Next up is Kansas Point of Know Return

http://www.simplysyndicated.com/wp-c...fold-Cover.jpg

Good choice!

Cool! I need to hear more Kansas. :thumb:

For once I intend not to be last with my review. And so, I'll be first this time.

I should point out that I think it's fair that, although we have two weeks to listen to the albums and form our thoughts, we can post anytime within that timeframe, from the moment we get the album or rec to two weeks after. Therefore my review may seem like it's coming early, but I've listened to the album enough now to know what I want to say, and there's little point in waiting, so here goes.

As this was Kansas's followup to "Leftoverture", which gave them their first major hit, I can see how they were trying to go in a more commercial direction, but I applaud them for staying true mostly to what appears to have been their root sound. I also like the puns in their album titles.

1. What were your VERY FIRST impressions on listening to the album, say from the first five minutes in?

I've heard not that much of Kansas, one album really ("Somewhere to elsewhere") and was at times bowled over and at times underwhelmed by that. The problem is that while some tracks are great, others are in comparison quite poor. I found this to be the same with this album. The opening track originally left me cold (though after repeated listens I've warmed to it a bit) and the followup plus its, to my mind, unneccessary runoff, the instrumental "The spider", just didn't do it for me. I was, to be honest, quite disappointed and it was a case of deja vu.

2. What did you think of the opening tracks?
As above, I thought the opener was a bit trumpety-keyboard heavy and had that sort of seventies progressive feel I often don't like, despite being a prog head. It's hard to explain: almost felt jazzy to me, which I know it isn't but I didn't like it. The second track wasn't much of an improvement --- if anything, it was a disimprovement: I've gotten used to the title track now but "Paradox" still leaves me cold, and "The Spider" is to me just an needless extension of the music from that.

3. What did you think of the later tracks?
Ah well now you're asking! Directly after "The spider" goes out on a descending pitch bend on the keys, the album, for me, takes a total upswing, at least for a time. "Portrait (He knew)" is a belter, a real blues rhythm to it and it chugs along gloriously, reminding me very much of "Disappearing skin tight blues" from "Somewhere to elsewhere", one of the highlights of that album for me. "Closet chronicles" I love, a slower, moodier song but not quite a ballad, but then I could live without "Lightning's hand". Of course, "Dust in the wind" is a classic, and always will be...

4. Did you like the vocalist? Hate him/her? Any impressions?
Yeah, I like Steve Walsh's voice. It has that kind of rough, ragged sound you get from ZZ Top mixed with a flavour of Steve Earle and maybe Ronnie Van Zandt too. Certainly a voice that commands you to listen.

5. Whether or not you enjoyed the vocal performance, did the music throughout the album generally appeal to you, or not?
Yes, it did in the main. The album --- presumably like most of Kansas's work --- is heavily keyboard oriented, and Kerry Livgren does a great job, though there are times his arpeggios get a little wearing, as related above. But also the violins and violas of Robbie Steinhardt add a great sense of calmness and grandeur to some of the songs.

6. Did the album get better or worse as you listened to it (first time)?
Absolutely got better. I didn't like the three opening tracks, then the next two were streets ahead, a dip then for "Lightning's hand" and back to form then for pretty much the rest of the album.

7. What did you think of the lyrical content?
I must admit I didn't concentrate as much on the lyrics as perhaps I should have this time round, but in general they seem to concern man's fragility and his place in the cosmos. Songs like the seminal "Dust in the wind", "Nobody's home" and "Closet chronicles" all seem to speak of things passing and our inability to prevent it.

8. Did you like the instrumental tracks?(Note: For any albums without any purely instrumental compositions, this question should not be answered or answered as "not applicable")
There was only one instrumental and as noted above I did not like it at all.

9. What did you think of the production?
Sounded fine to me for a seventies record.

10. How well do you already know the band/artist?
Who doesn't know OF Kansas? But apart from their hits I had only actually listened to the one album prior to this.

11. What sub-genre, if any, would you assign this music to?
Progressive rock I think is the only one that fits, though occasionally Kansas can flirt with a softer AOR sound.

