Perennial rockers Styx recently toured behind their breakthrough album The Grand Illusion, playing the 1977 masterwork in its entirety before adoring fans clamoring for radio staples “Come Sail Away” and “Fooling Yourself (The Angry Young Man).”
While it’s easy to think of Styx’s success as instantaneous, it’s important to remember this was the band’s seventh album in five years. Up until its release, the quintet paid its dues through a unique combination of progressive rock leanings and carnival barker-like storytelling courtesy of original frontman Dennis DeYoung. It’s this period of Styx that resonates the strongest with me as it not only speaks to the group’s innovation; it ultimately helped ensure its longevity.
Ask me my favorite Styx song and you won’t hear “Mr. Roboto,” “Lady,” or “Too Much Time on My Hands.” You’ll hear “Suite Madame Blue.” Why? Because it’s a perfect amalgam of concept and instrumental crunch. DeYoung’s ode to America and the Bicentennial begins softly enough until a lush synthesizer flourish enters the soundscape and Tommy Shaw’s and James “J.Y.” Young’s guitar attack takes hold, all complemented by fantastic vocal harmonies from DeYoung, Shaw, and Young. If I had the power to enshrine Styx in the Rock and Roll Hall of Fame, that song title would be the only thing I’d write on their application — it speaks volumes to the band’s sound and substance.
On Circling From Above, the band’s 18th studio album, it’s clear they haven’t forgotten this aesthetic 50 years on. It’s chock full of all the meaty Styx staples — golden harmonies, vocal edge, and tight instrumental cohesion — but what stands out most is the band staying true to concept, not commercialism or that unfortunate word “corporate” that was falsely heaped on them during their heyday period of 1977 to 1983. Clocking in at just over 40 minutes and featuring contributions from all of the band’s 2025 seven-man roster, Circling From Above wears its prog influences proudly, which to me makes it worth diving into.
Kicking off with the instrumental title track, Shaw’s guitar work echoes that of Steve Hackett’s as listeners will also pick up on a Yes-90125 influence in his notes. From there, the band dives into “Build and Destroy,” which recalls the collective sound of 1975’s Equinox. Circling’s lyrics, written by Shaw, keyboardist Lawrence Gowan, and guitarist Will Evankovich, don’t speak to a blue-collar mindset; instead they weave around concepts of dreams, nature, and humanity as technology (particularly AI) dominates the global landscape. The only disappointing thing is none of the members of Nektar appear on this album as special guests since themes of satellites and birds sound right up their alley.
Album standout tracks include “Michigan,” which has Shaw’s vocals sounding as top notch as when he took the lead on “Crystal Ball” back in ’76. “King of Love” features Young’s distinctively sly baritone and conjures up his other classic tunes like “Miss America” and “Great White Hope.” “Everyone Raise a Glass” is the most DeYoung-sounding of the tracks, sounding like a forgotten cut from the group’s Paradise Theatre album of ’81. You can’t help but think Queen’s “Good Old Fashioned Lover Boy” as you listen. “The Things That You Said” seemingly recalls the “Suite Madame Blue” synthesizer sound, while “We Lost The Wheel Again” is a solid rocker that has the group sounding like The Who during their Quadrophenia phase.
While time will tell if Styx ever makes the Rock & Roll Hall of Fame (geez, at least put them on a fan ballot already!), Circling From Above is a solid, full-circle effort that emphasizes how the band has no interest in resting on its laurels or cashing in only on its hits. When Gowan sings the lyric, “Grab the wheel and place your bets on me” on “She Knows,” it’s best to take heed as everyone will win in the end.
~ Ira Kantor
