INTERVIEW: Starcastle (Aug 2002)
Alive beyond recognition. Steve Tassler joins us for a few words..
Alive Beyond Recognition
In The Spotlight - Steve Tassler (Starcastle)
Written by: Gdazegod (August 06, 2002)
As the thinly veiled notes of Mellotrons and ARP Odysseys recede into the distance like the past glories of progressive rock greats, you'd think this style of music was on a permanent back burner. 'Not true' I say. Progressive rock, in all it's artistic glory is well and truly 'alive, and beyond recognition'. With many fantastic bands now bearing the torch (a la Dream Theater
, Spocks Beard
), and a few old 'fogies' still hanging in there, progressive rock is holding up rather well. Though that term is from an older generation, it's still relevant today, as artists strive to create complex, lush, interesting, and musically challenging pieces of music. Also from an older generation, and returning to the fold is Steve Tassler. You'll recognise the name from the band Starcastle
- Steve played drums on their four Epic Records releases during the seventies, for which most of those albums are still revered today.
Not many people will know that Steve opted out of a music career during the eighties, and swapped his drumsticks for a stethoscope, going to Med School and coming away as a Medical Physician.. He currently practices out of the Chicago area, but is not too far away from his old haunt down the line in Champaign-Urbana. The occasional yearning to beat the hell out of his Ludwig kit ensured all was not lost as far as his drumming chops were concerned. Not only that, but over time, Steve has forged together his own home based studio - putting together material which harks back to those heady days of the seventies. In fact, Steve's brand new 2002 album 'Alive Beyond Recognition' (available via Sunsinger Records) has as much tradition as those very early Starcastle
albums. Yes, those Mellotrons have come back out of the closet, and are undergoing a retrofit as we speak.
Talking of retrofit, Steve's old band Starcastle
are dusting off nearly twenty years of inactivity, the bright lights of the new millenium sees the band saying hello to their old fans plus hopefully, appealing to a new generation of listeners. Of course, we here at GLORY-DAZE have been fans of the band for years, and it's a privilege to welcome Steve Tassler onboard. 'Thanks very much! It's very gratifying to see how Starcastle
can still reach people! Of course, we see it somewhat differently now than we did during the more active days of the band, heartened by people's comments and the renewed interest expressed on the website starcastlemusic.com
and various discussion groups. Isn't it true that we all, as music lovers, can point to musical moments that embrace our lives, and bring us back to a beautiful memory or feeling? I never realized that Starcastle
may have had that effect on people until I started reading their comments. It's very gratifying, and George, I appreciate the opportunity!'
If we embark on a brief sojourn back in time, the aforementioned town of Champaign-Urbana was a central hub of activity during those early days. Being the home of the University of Illinois ensured an active campus and a high level of creativity often found in University towns. 'Yes, being a major university town, and being close to Chicago, Champaign-Urbana was a crossroad, figuratively and literally, for many musicians' says Steve. 'Of course we'd all been in bands in junior high and high school, and somewhat influenced by the Chicago musical scene. When I arrived there in 1972, I was amazed with what I saw. The standard set by many bands was higher, over all, maybe because U. of I. is a big school. There were lots of bars to play and good bands to watch. There was a strong music management component in Champaign, and the local university radio station, WPGU, was very supportive of the home grown talent, and was especially good to us.'
Any good musical story is not complete without making mention of where it all started. Without it, we wouldn't be here right now undertaking this interview with Steve. So where did it all start for this Doctor of the backbeat? 'I love this question! Ready for a life story?' teases Steve. 'My earliest memory of a drum involves being in a Columbus, Ohio department store and feasting my eyes on a blue sparkle drum set with a cool bass drum pedal. It was, as I recall, elevated on a little stand. I was two years old at the time. My first 10 or 11 years were very important musically (although they probably would have been anywhere I lived) since I lived in a small town, Circleville, Ohio'. Steve adds: 'In Circleville you played drums, football, or both. My musical exposure was, from my parents, mostly classical. I also loved dynamic musical soundtracks like 'How The West Was Won' or 'Music Man'. I had some jazz exposure, and one of my favorite records at the time was Buddy Rich
's band doing their arrangement of 'West Side Story'. Great music is simply attractive, magnetic in it's own way. But like many others, for me the world changed with the Ed Sullivan Show and the British invasion.'