12. On repeated listens, did you find you liked the album more, or less?
Much more. It took a few listens to get past the opener, and there are still tracks I don't like but generally I enjoy it more when I spin it now compared to the first time.

13. What would you class as your favourite track, if you have one?
Other than the obvious? ;) I think perhaps "Nobody's home" or "Closet chronicles", or possibly "Portrait (He knew)"

14. And the one you liked least?
Either "Paradox" or "The spider".

15. Did the fact that this album is a debut allow it, in your mind, any leeway, and if so, was that decision justified or vindicated?
Not applicable.

16. Are you now looking forward to hearing other albums by the band/artist?
Basically yes, I'd be interested in hearing some more of their catalogue. I would hope though that not every album of their has this disjointed a structure, from my point of view.

17. Did you get, thematically, the idea behind the album if there was one?
As I said in the lyrics question, essentially the powerlessness of man in the face of time, the elements, and the cosmos in general.

18. Did the album end well?
After a few duff tracks the album picked up brilliantly with "Dust in the wind" and sort of never really flagged from there on. The closer, "Hopelessly human" is a great track, though I did see some resemblance to the one that preceded it. Nevertheless I'd still class it as a really strong closing track.

19. Do you see any way the album could have been improved?
I'd have done without the more pomp-rock tracks such as the first three and had more like "Closet chronicles" and "Paradox". And no instrumental. Or at least, a better one.

20. Do you think the album hung together well, ie was a fully cohesive unit, or was it a bit hit-and-miss?
I'd have to say hit and miss, though in fairness more the former than the latter.

Ratiing:7.5 out of 10

Can you send this to me, please? :)

It's on Grooveshark. Check it out here... Grooveshark - Free Music Streaming, Online Music

I'll have a review up at some point on Friday. And, I'll squeeze in the previous album (by a Wakeman, I believe...) at some point in the near future.

Full album is on You Tube

Kansas - Point of Know Return (Full Album: Remastered) - YouTube

Alright, I'll check it out sometime this week.

1. What were your VERY FIRST impressions on listening to the album, say from the first five minutes in?

The first five minutes of what I deem to be a classic album are actually very average indeed, but from then on the album turns into one of the bands greatest achievements.

2. What did you think of the opening tracks?

The opening and title track is a decent song, but the problem with "Paradox" and "The Spider" is that both of these songs actually sound like stereotypical prog tracks for the era. In that they actually sound like that they've been recorded for the benefit of somebody that really doesn't know prog that well and the songs serve as a kind of introduction to prog. It's kind of like they've used ELP for this example.

3. What did you think of the later tracks?

"Portrait (He knew)" is where the album comes up quality wise and the band move into a sound that they know how to dominate, which is earthy mid western rock with a strong rhythm section. "Closet Chronicles" a great song that I can't fault as it combines the concept of a slow song with that of a prog track. "Dust in the Wind" a timeless classic. Then the three closing classics "Sparks of the Tempest" "Nobody's Home" and the stunning "Hopelessly Human".

4. Did you like the vocalist? Hate him/her? Any impressions?

Steve Walsh is primarily the lead vocalist of the band and the heavier vocals on other songs are provided by Robbie Steinhardt. Steve Walsh vocal wise always had a hearty voice that usually was employed on the more commercially sounding tracks of the band. He always reminded me of Tommy Shaw of Styx vocal wise. Robbie Steinhardt has a much heavier vocal presence and the band seem to have got things right with vocal choices for their songs.

5. Whether or not you enjoyed the vocal performance, did the music throughout the album generally appeal to you, or not?

Kansas with keeping up to what's expected in a prog band have always been top-notch musicians. I'd be hard pressed to pick an individual out in this but I guess in you like heavy keyboard work and don't mind violins then musically the listener is going to enjoy the instrumentals of Kansas. Saying that though, I've always had a soft spot for Rich Williams on guitar.

6. Did the album get better or worse as you listened to it (first time)?

First heard this album in the 1980s and bit by bit it grew on me.

7. What did you think of the lyrical content?

Most of the songs seem to reverberate around man and his turmoil with civilisation.

