An act having a hit single that only charts years after its original release is not an uncommon tale. Aerosmith experienced it with “Dream On,” and Styx had their own brush with this phenomenon when “Lady” got its second wind after they had released their fourth album Man Of Miracles two years later.
Styx II, their sophomore effort, was the first time the members of the band wrote the majority of the songs on the album, and this works as both a blessing and a curse for Styx. Depending on who wielded the pen, you either got something fantastic or something less than stellar.
The disc opens up with a powerful one-two punch of “You Need Love” (a song that, honestly, had the power to be a hit single had the fates smiled upon it) and “Lady.” “You Need Love” features a powerful vocal performance from James “J.Y.” Young, and easily lays the groundwork for what Styx would release over the course of the ’70s and into the ’80s.
“Lady” is a song that doesn’t need much fawning over, having ingrained itself onto AOR stations over the course of 50 years. Doesn’t matter, really; it’s a great love song that still maintains its power today.
The first signs of trouble come with the next two tracks, both written and sung by guitarist John Curulewski. “A Day” just seems atypical of what Styx had done to that point, or what they would do; it’s just too trippy of a number to fit their style. And while “You Better Ask” fares a bit better, it still doesn’t quite have the muscle needed to maintain the equilibrium the album had going into those tracks.
Keyboardist/vocalist Dennis DeYoung’s dip into the world of Bach, “Little Fugue In ‘G’” (which, honestly, sounds like it’s in the key of D), surprisingly, fits, and is brief enough to act as a palate cleanser that leads into “Father O.S.A.”—a track that takes some time to gain its footing, but eventually turns into a decent enough number.
The closing numbers, “Earl Of Roseland” and “I’m Gonna Make You Feel It,” might not be the greatest songs Styx put out in their career, but prove to be enjoyable nonetheless. “Earl Of Roseland,” in particular, also had the potential to be a hit single; why it was never given the chance, I don’t know.
All in all, Styx II is a marked improvement for the band, and showcased the songwriting ability of DeYoung well. Gone was the reliance on cover versions; here was a band that could stand on its own two feet, even if there was still the occasional stumble. I kinda wish there had been more to work with on this one, but at least it leaves the listener wanting more—which is the best thing a record can do.