs Anderson, Howe and Wakeman had already done it before ... rather well I might add.

Taken on its own the music here is pretty darn good, and is probably better than half the albums Yes recorded ... but still this is one album that simply cannot be viewed in isolation. Songs like the blistering Lady Of The Lake, Forces and To The Fire Wind (Schildt's synth solo here is superb!) are damn good songs, but the lack of originality is unforgivable and frequently cringe-worthy. In To The Fire Wind, Luttrell even apes Jon Anderson faux-mystical lyrical mumbo-jumbo to perfection ... "In the impulse of daylight, those remaining will catch the sight, eager to renew their fight". To go public with such plagiarism is both unnecessarily flattering to Yes and a real disservice to the talents of the individual musicians who played on this album.

If you can forgive the clone band thing, this really is a good record, but I still struggle to understand what could possibly have made them do it. ... 52% on the MPV scale

2,5 stars

A Yes clone? Yes, certainly. This first effort from 1976 is in "The Yes album" vein, and may also evoke the gentle mind of Camel/Moonmadness from the same year. The lead singer has a voice similar to Jon Anderson, but the music is of course less inspired and intense than Yes. The pieces are short and suffer from a binary rhythm and a lack of progression, but some nice instrumental parts remain. A light, but pleasant record for symphonic prog lovers.

In those remote days, there were some bands who were playing some Genesis ("Neuschwanstein") and Yes ("Starcastle") music. If you need an additional shot of Yes music (performed by another band), I guess that you will try this album (to start with).

In this genre, I have to say that "Starcastle" might be a good option. Do bear in mind though, that theyt are NOT Yes. But you will quickly discover this.

Compositions are rather average and I guess that if the link with the master was not so obvious, very few attention would have risen from their "original" work. This being said, I do spin their albums once in a while. Instrumental moments are the best ones here. When I listen to most of the vocals, I just can't stand it.

There are lots of singers with the Gabriel tone of voice. Usually, they are doing from OK to very good. It does not seem to be the same with Jon.

Songs to listen to ? Probably "Lady Of The Lake", "Forces" and "Sunfiled". One song has to be avoided by all means : "Nova".

I am a rather nostalgic guy, believe me. But I can't get thrilled with this "Starcastle" debut. Even the cover seems a bit too much. Maybe a later release...

Two stars.

Like some kind or crazy alternative YES outfit, but hailing from the old U S of A instead of blighty, Starcastle are almost the definition of the wafting, ethereal prog-rock band. Featuring enough high-pitched guitars, organs and keyboards to keep fans of symphonic prog happy for at least a couple of hours, this debut release ranks as probably their greatest recorded moment. Later albums seemed to get progressively(he he!) worse, until they abandoned the prog altogether and tried their best at imitating JOURNEY, BOSTON, FOREIGNER et al in an attempt to change their image and tap into the dollar-generating soft-rock fever that was sweeping thru America during the 1980's. It's a pity, because Starcastle, their eponymous debut, is probably the closest any prog band has come to hitting the high, majesterial harmonies that Jon Anderson and co were so good at making.

STARCASTLE kicks off with the fey, twinkling epic LADY IN THE LAKE, a ten-minute plus opus featuring a crisp, driving, repetitve guitar line from lead twiddler Steven Hagler that rises and falls throughout the pieces various sections and, amazingly, never gets boring. The vocals are lighter than a malteser in zero-gravity, and any self-respecting YES fan will surely fall in love within the opening ten seconds. LADY IN THE LAKE is the definite Starcastle song, but the album still holds a few surprises.

ELLIPTICAL SEASONS rocks in a airy-fairy kind of way, whilst FORCES and SUNFIELD also contain enough gorgeously composed wafting harmonies to fill a thousand yes-lite records.

Mores the pity then that subsequent albums just didn't cut the mustard. 1978's REAL TO REEL was really the nadir(just check the review on this site) but wait! Yes, believe it not the story is not finished! Earlier this year(2007), SONG OF TIMES was released, and to decent reviews, not just "where have they been" curiosity. So, they have managed to survive and build on their earlier efforts, despite waiting thirty years to do so, which, in my book, is the sign of genuine rock survivors.

YES fans, check this out, OPETH fans, don't even bother.

