FOUNTAINS OF LIGHT

Most prog fans enter into Starcastle from the Yes angle, usually after having read or heard about this "clone band" and how they are an "interesting listen" due to their copy-cat nature. With these kinds of preconceptions in tow, it's no big surprise that they are typically passed over lightly when not openly mocked and dismissed. I think it's the vocal element that most people find derivative, because in no way do Starcastle ever approach cloning Yes instrumentally, especially after their first album. And about that vocal element -- wow! This album is packed with some of the most gorgeous vocal harmonies in all of my bookshelves of CDs. I'm a sucker for transcendent harmonies, and let me tell you, this is what Starcastle is all about. If you like multi-layered, shimmering, laser-beam harmony arrangements... give these guys a try, and make sure to suppress your doubt until you at least get to the parts I'm talking about. As for me, I'm long past convinced.

Starcastle's second album veers slightly from Yes to a more Kansas-ey sound but this is very relative. Like so many US prog band after Leftoverture was released and became a major seller, these guys couldn't help but adapting their soundscapes slightly, but they didn't reneg their Yes influences in doing so. Even with that minute change (I think the second guitazrist required a "tougher" sound), I can't help but wonder what the point is to releasing more of the same. I must say I only discovered the music of this band around the mid-80's. This album's artwork nears not only the ridiculous, but it is downright flimsy as well. As can be evidence by the would-be 10-mins+ title track, the formula is still a slightly steroidal Yes formula, that doesn't bear much more comments from me at this point.

I had seen their records in the stores in the late 70's but had found the artwork laughable so I tossed them aside without listening closely at the time. I might have appreciated them better if I had given them a chance a decade before. Mea culpa maybe, but I just cannot appreciate this to its true valour - if there is one because outside of those enormous influences, I do not see any originality or personality in this kind of highly derivative prog. But never mind my opinion, though; I have plenty of friends who love their first three albums, so I suppose most progheads can at least try out the debut.

Compared to the 2 closely related albums, this one has better exploited backing vocals and a more boosted bass. Actually, it still sounds like Yes, but shall we add it sounds a bit like Asia, especially the guitar arrangements. The record is still very progressive. Nevertheless, I must admit that the songs are less catchy. The keyboards are surprisingly not really modern: still those moogs and organs that sound like the Yes' "Close to the edge" album! The best of their albums still remains their first one, and you should like this one too, after couples of listens. So, if you like Yes, then you will like this record.

Second album by this often maligned American prog rock band lead by former REO Speedwagon vocalist Terry Luttrell. Their music is often maligned as nothing more than a YES clone, but actually the music isn't bad at all, as demonstrated on this album. I also think this is their best, which is better produced and more polished than their debut. They have that Yes sound even more perfected here, as demonstrated on songs like "Fountains", "Dawning of the Day", "True to the Light" and "Diamond Song (Deep is the Light)". Again, you got the ANDERSON-like vocals of Luttrell, with the YES-like vocals harmonies, and Wakeman-like keyboards from Herb Schildt. On "Diamond Song", there's a Hammond organ solo that sound like it came right off "Roundabout" and the acoustic guitar and Moog on "Portraits" sounds like it came off "And You and I".

If the album cover style looks familiar, the cover to "Fountains of Light" was done by Peter Lloyd, same guy who did some albums from KANSAS (specifically "Song For America", "Point of Know Return" and "Audio-Visions"), and JEFFERSON STARSHIP ("Dragon Fly"), so the cover to this one reminds me a cross between "Song For America, Dragon Fly" and "Point of Know Return".

Anyway, again, just like their debut, if you can't stand the idea of a band stealing the Yes sound, avoid, but if you're flatter by that idea, then get this album.