8. Did you like the instrumental tracks?(Note: For any albums without any purely instrumental compositions, this question should not be answered or answered as "not applicable")

"The Spider" was nothing special.

9. What did you think of the production?

I've always liked Jeff Glixman's earthy production.

10. How well do you already know the band/artist?

The whole discography really well, have listened to it like a million times and it's one of the most solid from any 70s band. The band went off the boil in the 1980s with too much of a switch to a christian sounding band and line-up changes.

11. What sub-genre, if any, would you assign this music to?

Progressive rock meets AOR = Pomp rock and this was something that was uniquely the realm of both Kansas and Styx in the 1970s. Kansas are distinctly an American band and a mid-western one at that, as they mixed American root sounds to British progressive rock.

12. On repeated listens, did you find you liked the album more, or less?

I've heard it so many times and it always gives me a warm feeling on every listen.

13. What would you class as your favourite track, if you have one?

"Closet Chronicles" "Dust in the Wind" "Sparks of the Tempest" "Nobody's Home" and "Hopelessly Human"

14. And the one you liked least?

"Paradox" and "The Spider".

15. Did the fact that this album is a debut allow it, in your mind, any leeway, and if so, was that decision justified or vindicated?

N/A

16. Are you now looking forward to hearing other albums by the band/artist?

Not really as I know them all already;)

17. Did you get, thematically, the idea behind the album if there was one?

In the early days Steve Walsh would write the more commercial material whilst Kerry Livgren (the brain of the band) wrote the proggier epics. On this album they combine their powers together and as far as I can perceive, they've come up with man's notion of creating a belief about something when there is no actual proof. The cover lends credence to this as it shows a ship sailing off the end of the world, when man believed the Earth to be flat.

18. Did the album end well?
After a few duff tracks the album picked up brilliantly with "Dust in the wind" and sort of never really flagged from there on. The closer, "Hopelessly human" is a great track, though I did see some resemblance to the one that preceded it. Nevertheless I'd still class it as a really strong closing track.

19. Do you see any way the album could have been improved?

Remove the second and third tracks and replace them with something more focused in line with rest of the album.

20. Do you think the album hung together well, ie was a fully cohesive unit, or was it a bit hit-and-miss?

Despite a few duffers, this is a classic album of its time.

Ratiing:9.0 out of 10

Wow, US! Considering you know the album and band so well, I'm surprised that most of what you said ties in with how I found the album --- weak opening tracks, crappy instrumental, strong closer but sounds like the penultimate track --- which makes me feel that I really "got" this album. I was sure you were going to say maybe I need to listen to Kansas more, or something, but it seems like we mostly agree. For someone who has been listening to the band for what thirty years or so, and another who has only really heard one other album, that's quite remarkable really.
:thumb:

Now and again opinions can be spot on. The first six studio albums are all very good listens, you'd enjoy all of them.

1. What were your VERY FIRST impressions on listening to the album, say from the first five minutes in?

Although Carry On Wayward Son is a helluva track, I found the Leftoverture album a bit disappointing. Point of Know Return is regarded by some as a disappointing follow-up, but I do not agree. There is no Carry On Wayward Son, but the album is consistently strong.

2. What did you think of the opening tracks?

Track one, the title track, reminds me of Carry On My Wayward Son with the big vocal arrangement. The simplistic drumming (from a usually unpredictable drummer) tends to hold back the track, while the keyboard playing is a bit of a token gesture to the band's more sophisticated work.

Paradox, with its violin-led intro, is more like Kansas of old. The instrumentation is augmented by a Wurlitzer-style keyboard and develops a memorable melody. Added to this, despite the shortness of the track, is an ever-changing complexity akin to the British progressive rock bands of the seventies. Talking of which, the instrumental The Spider, borrows from Yes, but with violin. I know it is an over-simplification, but the interesting thing is that Robby Steinhardt is more of a folk/country player, than (romantic) classical.

Portrait (He Knew) is fast heavy rock. Closet Chronicles has excellent vocals and a beautiful melody. Initially led Yes-like with bass guitar, piano and mellotron, it develops a complex and powerful instrumental passage in it own right. It is quite heavy too and there are the epic keyboard chords. It has become fashionable to criticise Kansas lyrics, but these have a lot of charm.

