Author: Peter Podbrežnik
Artist: Styx
Label: A&M Records / Interscope
Released: 1981
Length: 40:37
Rating: 4.5/5
»Paradise Theater« was the fourth in an incredible streak of back-to-back multi-platinum albums that kept Styx firmly in place as the main attraction of the American arena rock scene. »Paradise« Theater« is a concept album that, song by song, tells the story of the old Chicago theater ‘Paradise Theatre’, from its founding just before the Great Depression (1928) to its sad demise at the end of the fifties of the last century (1958). According to some of the band members, the concept also served as a metaphor for a new era, when the relatively idealistic seventies gave way to the selfish, materialistic eighties, especially when it came to the spirit of American society.
Even though Styx were sitting at the peak of their fame, it’s worth mentioning that before the recording of their tenth album, there wasn’t exactly friendly harmony among the band members. While keyboardist/vocalist Dennis DeYoung wanted to turn Styx into a pop attraction with a heap of AOR love ballads, both guitarists/vocalists, Tommy Shaw and James Young, were hard rockers at heart, so everyone had their own idea of where the band’s sound should go next.
In the end, DeYoung’s nerves gave out, and when he had all but quit the band, the two blond guitarists talked him into staying after all and gave him the final say on direction and concept, even though Styx always ran on a relative democracy when it came to songwriting, so all three singers/songwriters had their fingers/voices on at least one hit. DeYoung’s power ballad »The Best of Times« conquered the airwaves with ease, Shaw’s pomp rocker »Too much Time On My Hands« thrilled fans of catchier sounds, the controversial (thanks to its alleged subliminal messages) yet excellent »Snowblind« is still one of the most beloved Styx classics today, while the hard-rocking firecracker »Rockin’ the Paradise« likewise landed a surprisingly high spot on the charts and became a regular part of the band’s concert openers.
All in all, »Paradise Theater« was a more consistent effort than its predecessor »Cornerstone« (1979), which had slightly too many ballads, since this time there was no shortage of full-blooded Styx arena rockers, while the ballads were in the minority. This time around, Shaw and Young once again sharpened their guitars properly, which you can hear right in the fiery opener »A.D. 1928/Rockin’ the Paradise«, where a gentle, balladesque intro paced by a piano melody spills over into a real hard rock bomb, complete with a monumental Shaw guitar solo and DeYoung’s combative singing. The latter is also tinged with a whiff of theatrical glam, otherwise typical of the great Freddie Mercury and Queen. »Too Much Time Ony My Hands«, which Styx fans long ago turned into a ‘folk song’ of sorts, is built around a new-wave-flavored keyboard line that deliberately sets a loose, ‘mocking’ mood. The chorus, with Shaw shining on lead vocals in the middle of it, is delivered the way Styx always knew how to do it – pompous and hyper-melodic, with mighty vocal harmonies, a defiant guitar phrase and a potent rhythmic backbone.
»Nothing Ever Goes As Planned«, with DeYoung back at the mic, never became a hit, ironically, especially considering its title, even though the band put plenty of energy and effort into it, and even though it’s one of the most interesting creations on the album, with numerous unexpected time changes, punchy ‘clashes’ between the two guitarists, fiery saxophone passages and witty, playful vocal harmonies that hit their peak in a rousing chorus. The power ballad »The Best of Times«, the biggest hit off the album, which holds the central motif of this concept album, is still one of the most beloved Styx classics today, with DeYoung shining on lead vocals and piano, while the two other singers come to his aid on the monumental chorus. It vividly shows this legendary band’s remarkable knack for flowing between fiery, rousing moments where arena rock pomp reaches its peak and gentler, piano-driven sections.
DeYoung’s »Lonely People« is even one of the most interesting experiments of the band’s entire career, with the saxophone playing a surprisingly important role, while punchy guitar passages and dramatic vocal lines deliver the usual high-pomp, adrenaline-fueled theatricality. The AOR rouser »She Cares« is packed with a cheerful vibe, where Shaw’s vocal meshes perfectly with a bouncy piano motif, eager vocal harmonies and a gorgeously laid-down guitar melody, with spirited saxophone passages subtly woven through it. It remains quite a surprise that this excellent track never became a hit.
That feat, however, did work out for the next classic, »Snowblind«, which, under the synchronized vocal command of Shaw and Young, warns of the dangers of drugs, cocaine above all. As you’d expect, it’s a catchy, radio-minded number with bristling guitar passages and dramatic backing vocals that peak in an epic chorus. It ‘earned’ its controversial status thanks to a handful of Christian fundamentalists who accused Styx of hiding satanic subliminal messages in »Snowblind« (a popular practice among America’s self-appointed guardians of public morals, led by the religious fundamentalist Tipper Gore, wife of a future presidential candidate, who in the mid-eighties wanted to smear unwanted music at all costs and protect the God-fearing souls of American youth).
Of course, all the band members could do in the face of such nonsense was hold their heads and barely keep from laughing. But it was precisely this utterly idiotic witch hunt that gave DeYoung the idea for their next album, »Kilroy Was Here« (1983), which featured a concept about a police state where all music, rock above all, is strictly forbidden. »Half-Penny, Two-Penny« is yet another excellent arena rocker with mighty hard rock guitar finesse, topped by a great Shaw solo, where Young, with his sour vocal approach, once again rants about the hypocrisy of the ‘American dream’. »A.D. 1958«, together with »State Street Sadie«, is a melancholic piano finale spiced with a fiery saxophone solo, where the album’s signature conceptual motif returns for the third time, symbolizing the farewell to the old Chicago theater.
»Paradise Theater« was the climax of Styx’s golden era, when the members of this legendary band were practically unstoppable at forging monumental albums and arena rock still called the shots at the top of the radio charts one last time. A batch of evergreen hits alongside less prominent but no less interesting tracks, plus an unpretentious concept, give the album a solid balance, so it rightfully earns the title of the last masterpiece from this cult Chicago quintet.
Line-up
Dennis DeYoung – keyboards, vocals
Tommy Shaw – guitar, vocals, vocoder
James Young – guitar, vocals
Chuck Panozzo – bass guitar
John Panozzo – drums, percussion
GUEST MUSICIANS:
Dan Barber – horn
Steve Eisen – saxophone
Mike Halpin – horn
John Haynor – horn
Mark Ohlson – horn
Billy Simpson – horn
Production
Styx
Track list
1. A.D. 1928 (1:07)
2. Rockin’ The Paradise (3:34)
3. Too Much Time On My Hands (4:33)
4. Nothing Ever Goes As Planned (4:47)
5. The Best of Times (4:21)
6. Lonely People (5:25)
7. She Cares (4:21)
8. Snowblind (4:59)
9. Half-Penny, Two-Penny (5:58)
10. A.D. 1958 (1:06)
11. State Street Sadie (0:26)