According to most prog fans, Starcastle's sophomore album is their best, and I totally agree. This is the album in which their style is properly conveyed via the delivery of powerful performances and the realization of effective musical ideas. The influences are obvious: Yes (the lead singer's timber, vocal harmonies, bass lines, organ and Moog soloing), Styx (the dual guitar interplaying, catchy melodies energetically managed through attractive arrangements) and Kansas (orchestral combinations of guitar and keyboards during the most symphonic passages). But still, you can notice that Herb Schildt's use of synth layers all along is more related to the cosmic voyages of Vangelis than Wakeman: this element provides Starcastle with a distinct touch of eeriness that serves as a peculiar factor in Starcastle's music. He and Gary Strater are the most notable performers in the band: Starter's exquisite, vehement travels across the strings and frets of his bass are both immaculate and powerful, managing to provide a solid input for the melodic aspect of the themes, and not merely sticking to its rhythmic functions. The 10+ minute opener 'Fountains' is very impressive, indeed, although it slightly tends to become a bit repetitive at times; the next two tracks have a more commercial feel to them, but the use of odd rhythm patterns and those ever-present cosmic synth layers keep them from becoming mere AOR songs. IMHO, tracks 4-6 fill the best half of the album: they also comprise the most Yessian stuff you can find here. 'True to the Light' sort of retakes the mood that had been previously portrayed by the opening track, albeit a bit more focused and with an incorporated touch of 'Starship Trooper'-meets-'Siberian Khatru'. Then comes 'Portraits', a delightful bucolic based number, in which the two acoustic guitars create a candid mood while the Moog and other synths go floating by: the vocal harmonies are delivered with enough finesse not to break the mood. This could be described as a Crosby/Stills/Nash-oriented reconstruction of 'And You and I', with the mystic stuff being replaced by folkish flavours: I only wish this song would have been developed further, with an extended treatment of the acoustic guitar chord progressions, and perhaps, some soloing, too - it just feels somewhat short. Finally, 'Diamond Song (Deep is the Light)' serves as an effective closure: it comprises nice melodies, beautifully crafted vocal harmonies, an excellent organ solo, and what is perhaps the best Strater bass playing ever. My overall rating for "Fountains of Light" - somewhere between very good and excellent, which means somewhere between 3 ½ to 4 stars.

[I respectfully dedicate this review to the memory of Gary Strater.]

Yes, we sound like someone else

There has been some discussion in the forum in the past on the topic of plagiarism vs. derivation (or as my old friend Maani often refers to, the "filtering" of influences). Starcastle have often been accused of sounding so like Yes that their albums go well beyond simply being derivation. So what of the evidence before us?

With "Fountain's of light", there is no questioning the similarity with the music of Yes. Many of the Yes trademarks are there in abundance. The bass work of Gary Strater is pure Chris Squire, and the vocals of Terry Luttrell are carbon copies of Jon Anderson (with a splattering of Squire), both in terms of the sound and the style of delivery. The emphasis for example on the last syllable of a line is very much in keeping with tracks such as "Your move" by Yes, where Anderson sings "capTURED". Indeed, the songs are written in a very Yes like style, even if they are unquestionably Starcastle originals. That said, it can be challenging to take a specific Starcastle song, and identify a Yes song it can be accused of copying. Given that when he was a member of REO Speedwagon singer Terry Luttrell did not sound particularly like Anderson, the assumption must be made that he has deliberately tried to sound like him here.

Taking the music on its own, (and disregarding the Yes similarities is far from easy!) this is a highly enjoyable album. The opening track, "Fountains" is a 10 minute epic, a bit heavy on the vocals, and with rather weak guitar, but enjoyable nonetheless. "Dawning of the day" is the most accessible song, more like something from a solo Jon Anderson album, having a strong melody and infectious hook. The pop rock leanings continue on "Silver winds" but "True to the light" reverts to a more prog like orientation. Here, the vocals do move away from being compatible with Anderson, the track having some high melodic harmonies and striking cascading sections. The remaining tracks are largely undistinguished, even legendary producer Roy Thomas Baker can only do so much when the material is average.

With six tracks in total, the band could have taken the opportunity to develop some of the songs further, especially since the album runs for just 36 minutes. There is though a lot to enjoy here, especially on side one of the album. The best album Yes never made perhaps?

I was not really enthusiast about their debut album and consequently I did not expect much from this one. Even if the biometrics are excactly the same ones (a cloning of "Yes", because this is exactly what you'll get) I pretty much preferred this album. Maybe that I am in a more tolerant mood while finalizing this review.

I honestly believe that "Fountains" is a beautiful composition. The orientation is 100% Yes of course : complex, majectic, delicate vocals and great harmony in the band. It is by far the best song of the album. Almost on par with some vintage YesSongs.

Actually, the whole album sounds pretty good with another special mention for "True to the Light". Fully nostalgic of course, but one has to remind that "Starcastle" initiated their career in 1976, and that "Fountains of Light" was released in 1977; which was probably not the easiest moment for a band like "Starcastle" to get exposure...So, on their behalf, some indulgence please...

