STARCASTLE

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.]