STARCASTLE's roots can be found at a band called ''St.James'',formed in 1969 by some students of the University of Illinois in Champaign.The band suffered by line-up changes and had been renamed several times,until Terry Luttrell (ex-Reo Speedwagon) took over the vocals and they finally found their own style under the name STARCASTLE.In 1976 they published ''Starcastle'',which can be consider as the American answer to YES.At a time when YES slightly moved towards more accesible music forms,STARCASTLE recaptured some of their glorious past and taped it on ''Starcastle''.The album is haunted by the Jon Anderson-like vocals and the nice polyphonic vocal harmonies,while the music remains trully adventuruous and intricate.Very complex bass lines,captivating keyboards throughout,Steve Howe-like fantastic guitars and additionally nice drumming create an attractive work for all YES/symphonic lovers.However the albums lacks in originality and some people will accuse STARCASTLE as a total YES-clone,but nevertheless the album is a high-quality release with good,demanding arrangements and carefully-arranged vocal lines.YES fans should hurry for this one,progressive rock fans should also taste some of STARCASTLE's music,unless one has a big problem with (good) clones...3.5 stars are a fair rating IMHO...

Much has been made about Starcastle being a poor American Yes clone, and for good reason. But any band that sounds so close to Yes and exhibits good songwriting and stellar playing can't be that bad. Indeed, this is band that delivers pleasing music. Two major elements give rise to this praise or accusation (depending on the critic): Gary Strater's bass tone is unmistakably similar to that trebly punch of Chris Squire, and Terry Luttrell just sounds uncannily like Jon Anderson at many points. But I hear many other influences here, namely ELP, Camel, and Gentle Giant. In addition, there's some highly original compositions present really worth hearing.

"Lady of the Lake" The most creative and engaging song on the album, it is also the lengthiest. The guitar playing is more than sufficient, ringing out nice and clean despite the use of distortion. Herb Schildt's organ solo sounds much more like Emerson did on Tarkus or Pictures at an Exhibition than anything Wakeman or Kaye ever did. The light atmospheric section is much brighter than, but very similar to the softest section of "Close to the Edge."

"Elliptical Seasons" That twelve-string acoustic introduction may easily be compared to "And You and I," but the rest of the song moves toward a funk-driven direction. The lead singer stands alone (rather than clothing himself with heavy vocal harmonies). The synthesizer lead, however, reminds me of Peter Bardens of Camel.

"Forces" Here, Luttrell does not sound as much like Anderson, stripped of the harmonies as he is. The vocalizations of "I've Seen All Good People" are present here. This time, the synthesizer tone is very similar to that of Wakeman's on "And You and I." Other than that, this song sounds incredibly original and fresh.

"Stargate" A light synthesizer and lead make up this terse, building instrumental, as drums, guitar, and bass butt in at several points. However, I can't shake the feeling that the band decided to reinterpret Stravinsky's finale to his Firebird Suite (which Yes frequently used as an introduction at live shows); it just sounds too convenient, especially since it goes right into the next track.

"Sunfield" The vocals here are a tad embarrassing. They sound out of place, poorly mixed, and spouting goofy lyrics. Otherwise, the music is stellar, with more fantastic keyboard and bass carrying on. Schildt is the clear star here, giving his synthesizer a workout. The guitars both take a more submissive role, similar in vein to Gary Green of Gentle Giant.

"To the Fire Wind" Heavy and oddly timed organ chords run under some strange punctuation just before the lead guitar comes in, leading into the harmony-ridden vocals. The vocalizations grow a bit stale though, but inward bound is a fantastic synthesizer solo before the introduction overtakes things again. The guitarists do get a shot at showing their stuff, assaulting the listener from both speakers.

"Nova" Tribal drumming initiates this odd album closer. The rest of the instrumental uses the instruments in an odd arrangement, with punctuating organ as guitar and synthesizer play various leads. Sadly, the strong bassist has nearly no place.

Way too many Yes nuances for me to take seriously. On their debut album, Starcastle mine all of the positive qualities Yes brought to the music scene and use them to make ''the album that Yes never recorded''. Right from the first bass guitar sounds of ''Lady of the Lake'', you could really smell the Yes in this group. Vocally, STARCASTLE fails in most regards; Terry Lutrell is a decent singer on his own, yet when the group does harmonies, they get annoying. The diddits in ''Forces'' are among the worst vocal thing I've ever heard.