Even if a song as "Portraits" is frankly weak and to much derivative, I would rate this album with three stars. A nice journey in time. If you fancy some "Roundabout" flavour, I recommend "Diamond Song". Quite amazing.

Three stars.

Many bands - be they a 1960's beat group, a bunch of formulaic 1980's soft-rockers or an expletive- spewing 21st-century grime crew - find that second LP oh so very difficult, especially, as is usually the case, their debut was a half-decent, profile-forging affair. In fact, a formula can be devised from this theory. The better the debut, the harder that second set-of-songs becomes. Therefore 1st album success+making of second album=major difficulties. It's not an uncommon beef for todays bands(or yesterdays) and Symphonic San Diego Prog heroes STARCASTLE are one in a very, very, very long line of great bands to know this. Their eponymously-titled debut LP - 1976's gorgeous STARCASTLE - was a joyful affair filled with yes- lite neon keyboards, glistening guitar lines, CSNY-styled vocal harmonies and enough shimmering sound effects to fill a host of symphonic prog albums. However, the same cannot be said of FOUNTAINS. And it's not for want of trying, either. The blueprint from the STARCASTLE LP has obviously been dusted-down, ready for the studio floor, but the energy, the conviction and the slick interplay that made album no.1 such a whimsically pleasurable experience is distinctly lacking. Whereas STARCASTLE kicked-off with an un-ashamedly straight-ahead mystical epic, FOUNTAINS merely...happens. Herb Schmidt's repetitive keyboards merely bounce slowly thru the motions, sounding suspiciously pre- programmed instead of jam-cooked via the bands creative impulses, whilst Stephen Haglers axe- wielding seems muted and lacking in focus. The one point of merit has to be vocal-wise; remember, this is a band capable of holding their own against Jon Anderson and Stephen Stills et al in a 'men with lovely high-voices contest', and this is at least one part in which the quality-metre has stayed more-or- less the same as before. However, i'm afraid to say that whilst their is no hiding from the lack of creativity on offer, the most disappointing factor is that, simply put, FOUNTAINS is just... dull. Very dull. There are no stand-out moments to speak of and there are none of theo blasts of multi- coloured, multi-instrumental magic that characterized their debut. And, crucially, it just doesn't rock. STARCASTLE, if you closed your eyes, was the missing soundtrack to that quintessential sci-fi epic 'Logans Run', a film so dated it's almost gone full circle in terms of 21st century cool. The pre-internet images conjured up by the film's production crew fit almost perfectly with the bands sonic style, merging neon colours with slinky steel sets, sparkly fashion and whimsical fantasy. FOUNTAINS OF LIGHT, if you close your eyes, is the same as if you have them open. The sound of seriously-average progressive rock. Prog rock, if you will, without the rock.

Stefan Turner, London, 2008

I have caught myself deep in the web of realization that I have always loved this album, more than 3o years now. I was bitterly disappointed when through some major misprint Saga opened for UK in 1980 for a show in Montreal instead of Starcastle (as printed on the tickets, the Canadian lads were not too happy either!), as I was pining for a live rendition of their first 3 albums (after that their career floundered into pure pap). We all have heard ad nauseam that they are Yes clones. Okay, enough already! Truth is that on their own technical talents and merits, Starcastle was a formidable showcase with powerful bass (sounding like you know who) and manic drumming, propulsive synthesized barrages laced with dual guitar blasts , all tied together by Terry Luttrell's angelic voice and loads of massed harmonies (at this, they even surpassed their teachers) . The overpowering recurring theme here is "light' and the mood is decidedly brilliant and expansive. "Fountains" is a familiar tonal epic, very upbeat and polyrhythmic, with Gary Strater's omnipotent Rickenbacker leading the way, showcasing a cosmic adventure that convinces and giving lieu to a myriad of themes and solos. Keyboardist Herb Schildt is no slouch in collating various Wakemanesque colorations and infuses bright forays that blitz incessantly. The brief "Dawning of the Day" becomes almost accessible, a simple melody hammered relentlessly, featuring more devilish bass runs that fit in well with the previous track. "Silver Wings" flutters with utter abandon, slowly carving out another manic romp, Luttrell showing off some serious pipes in floating so gracefully over the melodic line. Herb unleashes a few memorable keyboard thrills, slippery solar lights swirling in the ether. "True to the Light" continues the pace unabated, another raging and bright composition . "Portraits" is a pastoral piece that has fragile serenity all over its gentle grooves, a delicious ballad that nevertheless remains firmly entrenched in sparse symphonics, an immediately appealing piece that rivals the colossal finale "Diamond Song", the jewel of this St-Louis band's repertoire. The tumbling bass and pulsating drums are merely sublime, the faultless foil for "the deep is the light in her eyes" chorus that does not fail to enchant, even bewitch. A warm, confident harmonic breeze flows through the grooves, the epitome of a true prog classic. This song alone has been trotting in my head for such a very long time now. I can finally save it on my PC and return to it like some long lost friend. If you need to get a Starcastle album, this is the one. 4 luminary bastions