3. What did you think of the later tracks?

Lightning's Hand has harmony guitar and keyboards, which are heavy, fast and make a nonsense of thse who criticise Kansas for being 'commercial' or AOR. They were never commercial in the UK and, while there is nothing wrong with AOR, there is far more to this band. Kansas are like Jethro Tull (with whom violinist Robby Steinhardt has worked) or Rush, in not fitting comfortably in to the progressive rock category.

Dust in the Wind was a hit single and, although acoustic, is not a million miles from Carry On My Wayward Son. I have read variously that it borrows from the Old Testament, classical Japan, native American poetry and explicitly from ELP's Karn Evil 9 Part Three (closing track on Brain Salad Surgery). Whatever its source, it works. Sparks of the Tempest is a terrific track with Walsh sounding like Paul Rodgers, so, with the trademark Kansas violin, it reminds this listener of Kim Beacon-era String Driven Thing.

Nobody's Home typifies Kansas's epic sweep and could be from Les Miserables (the original London cast recording). With poignant vocals, solitary violin, strings, piano, distinctive chords, synthesizer, tear-jerking melody, it is another beautiful piece on this album.

Hopelessly Human begins with an unassuming vocal, but develops into an ambitious piece, befitting the band and which brings to mind John Miles's mulit-part progressive masterpiece, Zaragon.

4. Did you like the vocalist? Hate him/her? Any impressions?

Steve Walsh sounded strained on the first album, but became less so by Leftoverture. He is out of tune on the title track, but there are other inconsistencies, such as the drumming. The vocals are not like Anderson/Lake/Thompson, but, unlike those of modern bands, do have character. Steve Walsh sometimes struggles to match the ambitions of the band, but was improving by Leftoverture and Point of Know Return. After leaving Kansas, he became involved in a number of projects with Mike Slamer, which should have given a blend of British restraint with American rawness, but it was only adequate.

5. Did the music (only) generally appeal to you, or not?

The Spider could almost be from Yes's Fragile, but it has violin. Steinhardt, however, is no Eddie Jobson, despite being classically trained. The Spider typifies Kansas, in combining traditional progressive rock with their own brand of American folk/country playing.

6. Did the album get better or worse as you listened to it (first time)?

It gets better because the first track sounds as if it was recorded in a hurry and is therefore untypical.

7. What did you think of the lyrical content?

Often, Kansas's lyrics are concerned with environmental issues and, in my opinion, are truthful and sincere. On this album, the environmental concerns remain, but songs about indivduals are introduced, such as Albert Einstein, Howard Hughes and the band themselves. These, from Closet Chronicles (about Hughes), are simple and effective, 'So no one knew, not even him/ the problems he would find/ on the day he journeyed/ deep into his mind.'

8. Did you like the instrumental parts?

The instrumentation is fantastic, with big chords, dazzling proficiency, strong varied melodies and outright heavy rock. Added to which, is the violin of Robby Steinhardt.

9. What did you think of the production?

Kansas had a slick production by Leftoverture and it continues on Point of Know Return. It is no coincidence that this period was their best-selling peak.

10. How well do you already know the band/artist?

The first album is one of my favourites, which I bought on spec. It is very compelling in its mixture of approaches, from American folk/country to British complexity, as well as its balance of catchy melodies and epic concepts.

11. What sub-genre, if any, would you assign this music to?

Progressive. It is difficult to categorise Kansas, but I read a review a few years ago, in which the author described them as 'prog country-rock' - a label which fits them pretty well. They have the sophistication of the British progressive rock groups of the seventies, but combined with a down-to-earth panoramic vision of their own.

12. On repeated listens, did you find you liked the album more, or less?

Point of Know Return gets better all the time.

13. What would you class as your favourite track, if you have one?

It is difficult to choose favourites, but I would probably go with the heavy Sparks of the Tempest and Portrait (He Knew).

14. And the one you liked least?

Maybe track one, but it is catchy and not irredeemable.

15. Did the fact that this album is a debut/sophomore/middle period or later period allow it, in your mind, any leeway, and if so, was that decision justified or vindicated?

