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“Both he and Will have been able to tap into the core elements of the human condition, which is something that’s not going to change that much in 50 years - or even 500 years. “I’m constantly amazed at how Tommy’s songwriting continues to connect with the social consciousness that spans across generations,” marvels Chuck, who plays on “Our Wonderful Lives” and “Lost at Sea,” Lawrence’s all-too-brief aquatic fever dream.
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Of all those who made the trek to Nashville, original Styx bassist Chuck Panozzo - who, along with his late twin brother, drummer John Panozzo, formed the initial nucleus of Styx when they began jamming together in their basement on the south side of Chicago in 1961 - is hands down the most effusive about the experience. Safety precautions took precedent for all involved Styx bandmembers and production compatriots with much diligent quarantining and testing required before any one of them could travel to Shaw’s tranquility homebase to spread the uniquely ingrained Styx stardust that’s been duly sprinkled across the album’s cosmically chosen 15 tracks. Efforts to record Crash Of The Crown began in earnest at Shaw’s home studio in Nashville during the fall of 2019, with Gowan - Styx’s criminally minded showman extraordinaire and keyboardist/vocalist since 1999 - in the room together with Shaw and the album’s producer, Will Evankovich, as he conjured up the album’s first song to be recorded, with cosmetic flourishes that reign over the insistent, yearning call for togetherness, “Common Ground.” But the global pandemic that inevitably transformed the way we all wound up living in 2020 changed the course for how many of the band’s home-and-away recording sessions ultimately had to set socially distanced sail.