On this, their second album, Starcastle expanded their sound. By this I mean they went beyond using blatant Yes imitations to having their keyboardist, Herb Schildt, add copying Styx keyboards to his repertoire. Either that or he realized that he couldn't sound like Wakeman.

That said, these are really good Yes imitations. They sound like tracks left off of Yes albums, with vocal harmonies that resemble the first two albums. As a Yes fan, I like these albums a lot, but have to pull some points away for lack of originality. But I'd rather listen to this Yes wannabe than the later version, World Trade.

With their debut album, progressive rock band Starcastle established themselves as the 'American answer to Yes', and Fountains of Light further validates that title. Released just a year after Starcastle, Fountains of Light sees the band pursuing more or less the same style of cheery symphonic prog, except with more of an AOR edge this time around. This is still first and foremost a progressive rock album, however, and most of the AOR tendencies tend to lie solely in the keyboard tones. Even though Starcastle branched out slightly since their 1976 debut, Fountains of Light is still, for better or worse, a Yes cloning exercise. In terms of late seventies' American progressive rock, there aren't too many albums better than this - by today's standards, however, Fountains of Light stands as largely unessential.

Fountains of Light sounds pretty much the same as the previous Starcastle album, although it seems like there's a bit more of an influence from Styx and Kansas this time around. Terry Luttrell still sounds uncannily Jon Anderson, and the instrumentation still borrows heavily from Yes, but the more vast synthesizer palette and distinct guitar style does make this album a bit different from its predecessor. Although Starcastle was still a long way away from finding their own sound, Fountains of Light is possibly a bit more distinct than their debut. With that said, the fiery songwriting of the first album is toned down a bit, and Fountains of Light generally sounds a bit more 'tame' than their debut. The downplayed organ playing really takes something away from Starcastle's sound - this, in combination with the generally less memorable songwriting, makes Fountains of Light feel a bit inferior to Starcastle.

Although Fountains of Light lacks a true sense of originality and is a bit less interesting than Starcastle, that isn't to say that this album isn't good. The epic "Fountains" may actually be my favorite Starcastle tune, and the musicianship and production are both beyond excellent. This is a competent, if largely non-essential, progressive rock effort that Yes fans in particular should enjoy. 3 stars are warranted.

Despite the numerous critics that claimed Starcastle were just another Yes clone, the band's debut sold quite well, received heavy FM airplay and it was followed by an extended touring schedule.Epic Records then sent the band to Quebec, at Le Studio in Morin-Heights to work with Roy Thomas Baker on the upcoming album.Baker was known for his work as a producer of Queen and there were some serious doubts about how he could adjust his ideas into the sound of Starcastle.The final product was ''Fountains of light'', released eventually in 1977.

Having worked with Queen helped Baker make the style of Starcastle a bit more pompous, while the band maintained its complex nature throughout, maybe with a few more melodic lines added for good measure.''Fountains of light'' sounds like a Symphonic Rock album leaving the Classic Prog era for a new dimension towards the 80's, as the main keyboards appearing in it are Herb Schildt's dominant synthesizers with light washes from his Hammond organ and the piano.The YES influence is more than apparent, from the complicated bass lines to the STEVE HOWE guitar workouts to the sweet vocal harmonies and the JON ANDERSON-like voice of Terry Luttrell.The compositions remain at a very good level with interesting variations, really dense instrumental themes and strong lyrical textures with romantic atmospheres.The constant use of synths and the sugar-like polyphonic arrangements maybe deliver a slight AOR taste at moments, but the structure of the music is definitely in a YES-vein circa ''Relayer'' and ''Going for the One'' with virtuosic keyboard acrobatics and a certain symponic flavor.The YES similarities are a bit annoying along the way, like listening to a lost album of the British Prog pioneers, but the musicianship and the atmosphere ranges from decent to brilliant, featuring rich, keyboard-drenched textures.