''Lady of the Lake'' and ''Sunfield'' have some nice proggy touches, but neither get put on repeat for the blatant Yes copying as is the rest of the album. Side 2 begins and ends with duds for instrumentals that really don't serve any purpose. Nothing more than a novelty album that sounds like Yes.

Even better than the real thing?

ELP had Triumvirat, Genesis had The Watch and Yes had Starcastle. But Starcastle is from another league: the over-the-top-life-dedicated-to-Yes league. This is a perfect clone (underline perfect in bright color), a grandiose chef d'oeuvre to plagiarism, so big and obvious it provokes admiration instead of pity.

Starcastle is the ultimate tribute band ever, over The Musical Box. Although Musical Box is renowned for imitating perfectly Gensis on stage, Starcastle is pushing forward by composing their own songs; songs that we could easily hear on Close to the Edge or The Yes Album. I was cleaning my bathroom with this in my IPod, and I actually had a great time! This album is genuinely entertaining and not as corny as the cover could let you presume.

Shorter songs, which means less filling (or no filling at all frankly) is a winning combination, since Yes has the bad habit of extrapolating their songs to the limit of the listener's patience (Tales of Topographic Boredom). The musical skills are not as high as Yes, but again, Yes is not even as good as Yes sometimes! They did their best, and their 'best' is pulverizing the competition to sheer space.

Brillant and never dull.. and I don't even like Yes that much!

Starcastle's claim to fame is for creating the best Yes songs not created by Yes. Deny all you want, but this band played Yes music. From the Jon Anderson-like vocals (Terry Luttrell sounds exactly like Anderson on To The Fire Wind), the early Yes styled harmonies, the "dah dah dah" breaks, the Squire styled bass lines, to the Tony-Kaye-caliber-keyboardist- trying-to-play-like-Wakeman synths and organs, this band was the best Yes imitator I've ever heard.

But they do it well. Lady Of The Lake is a great song. It even has a break where they imitate ELP instead of Yes for a short time. In fact, all the songs on this album are pretty good. If the band wasn't trying so hard to be Yes, I would probably rate this 4 stars. But they lose a point once again for originality.

Today I remembered that USA have its moments on 70's Progressive Rock era (the only other name that came across my mind right now are the great Yezda Urfa). And I put the needle again on Starcastle first record from 1976.

Much is said about how much Starcastle has 'robbed' the Yes sound, and this is quite boring to read, cause ALL reviews in all possible websites says the same.

I'll not say contrary, cause yeah, we have a lot of Yes influences all around. But what people do not remember is that on 1976 Yes WASN'T playing any of this music anymore. So, really, I don't give a damn if they are 'thieves' or not, what I wanna say is, thanks for bringing some good sounds for a year that has no great albums to remember of.

I always loved this bass sound we have here, the old Rickenbacker with a pick in a medium- high range and Gary Strater deliver it, so bring'em. Maybe the only thing that can annoy me here from time to time is the weakness in the voice of Terry Luttrell, I like his voice, but sometimes is really clear that he need help to deliver a full vocal section, so yes, a lot of vocals, even if their style 'demands' a lot of vocals you can notice that.

And you have to admire the courage of a band that played around for 4 years before really could record an album, and had all their equipment ruined in a truck crash in which their guitar player Stephen Hagler had his back broken.

All in all an album that can be heard with a smile and the attention that good Prog Rock album deserves.

Of all of the progressive rock bands to take more than a few hints from Yes, Starcastle is arguably the most famous - or infamous, if you prefer. Especially on their self-titled 1976 debut, these American proggers have been noted time and time again as a mere Yes ripoff. While that statement is almost undeniably correct, any band that can convincingly sound like Yes is worthy of a few points in my book. Starcastle is an incredibly tight and precise group of musicians with a knack for creating memorable progressive rock compositions, and in spite of their total lack of originality, they deliver their style with complete confidence. Although this album derives far too much from Yes' sound for my liking, you'll have a tough time finding many American prog albums from the mid-seventies' on par with Starcastle.

Though it's a fairly well known fact that Starcastle sounds a heck of a lot like Yes, it is pretty amazing how well these guys have mastered every fine aspect of Yes' sound. Everything from the masculine basslines to the vast keyboard palette immediately transports the listener back to the golden age of symphonic prog, and for fans of the genre, this record should provide plenty of great listens. The album opens up with the excellent "Lady of the Lake"; while the strength of this opus is never reached again, the rest of the album is pretty great as well. The instrumental section in "Forces", in particular, is also a major highlight.

