Merc’s Somewhat Definitive Guide to Styx (abbreviated version), and Then Some

With mention being made of Styx in the comments recently, I thought it would be wise to direct the thoughts of those so inclined away from their more crappy albums before that became something of an issue.

And definitely, Styx released a lot of crap; though they tended to do so as a full album's worth of crap, instead of The Who syndrome, which entails releasing one or two good songs per album, with the rest of it being total crap (Who Are You being completely non-ordinary for that band).

At any rate, Styx was my favorite band at one time, back when I was 18 or 19. This is some of the good Styx that I remember:



Here are how the Styx albums break down according to Merc:

The Curulewski years:
Styx - B, about 2/3 good
Styx II - C
The Serpent Is Rising - A
Man of Miracles - F-, for use as a coaster only
Equinox - A

The Tommy Shaw years:
Crystal Ball - F
The Grand Illusion - A
Pieces of Eight - A
Cornerstone - B-

Crap you would never want to listen to:
The rest of Styx, as far as I know, is a lot of crap; the sole exception being Big Bang Theory. I haven't listened to all of these, and how could I possibly be expected to after Paradise Theater and Kilroy Was Here? Anyway, here's the rest of it.
Paradise Theater - F-, for use as a clay pigeon only - being a coaster is too good for it
Kilroy Was Here - F-, total crap
Edge of the Century - ?
Brave New World - ?
Cyclorama - ?
Big Bang Theory - A

Now, I don't sit around and listen to a lot of Styx these days. No, these days, it's Wishbone Ash. Before that, I was listening to a lot of Jon Spencer and Eric Gales, and before that UK and Gentle Giant.

But here's some really good Wishbone Ash for you. They sound a lot like Buffalo Springfield would have if they would have been more of a progressive rock band and less of a folk band. It would probably sound better if Rush were playing it along about the Caress of Steel days, but it's pretty good as it is without the crunch.



Hope you've enjoyed it.

The Consul at Sunset

This is a piece which has been particularly influential. I don't care to elaborate at present.



It does have an interesting backstory, mind you. But I don't care to go into all that either. (too early)

Just for your enjoyment, presented as it is.

The artist is Jack Bruce. It's from the Harmony Row album (last song, side two). Pete Brown lyrics. Chris Spedding guitars.

Though the fireflies laugh in the dusk light
It's the Festival of Death
Crowd is all laughter, it's hollow
Sadly...
They may kill death tonight
But they still live beneath the volcano
Won't be so many more days
Isn't much time and
It's gathering darkness, my friend.

Moreno Torroba

This is one of my favorite pieces, and I’m fairly particular about it. This is the second movement, Andante, of the Sonatina in A by Frederico Moreno Torroba. It was first performed in Paris in 1925 by Andres Segovia to a private audience, which included Maurice Ravel; who, it is said, was very impressed by this work. I like the second and third movements best (the Andante and Allegro), although the first movement is definitely worthwhile.

My main complaint with this piece is that most people try to play it too fast. It doesn’t work so well like that. It’s much better played a bit behind the beat, shuffle-style, as one very long cadenza passage. If you try to play it in time, it comes out too dry. It needs to be felt from the heart, expressed tentatively.

The dynamics of the piece are very important, and this is where I have a bit of trouble with it. It’s never quite perfect, and requires a great deal of work.

Here is a video of a fellow from Eastern Michigan University playing it at a recital. It’s one of the best that I’ve heard, and I have heard quite a few. He hurries the first chord a bit (the first D in the D C D), and in a few other places. The dynamics are not observed consistently throughout. But other than that, I would call this an excellent performance; one of the best around.

The performer is Jonathan Edwards, and I’ve never heard of him before. Nevertheless, he shows great promise, and I look forward to hearing more from him in the future.

I hope that you enjoy this as much as I do. It would be a rare thing to see any better performance of this wonderful piece (unless, of course, you happen to come to visit).

UPDATE:
I had to put this here, because the comments section would not accept it.

Here's another piece that I find I'm getting a bit particular about, and for the same reasons. I find that noteworthy because it's so ridiculously simple, it seems like it would be difficult to mess it up. But I see a lot of people butchering it. Terrible.



This one is one of this things that's sort of obligatory to the repertoire. Just about everybody does it.

I have two recordings of this one; one by Parkening (which is incredibly fast), and another by Eduardo Fernandez (who does it much better). The fellow in the video does it better than either one of them. As far as recordings, I prefer the Richard Cobo.

I really don't know as much about Brouwer as I would like. There's only a few of his pieces that I'm familiar with.

I've gotten to where I browse through these things because of all of the commercials on Pandora anymore.

Obstructed by Obscurity

I've been looking for a magazine. So far, I've been unable to find it.

I don't want to read it. I just want to verify some information.

The magazine is 20 - 25 years old. Even when it was new, it wasn't in wide circulation.

I want to record with my new guitar. I determined that the first piece I would record would be the second air of Turlough O'Carolan's "Planxty George Brabazon." This is one piece that I happen to play better than anyone else.


The arrangement that I am familiar with is in an alternate tuning; an open G, I believe.

I need to verify that. It makes a lot of difference.

And it's in that magazine.

While searching for the verification of the alternate tuning to the second air of Turlough O'Carolan's "Planxty George Brabazon," I have trouble recalling the tune.

I have a piece by Carlo Calvi running through my head. It won't stop. [Note: The piece linked to here is played a bit fast.]

O'Carolan was a harpist from Ireland in the late 17th century.

Calvi was an Italian guitarist from the early 17th century.

No relation.

Just the tune is somewhat similar.

And so, my quest for a little-used tuning to play an obscure piece by a little-known composer to be found in some old and little-circulated magazine (in excellent condition!) is hampered now by another obscure composer with an even more obscure piece.

Darn the luck!

Maybe I'll just play "Blackbird" (another piece that I play better than anyone else)....

EDIT: Mystery solved! This is actually an open G tuning that's been down-tuned by a major-minor interval: B E B E G# B.
It took a lot to get to that point.
The old down-tuned open G.
I should have known....