Dennis DeYoung's '26 East - Vol. 2' - Album Review

Dennis DeYoung albums, it seems, are like buses - you wait ages for one and then two arrive very close together! Prior to last year, DeYoung's previous solo album came out in 2007. Since the release of One Hundred Years From Now however, it seems that DeYoung had been content to be a live act. His legacy as one of the main songwriters of Styx during the band's glory years means that he has more than enough material to fall back on; with DeYoung seemingly happy to be something of a heritage act and trot out Styx's greatest hits live up and down America. It was a surprise then when, last year, DeYoung released his first solo album since 2007. 26 East - Vol. 1 (which I reviewed here) was released last May, and was greeted with largely positive reviews from the rock press. Sound-wise, the album did little to diversify DeYoung's style - but those who are fans of his work were pleased to hear that his poppy, dramatic songwriting style still very much worked in the 21st Century. There was a lot of Styx to be found throughout 26 East - Vol. 1, particularly the band's poppy early 1980s output, but that was certainly not a bad thing. Styx have gone in a more progressive direction of late, which is welcome, so it was nice to hear DeYoung still doing his thing. It was clear that the full 26 East experience was to come however - with what was served up last year being the first of two parts. DeYoung has said numerous times that the 26 East albums will be his final studio releases, and it seems that he wants to really go out with a bang by treating his fans with a wealth of new material. In that respect, 26 East seems like the sort of project where no expense has been spared. The first part sounded lush and over the top, and that is exactly how the second part, which was released last month, also sounds. It is clear from the off that both albums were recorded around the same time, and that this is a project that grew organically over time - with more and more songs being written as the album sessions progressed. DeYoung has said that he never intended to produce so much material, but that writing sessions with Jim Peterik (The Ides of March; Survivor; Pride of Lions) led to a wealth of additional songs being written. If the 26 East project is indeed to be DeYoung's final studio output however, then I think that we can forgive him a little self-indulgence. I am glad however that the albums were released separately however, rather than as a traditional double album, as each part of 26 East flows nicely and feels like a complete album - while still coming together one big project. The first part was a little snappier than the new release, with 26 East - Vol. 2 going all-out with a longer tracklist and an even grander overall sound - which is fitting when the two album are played back-to-back.

While much of the album consists of DeYoung doing what he does best, the album actually opens with something of a different vibe. Hello Goodbye is much more summery and less dramatic than DeYoung's usual fare - with strong power pop vibes and a carefree attitude that opens the album a good natured way. There are Cheap Trick vibes found throughout the song, but the most obvious overall influence is The Beatles - and the song contains many lyrical references to the Fab Four. Occasional bursts of horns add to the song's overall joyous atmosphere - while the chiming guitars of August Zadra and Jim Leahey create the layers of whimsical melody that power pop is known for. There are still strains of DeYoung's trademark songwriting style, with the occasional dramatic piano swipe and theatrical vocal hook - but on the whole Hello Goodbye is DeYoung travelling back to the 1960s, and the results are extremely fun. Land of the Living is more typical of DeYoung's style however; and follows the album's whimsical opening with a barrage of tough guitar rhythms and keyboard melodies. DeYoung has always managed to fuse crunchy rock with a theatrical flair, and Land of the Living is filled with this mix of styles. The chorus actually sounds a little more modern however, with the vocal harmonies sounding more like something from a modern pop rock album than his usual grand approach. The song is not as dramatic sounding as usual as a result, but there is still plenty of DeYoung goodness to be found throughout. One thing that is evident however is just how good DeYoung still sounds vocally . He is in his 70s now, and his voice sounds as good now as it did in the 1970s and 1980s. He carries Land of the Living throughout - with the poppy chorus in particular being a standout moment. The Last Guitar Hero, despite the two strong opening numbers, is where 26 East - Vol. 2 really comes to life however for me - at least from a classic DeYoung standpoint. The song ups the crunch again, with the guitar team laying down tough rhythms - which are of course driven by DeYoung's prominent rolling Hammond organ riff. DeYoung's vocal melodies are as cutting as ever, while the chorus sounds like a long-lost Styx moment - with plenty of big harmonies to perfectly counter the strident organ riffing. A guitar solo courtesy of Tom Morello (Rage Against the Machine; Audioslave) adds some frantic virtuosity to the track - with a closing section seeing him and DeYoung going up against each other with some great trade-offs. Your Saving Grace is the album's first ballad, and anyone familiar with DeYoung's style will instantly will recognise his many tropes throughout the song. DeYoung has always been a fan of a big ballad, and this is a strong effort that is filled with emotion - and includes a chorus that again has strong Styx vibes. Some of his ballads can sometimes cross the 'too sugary' line however, and he has a bit of a cheese streak, but in my opinion Your Saving Grace manages to stay the right side of that line. There is more emotion than cheese here, and the big chorus harmonies help to make the song a very memorable cut.

