STYX: Notes from the Band
 
Date Title
Jun 03, 1996 NYC
Jun 05, 1996 VH-1
Jun 08, 1996 Pittsburgh
Jun 09, 1996 Philadelphia
Jun 12, 1996 Saratoga
Jun 18, 1996 Chicago
Jun 20, 1996 Boston
Jun 21, 1996 Cincinatti
Jun 24, 1996 Quebec City
Jun 26, 1996 Atlanta
Jun 27, 1996 More Atrlanta
Jun 28, 1996 Memphis
Jul 01, 1996 Atlanta
Jul 04, 1996 Little Rock
Jul 06, 1996 Houston
Jul 07, 1996 Biloxi
Jul 08, 1996 West Palm Beach
Jul 11, 1996 Hurricane Bertha
Jul 12, 1996 Raleigh
Jul 13, 1996 Virginia Beach
Jul 16, 1996 NYC
Jul 20, 1996 John Panozzo
Jul 21, 1996 Peoria
Jul 26, 1996 Oklahoma City
Jul 30, 1996 Kansas City
Aug 02, 1996 Denver
Aug 03, 1996 Vegas
Aug 03, 1996 Vegas
Aug 06, 1996 Los Angeles
Aug 08, 1996 Reno
Aug 10, 1996 Pasa Robles
Aug 11, 1996 Portland
Aug 13, 1996 The Gorge
Aug 15, 1996 Los Angeles
Aug 17, 1996 More LA
Aug 28, 1996 False End
Aug 30, 1996 Quebec
Sep 02, 1996 Chicgo
Sep 03, 1996 The Bears
Sep 04, 1996 Gone Fishin'
Sep 05, 1996 Birmingham
Sep 06, 1996 Pensacola
Sep 07, 1996 Orlando
Sep 09, 1996 Good Bye Florida
Sep 12, 1996 43 in LA
Sep 13, 1996 Allegan
Sep 14, 1996 Moline
Sep 15, 1996 Ames
Sep 19, 1996 Toledo
Sep 19, 1996 Todd's Band
Sep 20, 1996 Toledo
Sep 22, 1996 Chicago
Oct 06, 1996 Finally Home
Dec 15, 1996 Happy Holidays

 

 

Houston
06-Jul-96

Houston, we have a problem... But apparently not last night at the STYX show at the Woodlands Amphitheater just outside Houston, Texas. It was wall-to-wall STYX fans who had NO problem expressing their feelings for the band as the boys re-connected with what has always been a great town for them. There were lots of Internet followers down front who seemed to be enjoying the real-time experience, having gotten to know each other on line. When DeYoung finished belting out the last note of "Rockin' the Paradise", he greeted the 10,000 fans by saying, "Houston, we DON'T have a problem!" which was not responded to with "Roger", but by deafening cheers.

Little known fact... To achieve the unusual tom-tom effect on Renegade, Producer-engineer Barry Mraz placed microphones in the stairwell of each of the four floors outside Paragon Studios, placed John's drum at the bottom of the stairs, then flipped the 24-track tape over up-side-down then recorded the part. When it was played forward it had the strange crescendo effect we are now accustomed to hearing.


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