Starcastle may have mastered every fine aspect of Yes' sound with this debut, but that ultimately doesn't shake the feeling that this album is just a second-rate version of the real thing. The emotional plateaus achieved by masterpieces like Close to the Edge and Relayer are rarely found on Starcastle; while I do find myself having a spectacular time when the album is playing, it doesn't leave the same mark that Yes' best works deliver so brilliantly. With that said, it's still worth noting that this is one of the essential American prog albums of the seventies', and all die-hard Yes fans should mark this as an absolutely mandatory purchase. The derivative nature of the music keeps Starcastle from being truly excellent, but I do still think this is a very good album indeed. 3.5 stars is a pretty fair score in this case.

What a shame that American band Starcastle are mostly simply dismissed as nothing more than an uninteresting Yes clone. Listeners will have to make peace with that dilemma right away and decide whether to bother with them or not, but if you can move on from that, these guys are a fine little band with plenty of musical skill all their own. So the arrangements are not quite as complex or multi-layered as Yes, but there's an energetic charge running through their debut album, with an upbeat, joyful quality to the music and laser-sharp melodies and song-writing on display that makes it very pleasing to the ear, and the perfect prog album for an undemanding background listen.

Starcastle attack the 10 minute opener `Lady of the Lake' with an infectious optimism, the most Yes-like moment on the disc, especially thanks to Gary Strater's bass playing mixed fat, thick and upfront, while the guitar work of both Matthew Stewart and Stephen Hagler sounds like a more contained and controlled Steve Howe without his trademark occasional ragged outbursts. The band also surprisingly works up a nice grooving sound around snarling electric wah-wah guitar, much funkier than `the other guys' ever did! There's lovely shimmering harpsichord-like synths, loopy Moog spirals, hand-claps and sighing harmonies on the upbeat `Forces', the victorious `Stargate' is a nice electronic interlude with stop/start drums and bass interjections that announces and leads right into `Sunfield', a harder Kansas-style rocker with cute synth trills and plenty of group vocal positivity.

Funny that for all the accusations Norwegian band Wobbler received over their 2011 album `Rites at Dawn' for being a so-called Yes rip-off, it actually sounds more like what Starcastle were doing here on `Elliptical Seasons', and the similarities in the lead vocals are uncanny! Terry Luttrell could employ a deeper tone in his voice quite distinctive and very far removed from Jon Anderson, and the winning group harmonies couldn't be more sun-kissed.

If you like Yes, and if you enjoy well-played, catchy accessible prog with winning melodies and pleasant vocal harmonies, then you really can't go wrong here. As this self-titled album would prove to be their most truly proggy album, newcomers would be advised to start first here, as even from the follow-up `Fountains of Light', more emphasis was starting to be placed on vocal-based pieces overall, eventually leading to nicely played if somewhat anonymous AOR by their time their fourth album showed up. But breezy and tasteful symphonic prog is the order of the day here, and listeners who don't mind hearing a band who wore their influences on their sleeve should have a nice time with this one.

Three and a half stars.

I really dug Starcastle's Fountains of Light - yes, it's a slavish Yes clone, but it was an extremely well-accomplished one which nicely complements Yes's own work rather than merely being redundant next to it.

Listening to their debut album, however, I can totally see how people would be dismissive of the band. This first release is a Yes clone in all the wrong ways, blandly mimicing their Fragile-era sound but with a production and composition style which seems cynically tailored to make it as commercially accessible as possible. A pointless exercise from the point of view of today, maybe, but bear in mind that when this came out Yes had been a major commercial force a few years previously and they'd been on hiatus since Relayer. The idea of turning out a Yesalike album with a slightly more commercial and radio-friendly spin on their classic sound must have sounded like a good idea at the time, though of course musical trends would soon shift in the other direction hard, and when Yes came back with Going For the One this must have looked especially laughable.

It's a great shame that Starcastle put this out as their first album, rather than refining their style further to the more accomplished form achieved on Fountains of Light, because anyone hearing this album first would write it off as a cheap, plastic copy of Yes, and they wouldn't really be wrong.

