GREATEST HITS

I must confess that I couldn't rate any STYX album more than average, because this band is a clear AOR music example, not really progressive or, at least, with some prog hints - specially through some keyboards use-. Very good musicians able to create excellent melodies who decided to take a commercial way.

This is a compilation of several FM radio hits, including some very nice classic songs ("The Best of Times" and my favorite "Come Sail Away") beside the horrible "Mr. Roboto", also a classic after all. I think that most of the cds titled "The Best Of" or "The Greatest Hits" cannot give a true idea about what a band is, but -in this case- it shows to a newbie STYX listener all what this group has to offer.

Those who want to know this prolific AOR band style have with this album a nice option, but those who are looking for real progressive music can avoid it.

Armed with radio-friendly ballads, Mr. Roboto and Dennis De Young's hair, Styx isn't everybody's favourite nominee for a progressive rock website. But I'll bet a vast majority of the Styx nay-sayers haven't heard the majestic Come Sail Away, a classy moment of bombastic prog that starts off as a lyrical piano ballad and ends up with a monster chorus via some fanfares and a trippy synth interlude. It's not the only prog friendly tune on this Greatest Hits album either. There's Fooling Yourself (The Angry Young Man) which is peppered liberally with some thrilling keyboard work, the tricky, bombastic (there's that word again) The Grand Illusion, Crystal Ball (which has an excellent keyboard solo) and the absolutely ass-kicking hard-rocker Suite Madame Blue ( even if it does share that famous riff with Led Zeppelin's Babe I'm Gonna Leave You, Chicago's 25 or 6 to 4 and Colosseum's Lost Angeles) which convince me that De Young is a severely underrated prog writer.

Of course, Styx were mainly a commercial hard rock band and this compilation does reflect that, as most of the songs here are bona fide hits ... some of 'em good, some rather lousy. The good ones are the Tommy Shaw stompers Blue Collar Man (Long Nights) and Renegade, Lorelei and (yes, I'll say it!) Babe. The stinkers include the unfortunate attempt at synth prog Mr. Roboto, the Bon Jovi style anthem Too Much Time On My Hands, the extended rocker Miss America (Moog synth solo notwithstanding) and the mushy ballads The Best Of Times, Don't Let It End and Show Me The Way. I'm not entirely sure how I feel about Lady, a ballad originally recorded for 1973's Styx II, but which was recut for this 1995 collection. It sounds OK, but I've been told the original version is superior.

It's worth noting that Styx's earlier experiments with prog (songs like A Day, Father O.S.A, The Grove of Eglantine, Mother Dear, Man Of Miracles and the like, most of which I've admittedly never heard) are left off this collection which covers the period from 1975 to 1983 (albums such as Equinox, Crystal Ball, The Grand Illusion, Pieces Of Eight, Cornerstone, Paradise Theatre and Kilroy Was Here) with a throwaway track from the 1990 reunion album (Edge Of The Century) chucked on for good measure. Incidentally I initially bought a cassette version of this album with the same title from the same label but with Love Is The Ritual and Light Up tacked on in place of Lorelei and Lady'95. Styx is one of those groups with almost as many compilations as original albums, but I'm pretty sure this is among the best ones out there! ... 57% on the MPV scale

Aahh, what a paradox that is Styx. So much classic stuff from different minds and different moods. But in the progressive land, Styx has probably the highest rate on the 'shame-o-meter'. I for instance, would be shy to put my 'rock on' attitude on a cd by Styx. The thin border between Joe Dirt and Barry Manilow amazes me.

Joe Dirt style: stuff like Blue Collar Man, Suite Madame Blue, Miss America really, really rocks old school. Tommy Shaw et James Young had obviously the knack to make your feet tap with rythm.

Barry Manilow stuff: a very sappy (and so ever in love) Dennis deYoung with Babe, Lady and Show Me the Way builded a somewhat sissy reputation for Styx.

Once again, even if he's a total sell-out now, with DVD profanating his own stuff and trying to look as 50 as he can, Dennis deYoung is THE main provider of killer songs for Styx. This compilation has a decent sound and should satisfy the hunger for old american classics, without buying the whole shebang.

A good one to own if you're looking for a quick fix.

For those with pop or straight rock orientation, this compilation must be an excellent one to have because it has best cuts of Styx under A&M label. But for me personally this is disappointing not because the tracks are not good but there are many great tracks from Styx that were not included here. First is probably the best song by Styx, according to my taste, i.e. "Born for The Adventure" from Equinox album. This is a great track with dynamic composition and high energy, using tight basslines. I don not understand why this great song is not here. Second, there is possibly due to legal copy rights under different label (RCA), i.e. songs from Styx II ("A Day", "Father of OSA", "Little Fuge in G"), Styx "Man of Miracles" ("Christopher Mr. Christopher", "Evil Eyes", "A Song for Suzanne") that were not included as well in the compilation. So, the overall compilation of this release should be titled "Styx Greatest Hits under A&M".

That kind of legal boundaries and competition between labels that really sacrifice us as listeners (and of course "customers") of the band. This indicates how individualistic the label is. The nice words "Customer is King" is actually not here in music industry. As a long fan of Styx I would have expected all eras of the band shoukd be covered - not just under the certain label only. Why? Because the customers basically do NOT buy label, but customers by band (the music).

