The Complete Wooden Nickel Recordings

Performer: Styx
Engineer: Barry Mraz; Gary Loizzo; Marty Feldman
Producer: Bill Traut; John Ryan; Barry Mraz; Styx; Bill Traut; John Ryan; Barry Mraz; Bill Levenson (Compilation)
Distributor: Universal Distribution

Notes: Styx: James Young (vocals, guitar); Dennis DeYoung, John Curulewski, John Panozzo, Chuck Panozzo. Personnel: John Curulewski (vocals, guitar, synthesizer); James "Jockey" Young (vocals, guitar); Dennis DeYoung (vocals, keyboards, synthesizer); Chuck Panozzo (vocals, bass guitar); John Panozzo (vocals, drums, percussion). Additional personnel: Bill Traut (saxophone). Audio Mixers: John Ryan ; Barry Mraz. Liner Note Author: Martin Huxley. Recording information: Golden Voice Studios, South Pekin, IL; Paragon Recording Studios, Chicago, IL. Photographers: Murray Laden; Dave Hecht. Arranger: Barry Fasman. Though Styx became known as purveyors of seamless AOR power ballads in the late 1970s, few recall that they spent the early part of that decade working a grittier, more complex format. Before singer/songwriter/guitarist Tommy Shaw arrived to aid Styx in their pursuit of the mainstream, they released four albums on indie label Wooden Nickel between 1972 and 1974. With original guitarist John Curulewski still on board, Styx had a harder edge and a more eclectic sound. Those four albums are neatly compiled here on two discs. The stylistic spectrum traversed therein encompasses prog-rock epics, Lynyrd Skynyrd-like blues-rockers, classical flourishes, metal-tinged hard rock, and even the occasional touch of jazz fusion. Of course, the hook-heavy songwriting and spotless vocal harmonies that would later make Styx superstars are present throughout, as is the early sleeper hit "Lady," a foreshadowing of things to come. For those who think the story of Styx began with "Come Sail Away," THE COMPLETE WOODEN NICKEL RECORDINGS will be an education.

Part of a rising tide of American "pomp-rock" groups of the 1970s, Styx combined prog-rock characteristics with hard-rock hooks and pop accessibility. Their high three-part vocal harmonies and radio-friendly tunes made them wildly successful into the early '80s, until AOR was eclipsed by new wave.

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