Somewhat lower in music values compared to Starcastle's adventurous debut, but ''Fountains of light'' includes lots of great moments, starting from dreamy and ethereal passages and ending up in complex instrumental ideas.Recommended.

The US band Starcastle were not only influenced by the classic Yes sound (Fragile & Close To The Edge), but choose to compose in the same style. The band consisted of skilled musicians, who understood the "mechanisms" of Yes music, were also capable to imitate or compose in the style of Yes and used sound wise the same sounding instruments, vocal arrangements to a point that their music sounds like possible Yes compositions of the classic Yes period. Fountains of Light was released in 1977 and the quality of the compositions and execution is excellent and presents a good mixture of longer and shorter tracks, instrumental and vocal based songs. Fountains of light is the second Starcastle record and the main problem lies in the concept of copying the classic Yes sound: the second record sounds exactly like their first. The music of Starcastle has more a quality of an epigone's artist's work then a real progressiveness in terms of creativity. By choosing to compose in the style of, rather than develop their own sound the band got trapped inside their own self set boundaries of sticking to the classic Yes sound.

Seen the quality of the music I still rate their music relatively high, but in terms of real creativity I would take one star off.

Starcastle's Fountains of Light is known as an exercise in imitating Yes, specifically the Yes sound of The Yes Album, Close To the Edge, and the full band tracks on Fragile. That's true, but it doesn't tell the whole story - they don't quite sound like classic-period Yes here so much as they resemble a version of Yes sound which kept refining that iteration of their music over the course of the 1970s instead of taking the creative departures of Tales From Topographic Oceans and Relayer, tastefully adding updated production and instrumentation here and there. The end result is surprisingly charming - I have nothing against clone bands if they manage to produce interesting material, and here Starcastle offer a product which sounds like a lost classic Yes album.

Welcome to the dawning of the 80's

Starcastle's second album Fountains Of Light is currently their highest rated album here, but I definitely like this one less than their excellent self-titled debut album released the year before this one. Much of the naive charm of the debut is gone and what we have here is much more streamlined. The result is that the album feels overproduced and too polished and cheesy.

The band was already going in a commercial direction here which is nowhere more obvious than in the closer Diamond Song - Deep Is The Light. This song could easily have been by Journey or some other AOR band. As such it was pointing to the future of the band and in some sense of the whole genre. Starcastle was ahead of their time (in the worst possible sense) as they began to develop an 80's sound already in the 70's!

There is still some good music here though, especially in the first half or so of the album. The opening track Fountains is the highlight, but even this one does not measure up to the powerful Lady Of The Lake from the debut.

My advice would be to begin with the debut which is a much better album in my opinion

As the second album goes this was a disappointment. Few things differ from Starcastles debut album and this one. Fountains Of Light is another Yes clone album, no less no more. Very good clones, OK, but there was very little improvement over the first. Some reviewers here on PA say they added a few Kansas influences, but really, I can´t see a single one. Early Yes is their main source of input and the sole exception is their last track, Diamond Song, which is a little more commercial sounding, reminding me of Styx during the chorus (it was released as a single). Other than that Yes is the band Starcastle tries very hard to be. Everything here tries to emulate Jon Andersons´s band to the max. Even the vocal harmonies are perfect copies of Yes style, tones and mannerisms And this happened in 1977! Not the best time for a new prog act, specially without a strong personality. If Fountains of Light was recorded some five years earlier it would surely made much more impact.

Well, on the album itself: good musicians, a Jon Anderson clone as vocalist, some decent compositions. Again their music appears like half baked Yes songs: nice melodies, underdeveloped arrangements, not very bold ideas and they simply don´t travel the places their idols travel. It is all too restrained, something Yes certainly was not, at least at the time. There are not long solos and instrumental passages, which reminds me of Yes (1969) and Time And A Word (1970) in a way. The LP running time is very short too, clocking on just the 36 minutes mark. The frustration is that, as nice as the songs go, they all leave you expecting them to fly sometime, and it does not happen. Only Diamond Song (Deep Is The Light) offers some changes, but then it is the closing track. Too little too late.

Conclusion: once again a nice Yes copy, but a second in a row without much improving. I wonder if their third is a winner.

Rating: 2,5 stars.