Being associated with a band renowned for it's progressive nature and technical dexterity, one could assume that drummers of a similar ilk, particularly from the UK would have had a huge part to play. 'True early rock drumming influences included guys like Sandy Nelson, Earl Palmer, Jerry Allison, and Murray Harman Jr. Then a little later, Dave Clark, Ringo, Charlie, Keith Moon, Mitch Mitchell (maybe my all time personal favorite), Ginger Baker, then moving on to Ian Paice, and Carl Palmer, who at the time was my drummer's drummer. The drum set I used with Starcastle
was a copy of his, more or less, without the great chime, tympani, bell and gong setup he used. What a showman and technician!'. You mention Carl Palmer. What about some of the prog greats like Bill Bruford, Alan White? 'They are both great drummers' agrees Steve. 'I listened to a good bit of early King Crimson
, loved the music and the drumming. Because of the musical style and performance approach of ELP
, Carl Palmer was a bit more noticeable, as he took a more aggressive role in the presentation of the band. Interestingly, the Yes
drumming element wasn't as strong an influence, although I respect the Yes
drummers tremendously. Three piece band drummers have to be great! Billy Cobham
came along and took us all over the top. Look at Neal Peart from Rush
, who is a fantastic player, and, by the way, practiced far more on the road than anyone else I ever ran in to.'
Brother Paul Tassler was in the band St.James
which Steve joined later on. It seems the Tassler household was one of musical experimentation and adventure during those formative years. 'Yes, all of my family plays music of some sort, although the experiments and adventure were mostly limited to chemistry! We all started with piano but went our relative (no pun intended) ways; I being the blackest sheep of the family! You might get a chuckle knowing that when it comes to formal music education, I am the least educated person in my family' admits Steve, 'including parents, brothers, wife and children, who have all had more music lessons with their respective instruments than I have ever had on mine!'
The aforementioned St. James
actually had several different guises before settling on the Starcastle
name some years later, but Steve's addition to the band came under a set of unfortunate circumstances concerning his predecessor Mike Castlehorn. Steve elaborates for us. 'Actually, the history is not quite as dramatic as that. Mike, St. James'
drummer, was simply graduating from college. I came down to Champaign the day after my high school graduation to play the band's remaining gigs for that particular summer, sort of a fill in until the band could decide how it would go on. Mike's death came a few years later, and unrelated to his departure from the band. Exactly when this occurred I don't recall. During the summer of 1972, St. James
consisted of Steve Hagler, Herb Schildt, Steve Bosanic (guitar), Bob Allen (awesome bass player) and me. My brother Paul had been their bass player before Bob Allen, but wanted to be more on the business end of things. Gary Strater (another awesome bass player) came on the scene around that time, and he ultimately replaced Bob Allen. I left the band in late August to attend University of Illinois, and was replaced with a U of I percussion student named Don Prorak. Sitting in a club, called The Red Lion, one night in the early winter of 1972, I heard the new version of the band, called Mad John Fever
. I was nearly completely blown away, but thought they could use some more power in their rhythm section. I knew I wanted to play in that band, with that music, more than anything I had ever wanted before. I left school in January of 1973 and rejoined the band with Gary, Herb and Steve, and another jazz guitarist who would ultimately be replaced by Matt Stewart.
Admittedly most of the progressive scene had it's roots in the UK, thanks in the main to bands such as Yes
, and Gentle Giant
. The US scene in comparison was less influential, which mean't that bands had to strive harder to achieve a similar level of success locally. 'Progressive rock is an attempt by musicians to bring a more creative, more musical, influence to the popular music medium and instrumentation that we all love' Steve points out. 'It's also defined by musicianship. Many people who play progressive rock grew up with more traditional musical education and influences, but again fell in love with the popular influences of their time. In Starcastle
, we never saw ourselves as America's 'prog' saviors, but simply played the stuff that came naturally to us. The 60s UK music scene evolved into a genre allowing a different way of expression. In the US, if we had to strive it was to find the other musicians who felt like we did. The most common 70s American popular music had very little to do with what Starcastle
was attempting, but was excellent in its own right.'
'There are young people listening to our music, and really digging it.
Many are discovering for the first time the power of the great music from the sixties and seventies.'
Steve Tassler - speaking about a potential new audience for Starcastle..
