Edge of the Century (1990)
1.Love is the Ritual
2.Show Me the Way
3.Edge of the Century
4.Love at First Sight
5.All in a Days Work
6.Not Dead Yet
7.World Tonite
8.Carrie Ann
9.Homewrecker
10.Back to Chicago
 
In the late 1980's, it became apparent
to everyone that messrs Shaw,
DeYoung and Young, who all tried solo careers, couldn't pull off the magic on their own that made
Styx what it was a decade earlier.
Plans for a reunion of the "classic" lineup had been in the works for a
few years, but the schedules of
band members never quite gelled. DeYoung had a commitment in 1988 when
Shaw was ready, and now that
DeYoung was ready in 1990, Shaw had committed to the group Damn Yankees.
At this point, the relatively
unknown presence of New Jersey guitarest Glen Burtnik came in to replace
the absent Tommy. Like Tommy's
initiation several years earlier, Burtnik jumped right into the fold
sharing writing credits on half the album
and, like Shaw fourteen years earlier, even penned the title track of
the album.
The one difference this time around, was Burtnik was not replacing an
unknown guitarist in an unknown band. As
good as Burtnik was in his own right, he was not Tommy Shaw. As
Lawrence Gowen would find out a decade
later, you could be just as good, if not better than the original, but
the public is fickle. It just wasn't
quite Styx without Tommy Shaw up there. It must be said, however,
that Burtnik delivers probably the best
work of the trio of writers here. No one could accuse Styx of not
rocking after giving a listen to Burtnik's World
Tonite or Love is the Ritual. The latter was actually
released as a single, but sadly fizzled
after barely cracking the top 100. With Burtnik at the mike, most
people who heard the song probably couldn't identify
it as Styx. The only place where Glen is less than great is on the
acoustic ballad All In A Day's Work.
that is mostly guitar and accordion. He wrote this one with DeYoung and
it was performed live "acoustically" but
unfortunately, it was no Boat on the River.
Perhaps one of the factors of the demise of Styx in the early 1980s was
that the three writers in the band
seemed to be drifting further and further apart. This is painfully
obvious on this album. DeYoung seemed to
be giving up rock & roll for good, and many of his songs began to sound
more fitted for Broadway as opposed
to rock. An example here would be the closing track Back to
Chicago. It's not without its charms,
but seems totally out of place here. Especially following JY's
bombastic Homewrecker that rocks
just as hard as anything JY has done either by himself or with his
fellow Styxers (although in all fairness, it should be pointed out
that DeYoung shares a writing credit on the song). It was also a little tiring that
DeYoung seemed to always invoke his hometown in many of his songs. It's
hard for anyone else in any part of the world
to sing along to such personal songs that indicate a particular
place. In what sounds like a desperate plea that
Dennis couldn't write rockers anymore, they
actually recruit and outside writer (not done since the Wooden Nickel
Days) on the track Not Dead Yet. Yes, the song
does rock, but with DeYoung at the lead vocals, it sounds a little
forced and hoaky. DeYoung does do extremely well
on some of the pieces here, in particular, the one smash from the album,
Show Me The Way. In a weird way,
this song became the anthem of the Gulf War that was currently being
fought at the time of the song's release. Critics
have often argued that without the War, the song wouldn't have made it.
This is unfair. Actually, the War did make
the song more accessible, but, hey, if the song stunk, no one would have
been listening anyway..even if there wasn't a war.
Another DeYoung vocal, Love at First Sight, did crack the top
30 and was a pleasant listen. The problem was the
song got old in a hurry after hearing it the first fifty times.
The album did eventually go gold (500,000 units sold), and without Shaw
in the band, that was a pretty big
accomplishment. It was apparent to the picky public, that if Styx were
to make a realcomeback, they would need
their core lineup back. This didn't stop the band from trying. After
this album and tour were done, they did put
together demos of eight or nine songs in hope of laying down a new album. The
songs never saw the light of day since
their record label dropped them right after this release had run it's
course.
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