Even with these stellar new reissues from Ryko, the New York band Starz will most likely remain a footnote in the annals rock history—a band of also-rans with a few memorable moments, but ultimately, minimal impact on the scene. But upon closer examination, Starz and its brand of animated arena rock was actually pretty cutting-edge in its day. During the mid-’70s, the music world was polarized. Disco and this new-fangled thing called punk largely dominated it—at least that’s how the media saw it. Disco was what it was: mindless dance music. But punk was seen as a backlash against the self-indulgence of stadium-rock dinosaurs such as Emerson, Lake and Palmer, Yes, Rush, Styx, the Eagles and their brethren. Many straight-ahead rock bands regrettably got caught in the crosshairs, and unfairly pigeonholed.
Starz was a different animal altogether. The band was loud and irreverent, but always melodic. More polished than Aerosmith; more sensitive than Kiss, yet much more ballsy than the likes of Journey and Foreigner, Starz’s style had a uniqueness about it—and would become a prototype for the pop metal scene that would be so pervasive during the next decade. But alas, the band was too far ahead of its time, and slightly too quirky and offbeat for mass consumption, yet not enough to impress the critics of the day.
The band’s first album, STARZ, released in 1976, makes a decent enough impression with a few likeable numbers such as “Detroit Girls” and “Tear It Down,” but it’s not the earth-shattering debut a band often needs to make a huge splash. For the most part it sounds like a straight-forward, mid-’70s rock album with some good pop hooks thrown in. But lurking deep within its guitar-laden grooves, are hints that something more exciting and accomplished was somewhere close around the bend. (7/10).
1977’s VIOLATION makes good on the promise and potential of the first release. By far the band’s best album, VIOLATION is chock full of infectious hooks, which contrast the band’s dual-guitar riffery quite nicely. The album’s opener “Cherry Baby” is pure power pop, and one of that genre’s all-time great offerings. On that note, here’s another example of how misplaced Starz was—power pop was quickly coming into its own with bands like Cheap Trick and the Raspberries, not exactly the arena-rock fare Starz was associated with. Anyway, getting back to the song, its melodic opening verses flow seamlessly into its hook-laden chorus, which is pop-perfect, and impossible to drive from memory upon hearing. “All Night Long” and “Sing It, Shout It” are rousing anthems, while the inimitable “Cool One” and “S.T.E.A.D.Y.” are bluesy shuffles, which work well with the band’s pop sensibilities. VIOLATION stands as the band’s finest hour. (9/10).
Next up, 1978’s ATTENTION SHOPPERS!. Following the all-around high quality of VIOLATION, the band had some high standards to meet. Unfortunately, this was not to be the case with this album. That’s not to say it’s a weak offering by any means. Possibly in an attempt to recreate the pop goodness of the Top-40 “Cherry Baby,” this album plays more heavily on the band’s power-pop tendencies, with numbers like “I’ll Be There,” “She,” and “Hold on to the Night. However, the punkish “X-Ray Spex,” is the album’s standout, while “Good Ale We Seek,” is downright strange, but interesting. (7/10).
The band’s last studio album COLISEUM ROCK (1979) saw it shedding its softer side and getting back to a harder direction. Predictably, critics hated it, and criticized the band’s less-than-profound approach. But Starz never claimed to be anything other than a good-time, party band, and songs like “Don’t Stop Now” and “So Young, So Bad” emphasize the point well. Unfortunately, the album was not the commercial success the band hoped for, and Capitol Records required. (7/10).
Starz would call it a day in 1980, only to re-group and perform special shows for many years to follow. Each of these reissues comes with expanded artwork, excellent liner notes and tons of bonus tracks, including outtakes and unreleased songs. These new releases from Rykodisc are a fitting tribute to a cult favorite that never quite got its day in the sun.
+ Jim Kaz
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