Apart from Starcastle
, Todd Rundgren
, there were only a handful of others who were paving the way in those early years of the progressive scene in the US. Steve recalls those years with fondness. 'The influential, inspirational music being played in the US came often from experimental, creative places like San Francisco, and sometimes from the South. I loved the first two records from Quicksilver Messenger Service
, and the musicianship and creativity of Jefferson Airplane
made a big impact on all Starcastle
members. Iron Butterfly
challenged pop music with their creativity. A Beautiful Day
comes to mind, as does Santana
's early leanings were sort of in that direction. Styx
sounded progressive at times, but were really more pop directed, and of course Kansas
, who we often toured with. Now things have changed, but it was a very short list back then. Starcastle
may have evolved more from an English genre, but were also heavily influenced by Crosby, Stills and Nash
. The syllabic vocal parts used in many Starcastle
songs don't come from Yes
, but rather emerged from the vocal styles of the fifties, which was then eventually used by The Beach Boys
and CS and N
. The linking similarity between all this music is really good, solid musicianship and unique creativity.'
influence has obviously been around Starcastle
since the start. Whether or not the comparison was warranted remained to be seen, perhaps the industry can take the blame for 'pigeon-holing' the band. 'I think our brains are hard wired to recognize and categorize, and it's only natural to make comparisons' says Steve. 'We look for familiarity, for the recognizable, and people love to categorize. It's natural to do it. The problem with the whole Starcastle
comparison issue lies in the misunderstanding of people's intent, or in their impressions of our intent. We no more sat down to copy the Yes style versus the five thousand bands that have recorded blues based rock and roll and copied all and sundry. Yes
was different from all those bands, and so were we. We played what came to us. The comparisons may have felt detrimental to some, but the bottom line is, people who ended up liking Starcastle
are fine, and people who don't are fine too. I only wish we had used more of our available creative resources that were untapped, and there were many. If only we could have transcended the problems and kept on a more musical track, avoiding the pressures that led to compromising our musical output. I do have to say, though, that I've read reviews where people have claimed to hear Yes
influences in ridiculously non-similar Starcastle
musical passages, and I can only laugh. It's purely their preconceived notions talking, fulfilling whatever need they have.'
The Epic Records period betwen 1976 and 1978 generated four albums and the inevitable question about a favorite album was raised. 'These days I find myself either listening to, or recommending to the 'Starcastle challenged'
, 'Fountains Of Light'. I guess it must be that it appeals to me musically, because the picture of me on that album looks really stupid! No, really, I enjoyed the creation of those songs the most, and the anticipation we had, based on the relative success of the first record, was stimulating and promising. We thought it would sell very well, and were expecting more from the record company than we really received. We were proud of it musically. The setting of Le Studio in the Laurentian mountains is fantastic. It's just a great place to record.'
'Citadel' on the other hand has been a personal favorite of mine for the best part of 20 years, not the least being that awesome Tim Hildebrandt cover. To my ears, the songs straddle that boundary between prog and commercialism just perfectly. Steve recalls those particular sessions which took place in the UK. 'Thanks, I'm glad you still like it! It has some very nice sounds and songs, and really a different sound and feel from the first two records. The newness of that particular studio scene, recording in the English countryside, in less familiar surroundings, was inspirational. The sessions were fun.'
'We recorded in the small English Cotswold town of Chipping Norton. There was a building adjacent to the studio building (which happened to be an old school, containing the studio and the band's living quarters) that had formerly housed, at some time in the unidentifiable past, a cinema. It was now, by RTB proclamation, an old, empty, fairly open, hard brick walled DRUM ROOM. Roy Baker thought it would be a great place to record some really live, loud, obnoxious percussion. So, one pleasant Sunday afternoon we rigged some microphone cables and a walkie-talkie playback/monitor system, and went to work. The studio owner's house just happened to be immediately adjacent to the studio and the cinema, and his darling young daughter was having a quiet, summery afternoon birthday party in their lovely flowered back yard. First we recorded some parade snare drum for 'Evening Wind', and then moved on to some gong overdubs. Well, every time I hit the gong (hard!) the girls would scream as if they'd seen a ghost (maybe they had and I just didn't notice)! I guess it must have sounded like the voice of the underworld. I swear Roy made me do extra takes just so he could get out his video camera and film their scattering into the house whenever I struck that gawd-awful gong. No wonder it has so many dents in it. Also, Roy's accommodations were just above the studio engineer's abode, who was just recently very, very happily married. Roy just loved to complain about never getting any sleep because of the, umm.. noise.'
