Starcastle
Fountains Of Light

1977. The Yes must have already produced something (“The Yes Album”, “Fragile”, “Close to the Edge” and “Relayer”, just to name the works generally considered major). The fact is that, in a music scene driven - dominated - by Europe and primarily by Great Britain, an American group bursts in - so to speak - which is not called Kansas, nor does it resemble it.

Right from the debut (“Starcastle”, 1976), a clear division: excellent, elevated, sophisticated, never banal and immensely enjoyable (generally, the public), or mere performers of not even that concealed covers (generally, the critics)? In media stat veritas. Because certainly, a partial lack of originality can be contested; but in this context, it should be considered as a concrete matrix of inspiration, rather than plagiarism. Because the analogies with the albums of Anderson & Co. exist, and they are evident, just as it is evident that in other aspects it might be Starcastle themselves who anticipate, in some ways, the original (“Drama”, “90125”, for example, belong to the '80s). No fear, the keyword: listen and enjoy without prejudice. Everything is much more appreciated.

Off we go, in search of the “sources of light”, a literally space journey (indeed, the analogies are not exclusively instrumental...) - marked space and symphonic rock influences -, accompanied by Herbert Shildt’s keyboard, always present, very active, never monotonous, rich in nuances and varied effects (“Silver Winds” is just the tip of the iceberg), thanks to Moog and various synths. Terry Luttrell, the voice, gives it his all to sound at least similar to his British counterpart (incidentally, a hard task). However, his individuality does not suffer at all; on the contrary, even though it maintains sometimes rather static tones, as in “Fountains”, the opening track, a short suite distinctly Yes and Boston in flavor, containing a good instrumental bridge and an excellent guitar solo, in the first section. It flows smoothly, relaxing, the perfect prelude to the heart of the album. If it pleases, it’s allowed. Should it please, let us continue.

We spoke of “Silver Winds”, of the keyboards. Well, the progressive opening of the song in question strongly refers to the famous “Baba O’Riley” by the Who, recalled at the end. In between, predominantly keyboard and guitar lines evolve on parallel tracks, accompanied by an inspired Luttrell, dominating a more than discrete rhythmic section. “Dawning of the Day”, cheerful, carefree, though slightly melancholic, leans slightly more towards widely accessible shores (interpret that as you will...), although its core essence remains intact and unchanged. Just enough time for some AOR hints in “True to the Light”, and here is the backbone of the work.

Bucolic and psychedelic atmospheres introduce the dinner invitation - without murder - that the acoustic guitars of Steve Hagler and Matt Stewart deliver to Gary Starter (bass), gently cradling, in a breath of wind, the mind, its forms, and its most hidden suggestions. Too similar to “And You And I” (Yes)? Perhaps, but at the end of the listen, a decent “who cares...” comes to mind. Until dreamy harmony separates us. Also because “Diamond Song”, released as a single at the time (with little commercial success), would, in itself, have ties to “Roundabout”, especially the organ section. But if we were to search for instrumental, textual, and - why not? - attitudinal correspondences between distinct elements, every single moment of our existence, multiplied by every single object, fact, event... what boredom!

And instead no, not today. Today the Starcastle are Starcastle, period. Luttrell is not Anderson, and “Diamond Song” is not “Roundabout”, but it is, “differently” and similarly, incisive, structurally - tempos, lines, vocals - elaborated and curated, emotional, romantic, and melancholic as the subtitle it carries, “Deep Is The Light”. Curtains fall. The light is in the depth. Or at least, that's what I understood, and - as far as I am concerned - it is fine like that.

There is no point in delving into further specific analyses. The crux of the matter, in the end what I wanted to be written this afternoon, has been written. A bit like those films by Abbas Kiarostami, where image references to characters and events crucial to the story are missing. It is not up to the director to fill them. Everyone can do it according to their own sensitivity, imagination, attitude.