It is ironic that, during their most successful period, Kerry Livgren was struggling to keep the band together. By his own admission, Walsh was behaving like a prima donna, although Steinhardt was secure.

16. Are you now looking forward to hearing other albums by the band/artist?

It prompted me to listen to Walsh's solo albums. They are not as bad as the critics would have you believe, but Kansas is better. Kerry Livgren made the excellent Seeds of Change, with Ronnie James Dio and others. I know nothing about Livgren's Proto Kaw or Walsh's latter day Kansas.

17. Did you get, thematically, the idea behind the album if there was one?

The usual themes of the landscape are still present, but with some new ideas.

18. Did the album end well?

Hopelessly Human is a better track than it first appears, so it makes a fitting closer. My version of Point of Know Return is the Japanese edition with welcome live versions of the two heaviest tracks, Sparks of the Tempest and Portrait (He Knew). Both crank up the studio versions with punchy symphonic keyboards and distinctive, but unpredictable percussion.

19. Do you see any way the album could have been improved?

Computers could be used to tune the vocals on track one and the drumming should be replaced. In this age of re-recordings for contractual reasons, why not clean up this messy track?

20. Do you think the album hung together well, ie was a fully cohesive unit, or was it a bit hit-and-miss?

It sounds more cohesive than close analysis reveals. Point of Know Return (the title track), while not a demo, sounds like one, compared to the polished remainder of the album. Hit single, Dust in the Wind, is acoustic, yet fits well with the other songs and Kansas's back catalogue.

Overall Album Rating: 8.5 out of 10.

when I listened to Point of Know Return and the previous Kansas albums for this review, I'd forgotten just how great Masque is as an album. The album that should have broken them instead of Leftoverture.

http://www.progarchives.com/progress...2222122009.jpg

1.What were your VERY FIRST impressions on listening to the album, say from the first five minutes in?

Supah pompy!

2. What did you think of the opening tracks?

Opening title track is a classic slice of 70's FM-friendly prog, and 'Paradox' and 'The Spider' are nice even if they aren't quite as iconic.

3. What did you think of the later tracks?

'Dust In The Wind' has been overplayed and overexposed to the point of parody at this point, but relistening through these latter cuts has given me a greater appreciation for 'Closet Chronicles' and 'Hopelessly Human'. Not bad, but still not too memorable for me.

4. Did you like the vocalist? Hate him/her? Any impressions?

I've never been much of a Walsh fan, but his performance throughout POKR melds with the rest of the band's playing than it has on pre-Leftoverture material.

5. Did the music (only) generally appeal to you, or not?

I'll never be much of a Kansas fan (and never have been either), but this record is one of the very few in their catalog of work that actually nails it on occasion.

6. Did the album get better or worse as you listened to it (first time)?

It was a consistent listen for me from start to finish back when I first got my grubby paws upon it, and that impression of it holds true even now.

7. What did you think of the lyrical content?

Socially conscious would be an understatement I suppose: this is one aspect of the record I actually could see myself revisiting after today.

8. Did you like the instrumental parts?

Walsh is pretty boring on his own, so I'd say if you aren't listening for the instrumental performance, you aren't listening to the right album!

9. What did you think of the production?

Solid as a rock. Nothing too high or low in the mix: every element is balanced and serviceable.

10. How well do you already know the band/artist?

I'm a proghead, so I'd say more than a passing acquaintance lol.

11. What sub-genre, if any, would you assign this music to?

Classic progressive rock, with a few AOR and folk sub-elements tossed in.

12. On repeated listens, did you find you liked the album more, or less?

Neither. Take that for what you will.

13. What would you class as your favourite track, if you have one?

The title track.

14. And the one you liked least?

'Paradox'. Sounds like a poor man's Gentle Giant!

15. Did the fact that this album is a debut allow it, in your mind, any leeway, and if so, was that decision justified or vindicated? (Note: if the album is or was NOT a debut, ignore this question or put "n/a")

N/A.

16. Are you now looking forward to hearing other albums by the band/artist?

Probably not, seeing as Kansas have never worked that well for me aesthetically.

