References: Laser Floyd—Queen—Peter Cetera—Montreal—Herman Hesse—ZZ Top—Allman Brothers—Loverboy—Calgary
Album # 6. If you’ve been following along, then you know that Styx emerged from working-class Southside Chicago around 1970. The band issued its (self-titled) debut in 1972 on a small Chicago label, and continued releasing records on that label, Wooden Nickel, until scoring a national hit with “Lady.” The song appeared on the group’s second album, Styx II, in 1973, but didn’t become a hit until 1974. By that time, the band was on its fourth album, Man of Miracles. it would be their last for Wooden Nickel before they signed to A&M.
Crystal Ball is Styx’s second album for the label, following 1975’s Equinox—but the first album to feature Tommy Shaw. The feather-haired Alabama native replaced homegrown guitarist/vocalist John Curulewski, who had contributed several blues-boogie numbers to the first few records.
And so this is where we find Styx in 1976; more Styx-ian than ever, with vocalist/keyboardist (and writer of “Lady”) Dennis DeYoung taking charge. Crystal Ball gives us seven tracks; the shortest is 4:01, the longest 7:09. Make of this what you will.
This is Side One of Crystal Ball, the 1976 album from Styx
“Put Me On”—Group vocals come shrieking in on this hard-rock opener, which also features zippy synth lines. This is a narrated song, told in the voice of… a record: “Put me on/I’m your brand new record album.” Mind-blowing stuff in 1976. The bridge—an acoustic folk break—is best described as Pastoral Laser Floyd. Indulging in its theatrical side more than ever, Styx is setting us up for future grand illusions like Paradise Theatre and Kilroy Was Here. Is it time for a jukebox musical featuring the music of Styx? Darn tootin’.
“Mademoiselle”—More group vocals, but singing a pop melody. This song, Tommy Shaw’s only solo songwriting and lead vocal contribution, was the album’s closest thing to a hit; it’s all bell-bottoms and bong hits, and even borrows a bouncy little rhythm from Queen. I’m also reminded of peak-era Chicago (way before Peter Cetera). Lyrics are dumb but go Cancon towards the end: “Where are you going/Sweet Mademoiselle/To London or Paris/Ou Montreal.” Love that “ou.”
“Jennifer”—Does Jennifer know Lorelei? Have they met Mademoiselle? Or Lady? Not much interesting going on in here except a melodic hook sung with “da-da-da-da” vocals. Also a cosmic jazz lounge outro.
“Crystal Ball”—You have to be stoned to like this one, but that’s okay because I am. This has one of those acoustic-y oh-woe-is-existential-me openings so beloved of Kansas. After this extended intro, the drums and electric guitars come in without notably improving the song. DeYoung plays some fluttery keyboards. Time to check my email. Hey Styx, Herman Hesse called, he wants his glass bead game back.
The funk jam ‘Shooz’ kicks of Side Two of Crystal Ball!
“Shooz”—As hinted at by the title, this is a departure from mystic Styx. Strutting around like a drunk Hoosier in the parking lot of a strip club, it sounds like the band hashed it out during a jam. The funky bass-line and shit-kicking guitar stumble around for four minutes, in search of ZZ Top‘s lost chord. Guitarist James Young claims he and co-“writer” Shaw were inspired by the Allman Brothers.
“This Old Man”—One of the more interesting aspects of Styx—at least, one that I’d never realized before starting this project (to write about all their albums, that is)—is the band’s almost Springsteen-ish celebrating of its working-class roots. This one reminds us of the group’s origins with lyrics that tread similar territory to earlier tracks like “Fanfare for the Common Man,” the first track of the band’s self-titled debut (and which, I’ve since learned, is also the title for this Aaron Copland jam). Which isn’t to say that the song itself is good, but it does give the mic back to DeYoung (apparently, he wrote it about his dad), and therefore sounds a little more Styx-ish than “Shooz.”
“Clair de Lune/Ballerina”—I had high hopes for this seven-minute album capper. As on previous albums, the band ends with a classical instrumental (in this case, Debussy’s “Clair de Lune”) to set us up for the slam-bang end. The slam-bang end, “Ballerina,” isn’t much of a slam-banger though. I hear a little ABBA in the chorus, and some very Brian May-ish guitar, but the tune itself fails to land any hooks. The last few minutes is an extended mess of electric guitar and “la-la-la-la” vocals.
Facts about Styx’s 1976 album Crystal Ball
• it’s not The Grand Illusion.
• According to Styxworld.com, Tommy Shaw “reached back to his days in MS Funk to emerge with key elements for songs like” album opener “Put Me On” and the title track. The latter “came to me pretty much all at once one time when I was visiting my mama at home,” Shaw said.
• Mike Reno is a fan of the song “Crystal Ball.” Styxworld.com quotes the Loverboy singer saying “It’s one of my favorite songs… When I was living in Calgary and playing in a bar band, I was hoping I could be like Styx someday and write songs that good myself. And now I’m proud to call Tommy my friend.”