Original released on LP Wooden Nickel BWL 1-0638
(US, 1974)
"Man of Miracles" was Styx' fourth and final album on the Chicago-based indie label Wooden Nickel
and even though the band had co-produced their previous two efforts - "The
Serpent Is Rising" and "Styx II" - former producer John Ryan returned to the fold
for this project. His presence may have contributed to the collection's
polished feel not only in terms of production value, but the quintet - featuring John Curulewski, Dennis DeYoung, brothers Chuck Panozzo and John
Panozzo and James "J.Y." Young - seem to have made concerted strides
toward becoming increasingly palatable to the mainstream rock crowd. The pumped
up anthemic "Rock & Roll Feeling" is the first of two
collaborations between Young and Curulewski. The other, "Havin' a
Ball" follows with a further example of their departure out of prog and
into comparatively accessible rock & roll. They certainly haven't lost
their penchant for diversity however, as DeYoung's haunting and poignant
"Golden Lark" provides a brief deviation from his dark "Evil
Eyes," or the melodically and texturally rich power ballad "A Song
for Suzanne." 
They pull it
off exceptionally well, remaining faithful to the original while unleashing
their own performance style. The rough-and-ready "Southern Woman"
also delivers the goods in a big way, laying down a briskly paced boogie that
conjures the rhythm and soul of Delta R&B. Instrumentally, DeYoung shines
once again with alternately sanctified and searing electric organ runs. Fittingly,
the title track "Man of Miracles" bears a resemblance to the
grandiose and somewhat over-the-top delivery that informed incipient Styx sides such as the "Movement for the Common
Man." Increased national attention resulted in the combo simply outgrowing
the admittedly limited distribution and promotion that Wooden Nickel could
offer. They were more than ready to take their music to the next level and a
potentially larger audience. 1975 saw them sign with A&M Records and,
although Curulewski stayed for the recording of their next disc "Equinox" (1975),
he was permanently replaced by Tommy Shaw before Styx
hit the road to support it. Shaw became a missing link of sorts, supplying the
aggregate with much of their best and most memorable material during the late
'70s and early '80s. (Lindsay Planer in AllMusic)
