THE GRAND ILLUSION

Styx seem to have gotten lost in time. During their 70s-80s heyday, they were never as technically inclined as Kansas. They never wrote a single as huge as the ones that Journey churned out on the regular. Their trio of vocalists, no matter how individually talented, couldn't combined imbue as much passion and energy as Queen's Freddie Mercury. Nevertheless, Styx were kings of the chorus, and their hybrid brand of progressive rock dominated the mid-to-late 70s for good reason. Not only is it some of the catchiest music you will hear in your entire life, but it's also fundamentally sound and experimental rock music. At the pinnacle of their career stands The Grand Illusion ? by all means a magnum opus ? and likely one of the few albums (if not the only) that most people will name-check when you mention Styx.

If you've listened to the band's entire discography, you'll notice that by the mid-80s, their extravagance and affinity for grandiose concepts eventually became their undoing. The Grand Illusion is widely considered Styx's best record because it is the optimal point of intersection between their grandiosity and artistic integrity ? it came out after their meandering progressive roots, yet before they imploded into disjointed, theatrical pop. What we end up with is something that sounds magnificent and retains Styx's trademark flair-for-the-dramatic, but is also capable of detouring into mysterious and unpredictable territories.

The Grand Illusion is not so much a "concept album" as it is one that possesses a central motif. Themes of eschewing material wealth and coming to peace with who you are permeate the record: paired with the similarly themed follow- up Pieces of Eight, 1977-1978 marked Styx's existential crisis period. The band was at peak popularity, and they questioned everything from their fame ("we made the grade and still we wonder who the hell we are") to their place in the world ("I spend my life and sell my soul on the road, and I'm still in the dark"). It makes for an uplifting experience as Styx condemn affluence and celebrity status in favor of trying to relate to their listeners on a human level. It's as Dennis DeYoung sings on the stately, eponymous opener, "deep inside we're all the same."

Styx somewhat unfairly garners a reputation as a cheesy glam-rock band. There is certainly some truth to it as they espouse some of these traits, but their music was always built upon a foundation of progressive-leaning rock with interesting guitar solos, varied song structures, and mysterious atmospheres. These styles are easier to differentiate from the pomp and frills on earlier works, but The Grand Illusion is by far the best combination of styles ? resulting in a breakthrough that would lead to Styx's golden era (1977's The Grand Illusion, 1978's Pieces of Eight, 1979's Cornerstone, and 1981's Paradise Theater). In that sense, this record might be viewed as not only the group's masterwork, but also the catalyst that led to one of the most fruitful five year periods in the history of rock 'n' roll. The Grand Illusion is an essential of Styx discography its also their proggiest effort. 5 stars.

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