Fountains Of Light and Citadel (both from 1977)
Yes, on paper, getting Roy Thomas Baker to handle the production at this time might have seemed like a good idea, but the reality was something different altogether. 'I feel ambivalent about his production' says Steve. 'He received his notoriety as a result of working with Queen
, but Queen
were an incredibly talented, headstrong, and intelligent group of people. RTB productions utilized a formula, and all his records sounded very much the same, from the most basic drum sounds to the vocals. Only the band was changed to protect the innocent! He came into the studio with an idea of how he wanted the record to sound, mostly because he was not the most adaptable, or, in my opinion, experienced producer, and he knew if he got that one sound the record would probably be relatively presentable. This is most apparent in the way he records vocals. When you hear a Crosby, Stills and Nash
chorus, or even a first album Starcastle
chorus, you can pick out the singers and easily recognize their parts. When you hear a RTB chorus you really can't do that. His vocal technique blended all the singers together, singing each part with four people standing around a microphone, eight times, with all four singers doing each part together. That means if you have a four-part harmony, four times eight times four, or one hundred twenty eight 'singers' are doing it! Not only that, but intonation was so critical that to pull it off, singers had to sing as precisely as possible, with basically no personality what so ever, otherwise the sound would be too uneven. Also, he used compression to an extreme, which depersonalized the sound even further. It takes away from the intimacy of the overall sound. It's a very neat sound, but should be used as an effect rather than the fundamental process for recording vocals.'
Perhaps he learned some lessons from working with you guys because he subsequently produced the mega platinum successes that were Journey
's 'Infinity' and The Cars debut the following year. 'Every session is a learning experience, and I'm certain he learned some lessons' agrees Steve. 'However, to my ear, his formula was the same, but Journey
's and The Cars
music was just more commercially viable. Journey
's chorus vocals sound pretty much the same as Starcastle
's, including The Cars
, and Foreigner
on all of the Baker records.'
Talking of Journey
, Steve Perry
mentioned that he quite liked 78's 'Real to Reel' album, while the two bands were on tour together - though the members of Starcastle
collectively agreed it should never have been released. 'Well, every cloud has a silver lining! 'When The Sun Shines at Midnight' is one of my favorite Starcastle
songs. Steve Hagler wrote it. It captured the emotion that many of the other songs lacked. Matt Stewart finally was able to cut loose a little. R to R was just too much of a stylistic divergence. For wherever the fault may lie, we alienated our core audience, which is a cardinal sin in the music business. Regarding Journey
, I really enjoyed touring with them, and really came to respect Aynsley Dunbar, who has done a myriad of studio work, and as a live show drummer. With regard to Steve Perry, I suppose he heard the record, but of course he heard us play the record live at some of the Infinity tour gigs, and made his comments in reference to the live performances. But when his road manager heard the songs, he laughingly made some comment about how we wouldn't be playing with Journey
much longer because the songs were too strong in the live setting. Funny world, this Rok and Rol.'
And then of course there's the touring side of things. Starcastle
had supported big bands, as well as fledging bands supporting Starcastle
, who themselves went onto mega status (i.e. the aforementioned Journey
). Steve reflects on those times gone by and some of different places they've been. 'Touring takes on a life of its own. It takes, in the long run, very special qualities (and maybe a whole lot of money!) to enjoy it. Touring is a wild roller coaster ride of emotions from the sheer excitement of playing on stage to the absolute boredom of driving endless miles on the road, kind of like driving to work on the same road, like most people do, except your commute is seven to ten hours long. Romantic eh?'
'On the other hand, what better way to see the country! One night we were traveling in Arizona, and we thought it'd be nice to see the Grand Canyon, a truly remarkable place. In pitch black we drove our motor home into the park, found our way to a parking lot, got out, sat on some large, flat rock and started talking. Morning was soon to arrive, so we just sat there and waited. The sun came up and lit the canyon before us, rising in the sky and dropping into the giant canyon below. The colors were like none we'd ever seen. The power of the rising winds was astounding. The canyon was huge and we were sitting on its rim. I'll never forget it! Running around on white packed California desert sand in the middle of the night under a full moon is quite an experience'.
'There are great, great memories from the road. Some of the groups we played with were really enjoyable to work with, like Jethro Tull
, and Todd Rundgren
was fun until their road manager told us we'd be off the tour if we continued to play 'Breath And Thunder', our encore power tune. Ostensibly, it made the show too long. When we offered to shorten the set, it came down to the fact that we were hurting them, and Tom Scholz wanted to do a synth thing (after watching us) that had much less impact. They were learning. So were we! The road is nothing but stories like that.'