"Set sail a crystal ship and you will fly"

It was certainly with some trepidation that I approached Starcastle given how often they are dismissed as doing nothing more than aping the style of Yes. This held me back for a long time from giving this band the fair hearing they deserve. That they are heavily inspired by Yes is undeniable, but that is hardly sufficient grounds for a quick dismissal. There are hundreds of bands following closely in the foot steppes of Genesis, for example, some of which are highly regarded. Ultimately the proof of the pudding is in the eating, and to my ears Starcastle's self-titled debut is actually highly appealing. The musicianship is strong and the result is charming and enjoyable.

I will not belabour the comparison with Yes, but I want to bring up something that is not often mentioned; how often the music found on this album evokes the jazzier Peter Banks-era and also Banks's post-Yes band Flash (whose debut also featured Tony Kaye). The production on the other hand is more in line with later Yes albums like Drama, and in that respect foreshadows Yes's own subsequent development. (Note also the very Keith Emerson-like keyboard solo at 4:18 into Lady Of The Lake.)

It should be remembered that Progressive Rock took off later on the other side of the pond with bands like Kansas and Rush reaching their pinnacles around the time of the release of this album (1976-1977), and Starcastle needs to be understood in relation to this. The American bands were generally not as original as their British and European forerunners, but that doesn't mean they are without merit. Starcastle's debut album should be regarded a classic of American Prog Rock and is much better than the albums of many American bands from around this time.

Excellent album!

To say that american band Starcastle copied Yes is an understatement. They simply worshiped Yes and tried very hard to sound like them. Every mannerism, every instrument timbre and every vocal line is reproduced here as far as any human being could. And, in several ways, they did sound like Yes around the time of their first two albums and a even a little bit like The Yes Album, but not much. Obviously the musicians are very good, but they lack the overwhelming talent, technique and boldness of their idols. I guess at the time I would despise them as mere imitators, if I had the chance to get this LP back in 1976. But now they don´t seem so bad. At least they come up with a decent selection of songs that somehow capture a little of early Yes spirit. And surely gives us hope that they would eventually outgrew their obvious limitations to reach something of their own.

I´m still amazed of how singer Terry Luttrell can reproduce Jon Anderson´s vocal style to the limit. Keyboardist Herb Schildt does a great Tony Kaye impersonation (Rick Wakeman would be too much), and Gary Strater bass is a fine bass player. They had two guitarists, Mathew Stewart and Stephen Hagler, that can do their Peter Banks numbers very well. Drummer Stephen Tassler is no Bill Brufford, of course, but he is good anyway. I guess they would play Yes covers better than most, like italian band The Watch can do excellent classic Genesis covers. The songwriting here is probably their most promising aspect. Although not one track brings anything new, they were not bad either. In fact, they did better than most Yes imitators, and they were many. Lady Of The Lake is almost a underground classic, but the best song here is Sunfield, a great lost Yes track of sorts. Production is also very good So, I´m looking forward to listen their next works.

Rating: 3 stars. A nice Yes copy. Recommended specially for 70´s symphonic rock fanatics who like early Yes and don´t mind the almost total lack of originality.

Starcastle was given the distinction early on of being a 'Yes' clone, and listening to the debut album will definitely help you understand why they were called a Yes clone. However, the band was quite talented, and that was definitely proven in this album and the follow up to this album "Fountains of Light". Unfortunately, they were never able to overcome that distinction, and never really hit it big time. But, listening to it now, it is easy to see that if Yes didn't exist, then Starcastle would probably have been better known. Starring Terry Luttrell (formerly of REO Speedwagon), had the vocalist duties, and even his voice had the light, airy sound of Jon Anderson, albeit maybe a bit less dynamic. The first side of the album is the strongest, but if you really sit and listen to it, you will agree that the 2nd side is quite weak.

The debut album has it's flaws, but the more familiar you get with the music, the less you will notice as the happy and complex melodies will start to get into your head, and the next thing you know, you will be reciting the music through your sub consciousness. The album starts off with their longest ever track 'Lady of the Lake' and probably one of their best tracks. The synths almost always have the spotlight on the bands albums, but the guitar really is allowed to shine through more on the debut album than any of them. The main theme in the first track gets returned to several times throughout the song, but there is still a lot of time to develop other themes and riffs through the track, manipulating meters and even including a downtempo section, which will remind one of 'Roundabout', but in a good way. To be able to play this good, the band had to be talented, because they were basically a clone band, but a really good one.