Overall, I would not dispute with those who like this compilation, but I do not like the way the music industry work which is very label centric and it's about time now that this must be changed! Actually, A&M (in Styx case) could buy the permission from previous label (RCA) by sharing royalties to take some songs. Yes there is Lady from Styx II but it's re-recorded version, instead of the original one. So, if you like Styx from the beginning, you might not be satisfied with this compilation. Keep on proggin' ..!

Peace on earth and mercy mild - GW (i-Rock! Music Community)

Well, I guess I can call this review Guilty Pleasures, since I have always liked Styx, much to the dismay of my prog friends. Ok, I agree there is not much prog here. It is quite prog influenced, especially on the keyboards parts and the arrangements, very well done. But they also wrote great songs, with marvelous vocal melodies. Even their ballads, as much sappy as they appear to be, are above average if you compare to your standard pop songs of the day.

The band had excellent musicians and singers, and their success was well deserved, since they were no fluke: they had a steady, long career and a string of great albums, whatever you like their earlier or later periods. I really think a lot of people have much prejudice against them without even trying to hear their music carefully. And this album is for the beginners, or the ones who want to have a good overview of their most successful (commercially at least) period when they were on A&M records. Since there were some problems concerning their former recording company, the band had to re-record Lady for this compilation. But it was a good inclusion.

The title of this CD tells all. It´s a sum up of their radio hits. Not really their best songs (there are so many excellent non single tracks that obviously were not included here), but a good introduction to one of the most underated and misunderstood AOR groups of the world. If you don´t believe me just hear some gems like Crystal Ball, Come Sail Away and The Grand Illusion. Great melodic music for any music lover.

Excuse me while I get that vomit taste out of my mouth.

I won't patronize you, my fellow prog-lover, with the pop vs. prog debate regarding Styx on this release, because as a greatist hits album it contains every stinky-sweet radio anthem the group ever recorded... and it's terrible. The songwriting and the overall mood is one of solidified cotton-candy: at once it may have been sweet, but now it's just tasteless styrofoam, not even empty calories which give one a momentary high of stadium-ready anthems or FM sing-alongs. DeYoung's vocals are unforgiveble, and even as a guilty pleasure "Styx Greatist Hits" doesn't hold up. It's trite, shrill, and uninteresting on almost every level.

I'd take Journey any day of the week!

Songwriting: 1 Instrumental Performances: 2 Lyrics/Vocals: 1 Style/Emotion/Replay: 1

Nominee for the "Most Unfairly Maligned Band Ever" Award.

As the bio I'm reading states, Styx were never cool. They couldn't catch a break. Radio stations rolled their eyes, serious rockers cursed their cheesiness, and proggers blew them off pretty much completely. But as with Kansas, their Midwest cohorts, Styx had the last laugh sealed by a loyal fanbase and I believe no less than four triple Platinum albums. Someone approved. There was something special about these Midwestern bands in the 70s, with their strong work ethic, often optimistic lyrics, and camaraderie with fans willing to freeze their butts off on those winter tours of hockey sheds. The band's story is a long and interesting one beginning in the summer of '62 and filled with plenty of drama and ego battles. They would pay their dues for almost 15 years before having a blaze of success at the end.

Despite being routinely dismissed by almost everyone who claims "good taste" or critical expertise, the music of Styx is very good. Laugh all you want.

I can understand those who would complain a bit about DeYoung's theatrics or his somewhat cheesy ballads (though I like them), but I can't understand those who outright dismiss their work altogether. Kansas and Styx get frequently lumped together with ho-hum 70s fare like Boston, Foreigner, Journey, and REO Speedwagon, but the fact is that both Kansas and Styx blew the doors off those other radio darlings, blending solid musicianship, great vocals, and interesting songwriting. Styx's songs were without question prog-influenced even as the band strove to remain more commercial and to be entertaining, not "difficult." All of their big albums contained flamboyant, larger than life, keyboard-heavy gems courtesy of DeYoung, along with ripping rockers courtesy of Tommy Shaw and James Young.

Typically I don't like collections and I rarely rate them highly, finding them completely useless for long-winded prog bands like Yes or Floyd. But this collection works beautifully for a band like Styx. Their choicest track list is served up here, covering all of their best loved songs which seem to flow together well outside of their respective albums. I would still suggest buying individual albums to get the real experience, but if you insist on covering Styx with only one disc in your collection, this one gives you plenty of bang for your buck. The album does ignore the Wooden Nickel era with the exception of "Lady" which they re-recorded in 1995.

Prog snobs will always laugh at Styx as I once did myself. And while I'd never claim they are complex prog or the greatest rock band, I will say the band sound better than ever revisited after all these years. Superb vocal harmonies, great guitar riffs, beautiful keyboards, and hugely memorable melodies. If one is not invoking some prog snobbiness, then what the hell is there not to like? I never thought I'd listen to this stuff again, but really needed some levity during what has been one hell of a rough period. I discovered how much fun it can be to reconnect with old musical friends you haven't heard since Junior High. And I wonder why I ever snubbed them. Twas fooling myself with cynical eyes perhaps?