One of those stories involved an incident, where the band lost most their gear in a road accident which left Steve Hagler with serious injuries. Steve remembers. 'We lost most of our equipment in that truck wreck, and this was a point of no return, both emotionally and financially. At the time of the accident, we were driving home to Champaign from a gig in St. Louis in the wee hours of a chilly Thanksgiving day. Some of us were driving in cars well ahead of the truck, and already home when it happened. I had just gone to bed, anticipating waking up pretty soon to drive to relatives for the holiday, when I got the call that the truck had rolled off an embankment, the equipment was destroyed, and Steve had broken his back. He was unable to play for quite awhile. I borrowed some drums, Herb had to get a new C3, but some guitars had come home in different vehicles. As a result, I finally got my blue Vistalite Ludwig 'Starcastle
' drum set. Terry Luttrell and I drove up to the Ludwig factory to pick it up. When he saw how many drums I had ordered, and how big and loud they were, he was, well, a little worried (justifiably)! I still have those Starcastle
drums, and they are still cannons! We gathered together as a band because of the accident. There was never any doubt that the band would continue.
The fact that Steve tossed in his drumsticks for a stethoscope and became a Doctor showed a degree of commitment towards that decision, something which comes easy for dedicated musicians. 'Some are surprised by it, some are not' reflects Steve. 'I'm very happy with the decisions I've made, and my reasons had to do with personal and intellectual gratification, the need to prove a certain something to myself, and some cold, hard realities about the entertainment business. During our best Starcastle
days we lived in near poverty. Funny, I just recently told Gary Strater that I dream about playing with Starcastle
every night, and I actually do. Every night for the last 23 years, but these are never nightmares! As a physician, I've been able to get a lot more control in my life. I had to cut out musical pursuits during my medical school days, but the 'muse' just pulled me back in, not to be denied. Lots can happen in 23 years, but I try to never waste a day. In my 'day job' I'm constantly reminded of the fragility of life. Unfortunately, there is less and less art in medicine, and the medico-legal aspects of it are growing like an epidemic, to an alarming, nearly disabling extent. Nevertheless, I have a very nice practice, great partners, and I get to work with excellent, very responsive staff who I truly appreciate and respect. Good looking, too'.
As we've all seen and witnessed, the Internet arrived during the nineties, and went some way towards giving long lost entities such as Starcastle
new life, culminating in renewed interest for the band. 'It's just a joy to see. And I have to thank Eric Abrahamsen for being at the center of it all. He created the Starcastlemusic.com web site, and has been an incredible spark to the current level of interest. Every musician gets his 'day in the sun', and times change. You can never go back, but you can remember. It's essential that new music be created to fulfill societies current needs, but equally important that we keep an eye on the past for what it can teach us. The Internet has given me a better understanding of what I was, and how I was part of something that was a positive influence on people's lives. I never realized that so fully before.'
The affinity with the fans and people who grew up with Starcastle
's music is a positive spin-off via this new medium. 'More now than ever before' says Steve. 'There are young people listening to our music, and really digging it. Many are discovering for the first time the power of the great music from the sixties and seventies.' Which leads us onto the brand new solo album 'Alive Beyond Recognition'. Somewhere from beyond the Medical Practice is a musician waiting to break out again. Steve gives us a breakdown.. 'About eleven years ago I began writing material as my creative energies had really blossomed. 'Alive Beyond Recognition' is a culmination of music written with a Starcastle
sound, but includes other material that grew out of my own personal influences. This is not really a 'drummers' record, but rather a musical record with drums and percussion exactly the way I feel they should be, complementing the music and sometimes standing out like any instrument should. Because of the variety of music on this recording, it tends to remind me a little of 'Citadel', although I've tried to develop my own sound. I've consciously used instrumentation that tended to be the standard of seventies progressive rock, and tried to include strong instrumental passages, as well as given plenty of focus to my true love, vocals. There are ballady passages, fiery passages, angry passages, and gentle passages. It's really been a blast making this record.' Steve plays everything on it. 'Although I'd never ever call myself a guitarist or pianist, I did all the performing on the record. Many of the keyboard and bass parts are programmed, as are some of the more mundane drum parts. The vocals were the most fun, as I've learned how to use speech level singing to avoid stress and extend my range. Because I've done it all myself, it's taken much too long to complete!'