The good thing here is that the other tracks on the first side of the album follow along quite well, and feature memorable riffs and themes that will also become endearing if you stick with the album enough to let them sink in. 'Elliptical Seasons' wakes you right up with a nice synth introduction, and also has a few short intense guitar solos that unfortunately would not get explored as much in later albums. If you started your Starcastle collection with Citadel or Fountains of Light, you might be shocked to hear the solid guitar work here. Also, in this track, the guitar bridges the gaps between themes and melodies and makes everything flow beautifully. 'Forces' continues with bright vocals and synths, the two things that stick out the most in their music. The doot-doots in the vocals will also make you instantly think of clone-city, and the sudden slowing of tempos and the thoughtful sections will also recall early Yes. There is also another rousing guitar solo stuck in between the synth and keyboard flourishes.

You have to keep in mind that they can do the Yes sound quite well, but also remember that they have two people contributing to the keys and two people playing the lead guitar parts. So, Yes was able to do this sound, and perfect it with less musicians devoted to producing their complex sound. Also, another thing that is plain here is that the music isn't quite as complex and developed as Yes. However, the music is still enjoyable if you try to not think about the clone factor.

The 2nd side of the album starts with the short instrumental 'Stargate' that works to bring in the track 'Sunfield'. The vocals in this one come in a bit weak after such a regal beginning. It all gets presented by 'Stargate' with the sonic fortitude of a Yes track, but right at the beginning of 'Sunfield' and the weak vocal, it almost falls flat. However, the synth comes in later to save the day with a good solo. The secondary theme that comes in later has a better melody, but the lyrics get repeated over and over. So, the track overall, comes off a bit weak to me, though the instrumental sections almost save it all. 'To the Fire Wind' has some rousing guitar work spread throughout the vocal sections, but tends to lose a bit of life with the continual use of wordless scat style vocals. Even though there are 4 tracks on the second side, two of them are short and interesting instrumentals, while the other two are longer tracks that aren't quite as memorable as the tracks on the first side. 'Nova' is the final short instrumental that pretty much wraps everything up in a nice way, especially the exciting percussion solo at the beginning.

Overall, it's a decent album, and those interested in Starcastle shouldn't ignore this album, in fact, the first side is quite essential for Starcastle fans. But keep in mind the second side is much weaker. If you can find this album in a discount bin or a 2nd hand record shop, then spend the 5 dollars on it. Otherwise, try to get only the best tracks (1-3, 7) digitally.

For me, this review has been a long time coming. And here, as is popularly known in Prog-fandom circles, we are now at an impasse (I would say most unfortunately). I'm reminded Starcastle formed in the early days of Progressive Rock, in 1969 in Champagne, IL. A relatively popular act in their region, their best known members are Terry Luttrell, an early REO Speedwagon vocalist (appearing on their debut in '71), and computer programmer/admittedly Rick Wakeman-enthusiast Herb Schildt, who was purportedly on "the original ANSI committee that standardized the C language in 1989" (according to Wikipedia, not sorry). Speaking of Wakeman, for a long time, likely since this self-titled debut, across many mediums and now all corners of the World Wide Web, Starcastle is considered to be a Yes copy (naturally, there are times where this is unavoidably the case). I have always stood ground in their camp, though. I think it's an incredibly lazy half-truth to suggest that Yes is what they're reaching for, end of discussion.

Especially on Starcastle and my personal favorite, Fountains of Light (1977), the musicianship is just as excellent as at least their American contemporaries (and in some cases even moreso); I think specifically of Kansas. [Hilarious and remarkable that some of y'all are/were crazy enough to think Citadel and Yezda Urfa, whom I both love as well, are somehow less derivative(???) than them... Figure. It. Out.] A succinct estimation--including comparison moreso to Peter Banks' after-Yes-band Flash--of this whole, awful, frustrating phenomenon can be found in user SouthSideoftheSky's review from 2017 (how fitting). All of this to finally say, Starcastle is an incredibly important band to me, introduced via vinyl by my father when I was 12, while also getting into the deeper Beatles catalog, and a smattering of Yes (specifically Going for the One), Styx, Rush, Boston and early Foreigner. Alongside Prog-lite/AmeriProg bands and some of the genre's foundations, specifically alongside Styx, Starcastle was one of the first Prog bands that I heard and immediately fell in love with (then knowing nothing about this genre I feel so strongly for now). I think this is a stellar debut record (pun not actually intended). My task now?: to be as unbiased and fair about a much-despised band and album which I personally, dearly love. Wish me luck. [I promise, I did my best.]