17. Did you get, thematically, the idea behind the album if there was one?

I'm assuming there's some Christian allegory buried somewhere in there, but I couldn't be bothered to really care much either way.

18. Did the album end well?

'Helplessly Human' is a nice proggy end to a very proggy album.

19. Do you see any way the album could have been improved?

Maybe a more distinctive vocalist than Steve Walsh? Hard to say really...

20. Do you think the album hung together well, ie was a fully cohesive unit, or was it a bit hit-and-miss?

Between Leftoverture and this particular record, I don't think Kansas have ever done a more cohesive set of songs than we we get here. That being said, Kansas have never really worked for me sonically: they aren't catchy or slick enough on the whole to be a good AOR band and they aren't interesting or truly atmospheric enough on the instrumental side of things to really tickle my prog sensibilities either.

I'm aware that the band will always have its loyalists, but the real problem here is that nothing they've ever done has knocked me on my ass like Yes, Genesis or Gentle Giant did when I first got into them. I think is due to the fact that Walsh and friends have never really sounded (at least to these ears) like a band who were ever that comfortable in their own skin. Their tendency to go for the heartland rock iconography doesn't gel that well with their more progressive leanings, and it's always made them a hard sell for me. It's a shame, but they never transcend their trappings to become something more than they could be, which is why we never got a song as good as 'Siberian Khatru' from them despite some good ideas lurking throughout their 70's material.

I'd tell anyone looking for American progressive rock where you can literally hear the pieces falling into place to check out Starcastle, Styx and Ambrosia respectively. Walsh and co., unfortunately, have always sounded like a poor man's amalgamation of all those bands to me in the past, and going through the album again only reinforces this perception for me. Sorry, but no dice!

Overall Album Rating: 6.5 out of 10.

@Anteater
Interesting view of the album and band, whilst I don't agree with it :) I certainly respect your opinion as it's one of the most informed on here when it comes to prog, AOR and other rarities. Kansas are really an acquired taste, as I don't imagine many people getting excited over the idea of mixing an American boogie sound with British based prog, but isn't that what prog is all about anyway pushing boundaries? I know you tend to like the more polished and poppier side of AOR as well, to my polished and rockier side, so maybe that's another aspect worth considering as well in your review. In fact nearly all your negatives on the band are actually why I like them!

I've never ever seen Starcastle and Ambrosia mentioned anywhere before on this forum and I myself haven't heard these band in an age, so thanks for reminding me. As for Styx one of my all time favourite bands so no complaints on mentioning them.

I'd like to see you either do a new AOR journal or extend the one you did, so I can pick its bones!

Well shucks, thank you for the praise! And don't get me wrong either: I have a solid respect for Kansas and their place in the echelon, but of all of the various classic and crossover "Triple-AAA" progressives, they're probably the weakest on the songwriting front. That being said, I like some of what Livgren has done here and there, so in that sense I've given the Kansas family a fair shot. :)

I'm actually considering doing a new AOR journal or some kind of thread here at some point that seeks to look into the "crossover" acts. AKA, bands and specific albums that melded progressive sensibilities into other avenues particularly well. I'm only aware of so much though, so I'll be encouraging people to send me album recommendations on top of what I choose to review on my own. :D

1. What were your VERY FIRST impressions on listening to the album, say from the first five minutes in?

Point of Known Return is from my earliest days of getting into music, when I would rent a bands greatest hits from the library, rip the 3-4 song I knew by them onto my iPod and then return that album. So, no really surprises there in terms of what I expect with Kansas. I certainly appreciate them as one of the rare American prog bands. Long story short, I've heard Point before, but it's been awhile and the initial impression was better than where I left it ~5-6ish years ago.

2. What did you think of the opening tracks?
If Jethro Tull and Boston had a baby, that baby would grow up and become the song Point of Know Return. Certainly, one of the classic pop-prog tracks of the mid 70's. Paradox is one of the weakest points on the whole album and I think a lot of that has to do with the violin part. and while it's cool to get that out of the way early in the album, it leaves a sour taste behind. I had totally forgotten about Spider and it's a nice, solid instrumental.

