Dennis Deyoung Desert Moon CD

Personnel includes: Dennis DeYoung (vocals, arranger, keyboards, percussion);
Rosemary Butler (vocals); Tom Dziallo (acoustic & electric guitars, bass, percussion, programming); Steve Eisen (saxophone, percussion); Dennis Johnson (bass); Tom Radtke (drums, percussion); Vince Guttman, Gary Loizzo (programming); Sandy Caufield, Dawn Feusi (background vocals).
Engineers include: Gary Loizzo, Rob Kingsland, Will Rascati.
Recorded at Pumpkin Studios, Oak Lawn, Illinois.
All tracks have been digitally remastered.
Styx was only a year in the grave before lead singer Dennis DeYoung ventured out on his own with his solo debut, Desert Moon. The solo record does not represent a significant stylistic departure from Styx's brand of pop/rock, although the emphasis is heavier on the pop and not as heavy on the rock. DeYoung continues his gut-busting vocal strategy, belting out his notes. The singer also supplies the keyboards, of which there are plenty -- this is a mid-'80s record, after all. Tom Dziallo handles the wailing electric guitars and arranged the cover of Jimi Hendrix's "Fire." The album yielded a Top Ten hit in "Desert Moon." ~ Evan Cater
Styx was only a year in the grave before lead singer Dennis DeYoung ventured out on his own with his solo debut, Desert Moon. The solo record does not represent a significant stylistic departure from Styx's brand of pop/rock, although the emphasis is heavier on the pop and not as heavy on the rock. DeYoung continues his gut-busting vocal strategy, belting notes that often do not require belting. The singer also supplies the keyboards, of which there are plenty -- this is a mid-'80s record, after all. Tom Dziallo handles the wailing electric guitars and arranged the ill-advised cover of Jimi Hendrix's "Fire." The album yielded a Top Ten hit in "Desert Moon," which is a tolerable pop ballad. But for the most part, the rest of the album has very little to offer and quickly became a period curiosity for DeYoung's most avid fans. The most memorable song on the album may also be its most annoying. A '50s-flavored ode to life as an obnoxious teenage boy, "Boys Will Be Boys" is just a little too catchy for its own good. But in a record full of forgettable synth-pop, it almost comes as a relief. ~ Evan Cater