Understandably it includes some reference to Starcastle
material, but is not as copy-cat as one would assume. 'The material recorded on this album with Starcastle
in mind includes a variety of more musical pieces, with more instrumental emphasis and complexity. The song 'Interregnum' is a story of a life and a journey - is longer than any previously recorded Starcastle
tune, and winds through a number of lyrical and musical metaphors as the song progresses. 'Aeon's Arrival' is all instrumental, with the introduction being a sort of 'calling of the sirens', then leading to some musical surprises, maybe a little reminiscent of 'Nova' from Starcastle
's debut, but with a greater degree of 'cosmic funk'. One of my favorites is 'Firebright', a personal, emotional piece featuring vocals and good backing instrumentation. The opening track, 'Reunion', was clearly written with Starcastle
in mind. Who knows, maybe we'll still record it. These songs are all relatively new, dating only from 1997 or so. They are not previously recorded.'
Time away from professional music, has mean't less time for Steve to keep up his 'musical chops'. But more recently, he has been able to afford the time to put the effort back in. 'Yes, now I can say that I have, but after Starcastle
dissolved, I completely divorced myself from any musical involvement, because I felt I had to do that in order to concentrate on my studies. I didn't touch a pair of drumsticks for three years. Then I began to be drawn back during Medical School days, if only through refinishing some drums I bought from the old Frank's Drum Shop in Chicago as mindless work to sort of meditate with - to get away. Drums, but no drumsticks! During residency, my wife and I bought a house, and I began to play again, although only solo in my basement, on the refinished drums I had worked on a bit earlier. I used it as a form of exercise, which, considering my style of play, it tends to be! Then Gary called about the possibility of reforming in some way. I began rehearsing some songs we eventually recorded for the upcoming new Starcastle
studio record, which is still being recorded. For fun I now play with a local band, a group of great guys that call ourselves The Bald Headed Hitmen
. Luckily I'm not balding much yet, and neither is our bass player, a lovely lady named Jill. We play a variety of 60s and 70s hits, mostly at parties and for charity. I can still work up a sweat, and our kids think we're cool (at least while we're playing)'.
For all the techno buffs, here's Steve's rundown on all the equipment which was used. 'This project is the child of the digital revolution. These days, anyone can record and produce a finished product, with a little know how. I don't have any endorsement contracts, but I used a combination, for recording, of ADAT and a recording program called Digital Performer from Mark of the Unicorn on a blue Macintosh G3. I used a variety of midi-driven tone modules, some with classic keyboard sounds. I have a few guitars, which I recorded direct if electric, and with microphones if acoustic. I still have the blue Ludwig Vistalite drumset, but I also used a newer Pearl Masters Studio drumset with birch shells for most of the tom-toms on the recording. The recording process begins with a song idea, which I sequence into the computer, building from bass and drums as it goes along. Keyboard or guitar parts are next, usually, and many items will be changed as the song evolves. Finally, the vocals are recorded, drums re-recorded, percussion added, bugs disinfected, and then it's on to the next victim! I monitor with Mackie near fields, and in my car!'
As with any new album release, there must be some level of expectation from the artist. I'm sure the same applies to Steve. 'Great question, and one which I've often asked myself through the whole process! I've done this out of the pure joy and thrill of the creative process, which has always been the driving force behind my involvement in music. The element that I looked forward to the most during the Starcastle
days was simply sitting in the basement with the guys and dreaming up new material, ultimately refining and finishing it. What's striking about this project is that I really don't have any specific expectations, although it'd be nice if a lot of people hear it. I'm not doing this for financial gain, although I believe that if you're performing a service, which I think music/entertainment truly is, then it has some value. I hope I can give former Starcastle
fans, and any new fans that climb on board, something to look forward to and bring something special to their lives. Perhaps this will be a bridge, for Starcastle
fans, from the past to the eventual new material release. Doing this makes me feel special.'
And of course, Steve will still have a hand in the forthcoming material from Starcastle
. 'I really hope so. We're all working together to complete that project. The fountains are still flowing'. Look forward to hearing it Steve, and also the feedback from many of your fans! Best of luck. 'Thanks so much! I truly appreciate the opportunity!' - Steve
Starcastle Website, for all the latest developments, including Sunsinger Records
Starcastle - 1976 StarcastleStarcastle - 1977 Fountains Of LightStarcastle - 1977 CitadelStarcastle - 1978 Real To ReelStarcastle - 1999 Concert Classics Vol 5Starcastle - 2002 Interview With Steve TasslerStarcastle - 2007 Song Of TimesStarcastle - 2007 Interview With Steve Tassler (2007)
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