Proof of Heaven is a track that showcases DeYoung's love for a more theatrical moment - with Styx albums like 1981's Paradise Theatre certainly being channelled here. There is even a brief musical motif from Styx's 1977 hit Come Sail Away used in the song too - which is a fun hark back to DeYoung's past. There is unsurprisingly a lot of keyboard throughout the song, with synths and piano playing a big part in making the song what it is, but the guitar duo of Zadra and Leahey still help to bulk the track out with some tough rhythms and some atmospheric acoustic playing to enhance some of the slower, more progressive-sounding sections. The song is enhanced greatly by its melodies however, and the way that it builds perfectly towards its stadium-ready chorus. There are lots of great choruses on this album, but Proof of Heaven's is probably one of the most instantly-memorable moments here. The harmonies are classic DeYoung, and the hooks ensure that it will stick in the brain. Made for Each Other is another ballad, but it is a bit more upbeat than Your Saving Grace - and the song sounds like it is trying to be a sequel to Styx's 1979 single Babe. The chorus even has a similar overall melody, which I imagine was deliberate, and those who love DeYoung's cheesy pop ballads will lap up every moment of Made for Each Other. I have to say that I prefer his more dramatic, organ-led pieces - but there is a time and place for his poppier material and Made for Each Other is a neat little song that is fun and filled with sugary hooks. There's No Turning Back Time opens as another slower number, but this time with a more organic sound - with layers of acoustic guitar and some old-school atmospheric synths dominating the early portions of the song. The song builds as it progresses however, and there are shades of DeYoung's more progressive side here. After the first chorus, the drums kick in and a DeYoung lays down a busy synth solo which is taken straight from his 1970s textbook. The early Styx albums were filled with these solos, and There's No Turning Back Time seems to be a real throwback to the band's early days - with albums like 1975's Equinox being channelled here. The old-school sound and the progressive flair help to make the song of the album's standout cuts in my opinion - and it has the big hooks to back up the overall atmosphere. St. Quarantine, which will probably age poorly due to its focus on the COVID-19 pandemic, returns to a somewhat more sugary sound - but the song's overall pop rock vibes are still catchy. There is less of the toughness usually found throughout DeYoung's rockier tracks, with the guitars often content to provide a subtle chug throughout - while DeYoung's keyboard sparkle and piano back his extremely poppy vocal melodies. The lyrics are not great, unsurprisingly, but the song is still fun - and towards the end it does open up a little with a rockier approach and a lengthy guitar solo. This ending is quite the contrast to the poppy bulk of the song, but it is great to hear the guitar being focused on as the song comes to a close.

Little Did We Know is similar, but with DeYoung's penchant for West End drama thrown in. The song sounds like something from a musical, but with some hard rock weight thanks to a constant guitar presence and some tight drum grooves. DeYoung's voice is extremely expressive however, and it is his turns of phrase and his playful vocal melodies that really bring the song to life. Occasional guitar leads and keyboard flourishes ensure that the song remains interesting, but this is a cut that really is carried by the vocals and the overall hooks. The chorus is packed with some great, dramatic Styx-esque melodies - but the verses are much more West End, which help the song stand out from the pack. Always Time is the album's final ballad, and there is actually a bit of a Pink Floyd vibe throughout with some spacey synths backing DeYoung's chiming vocal melodies. This sets the song firmly in the 1970s, and some of those old Styx ballads are channelled here - but with vocal hooks from the 1980s. This mix of sounds ensures that the song is a little different, and stops it from being too sugary. The song is nowhere near as cheesy as many of DeYoung's ballads, with the busy and organic-sounding synth work helping to ground it. There is a surprising amount going on throughout the song despite its fairly short length, with DeYoung's progressive side once again coming out to help spice up the album. This vibe is continued throughout The Isle of Misanthrope too, which could well be my favourite song on the album. It is probably the most progressive-sounding track here, as well as the most dramatic and hard rocking - so much so that it definitely could have sat on one of those classic late 1970s Styx albums. It opens slowly, with acoustic guitars and atmospheric synths; which DeYoung sings over in a theatrical manner; but it does not take long for the band to crash in and transform the song into a great slab of pomp rock. The guitar duo are busy throughout the track, giving the song weight and purpose, while DeYoung's bank of keyboards is given a good workout with plenty of rollicking organ riffs and synth leads continually shifting the direction of the piece. There is so much going on throughout the song, and there is a true heaviness here that as not often been utilised throughout the album. The guitars are very high in the mix this time, but the keyboards are also quite heavy - with growling organ often doubling the guitars - while screaming guitar leads add depth. It would be a great way to end the album, but the song segues into Grand Finale - which is a re-recorded version of the final track from Styx's 1977 album The Grand Illusion. 26 East - Vol. 1 ended in a similar fashion with A.D. 2020, but Grand Finale is purely the same song from the 1970s re-recorded. Its use here works well however, and it feels like something of a coda to the album - and to DeYoung's career more broadly. He has said that the 26 East project will be his last studio work - so the use of Grand Finale once again seems fitting. It helps the listener to reflect on the album that they have just listened to, and for me 26 East - Vol. 2 is a strong listen. I think that I prefer it overall to the first part, as some of the songs here are real standouts. If DeYoung does indeed leave things here studio-wise, then the 26 East project is a great way to go out - and those who love his style will find plenty to enjoy throughout the two albums.

The album was released on 11th June 2021 via Frontiers Records. Below is DeYoung's promotional video for The Isle of Misanthrope.