Starting off is a track most discussed, I would say: "Lady of the Lake", the first taste of the band I heard from my father, having gifted me a mixtape for my 12th birthday (I recall it also featured "Something's on the Move" by Jethro Tull). This is highly nostalgic for me, from the sweet, clean tone of the opening melodic lead guitar to the group vamp into the verse. This is so dear. Not unlike Yes's group vocals, I think it was instead more accurately described by another reviewer as resembling the style of CSNY (whose "Carry On" was also on that b-day disc). This is certainly owing to Yes in numerous ways (compositionally, for sure, yes haha); again, I have no problem addressing who was their clearest influence. As another reviewer said, there is something distinctly American about it all, though. Also accurately described before me is the certainly Keith Emerson-inspired Moog solo from Herb. Stupendous. Euphoric. This is immediately followed by a searing, highly intentional guitar solo (both of which I've heard over 100 times, I'm sure). Delicious stuff. The drums, too, especially in the ending, are awesome. Rhythmically nuanced and fun, this song is for the books: a Prog Essential.

I've worn out plenty of material on this album, and one of my earlier, regular-listening obsessions back in middle school was this next one, "Elliptical Seasons". It's cool I still know all the words! A lot of beauty, and here is one of those times where Terry undeniably sounds like Jon Anderson, and he sounds great! But then, hard crescendo in the middle for a funky "Siberian Khatru" wah-gitt. Additionally, love the mix on this track; so lush and full. Another, though later, favorite is "Forces". I was humming this one a bit as I was reading some of the other reviews for the album here; an infectious vocal melody with a buzzing, positive accompaniment to boot (the synths and effects are really bright and futuristic). Tangentially Yesque is the bridge, space-age lyrics included. And then the motherf*ckin' dual-guitar solo... Brief, but fantastic. Did you know that having two lead guitarists is actually a strength and not a weakness?/s Then we get one of the strongest bass performances on the album from Gary Strater.

Next is the introductory "Stargate", a low-and-slow, then booming, regal instrumental that's a little green man away from being Close Encounters. If "Sunfield" to follow is Prog Essential, then this one is too haha. In my opinion, regardless of the tracks individually, they need each other. Amazing keying here over a delicious, super-slinky bass and bouncing rhythm. What I would consider the bridge, around minute 2, is a great earworm, simple but true. Big changes are in fold, as the middle section resembles the Latin in a most satisfying, dancey kind of fashion. More props due to Luttrell and Strater here. For what I would say is a first for the album, we have a Banks-able solo (sure, Howe, too). Beautiful guitar soloing here then to follow. Epic close, too.

Another early obsession of mine, because I thought it was just so metal, was "To the Fire Wind" (the f*cking guitar solo in the beginning, are you kidding me?!). All of the guitar on this is otherworldly and, in obvious compliments, disgusting haha. And they keep delivering me these amazing, ear-catching solos throughout! Hope some people give this album a(nother) chance because of these thoughts. One of the strongest musical bridges in their entire catalog is here, as we approach minute 2. Dare I say it's sexy? I mean, I'm sure somebody would gladly take home one of these 'vulcanous creatures' hahaha. This is then followed by a stunning Moog solo, Wakeman-esque or not. It's sharp and glassy, the perfect tone for this surprisingly dark song. Closing out our album is a track I have heard the very least (even if that's still dozens of times over), "Nova", a sweet, epic instrumental. And I think this wraps up the overall tone of this album really nicely. More synthy goodness throughout and perfectly timed guitar leads over rolling and bashing drums (there were a few times throughout I wanted to sing the praises of drummer Stephen Tassler, so here ya go). Awesome closer.

Not sure how unbiased I can be (I've been a hotheaded fan of this band since adolescence), and so, here it comes...

True Rate: 4.9/5.0 [shrug emoji] [It's an incredible album.]

Remember y'all: Everything is formed in a vacuum. Nothing is unique. Nothing is original. Everyone is taking something from somebody else. Everything is a remix. Etc. Etc. G'day. [Steve Howe may as well have stolen Peter Banks' style from Time and a Word, if it weren't for the occasions we hear on Tomorrow, for God's sake hahaha.]