3. What did you think of the later tracks?
This is where I think POKN picks up some point with me, the adventurous instrumental ideas from Spider start to pop up in the next few tracks and that is when Kansas is most enjoyable for me. Portrait redeems the violin from Paradox and settles into an enjoyable prog rock groove. I love the channeling of Genesis on Closet Chronicles the awesome guitar solo right after the first vocal passage. Lightning Hands has a cool groove to it.

4. Did you like the vocalist? Hate him/her? Any impressions?
Reminds me so much of Brad Delp. Seriously, I have a hard time differentiating between Brad Delp and Steve Welsh/Robby Steinhardt.

5. Whether or not you enjoyed the vocal performance, did the music throughout the album generally appeal to you, or not?
It does and it doesn't. Kansas is not a prog band I come back to with any regularity, but I do enjoy them when I listen to them.

6. Did the album get better or worse as you listened to it (first time)?
I enjoyed it more after each listen, not by much, but my enjoyment increased each time.

7. What did you think of the lyrical content?
I didn't catch all the lyrics, but there were some words that peaked my interest and reminded my of stuff by Jethro Tull and Genesis. However, I will never forget the lyrics to Dust in the Wind thanks to Will Ferrell in Old School. You're my boy Blue!!!

8. Did you like the instrumental tracks?(Note: For any albums without any purely instrumental compositions, this question should not be answered or answered as "not applicable")
Spider was the track that kickstarts the album after the two mediocre opening tracks. I enjoy more as a bridge into the strong middle of the album, rather than a stand alone song, but it's still a good solid track, reminding me of Yes' Clap.

9. What did you think of the production?
It sounds like a early-mid album, so finding out the album was produced in 1977 was a bit of a shock because the production didn't exactly match what I usually expect.

10. How well do you already know the band/artist?
I've heard Leftoverature and Point of Know Return, but it's been a while since I've heard them.

11. What sub-genre, if any, would you assign this music to?
The album has a lot of AOR influence, but it's still your "traditional" prog album.

12. On repeated listens, did you find you liked the album more, or less?
I took a few listens to appreciate everything between the sub-par Paradox and the classic Dust in the Wind, but it was worth the time to do that.

13. What would you class as your favourite track, if you have one?
Closet Chronicles, but I will always have a soft spot for Dust in the Wind.

14. And the one you liked least?
Paradox. No doubt in my mind.

15. Did the fact that this album is a debut allow it, in your mind, any leeway, and if so, was that decision justified or vindicated?
N/A

16. Are you now looking forward to hearing other albums by the band/artist?
I'll probably listen to this album more, rather than go back and comb over the rest of Kansas' discography.

17. Did you get, thematically, the idea behind the album if there was one?
I think the lyrics are meant to be philosophical, in the most general, dumbed down sense of that word.

18. Did the album end well?
Dust in the Wind is placed in the perfect spot, and it gives a slight break from the proggy middle and the epic closing 3 tracks. The slight Supertramp feel of Sparks in the Tempest is appreciated and Hopelessly Human is a solid closer. While I do like the last 3 tracks, I prefer the trio between Spider and Dust in the Wind.

19. Do you see any way the album could have been improved?
Cut Paradox and add some mellotron.

20. Do you think the album hung together well, ie was a fully cohesive unit, or was it a bit hit-and-miss?
The album has clear breaks, but it helps to establish the flow.

For me, it's a Kansas album. I enjoy it and I am glad US gave me a reason to listen to it again. Compared to my prog tastes, it's just an album I like rather than love.

7.5/10

All right guys, I think we're done with Kansas (anyone who says "Guess we're not in Kansas anymore" gets a slap!) so whoever's up next, what up? I need some new prog to review! :thumb:

I think I'm next, so lets see...I'll give you guys two options for the sake of variety.

The first is my answer to Kansas.

http://2.bp.blogspot.com/_jXcIdC0TPi...elantera+).jpg
Ambrosia - S/T (1975)


The second comes from one of Sweden's modern progressive rock superstars, though some of ya'll may be familiar with them already. Think Yes meets power pop wunderkinds like Todd Rundgren and Jellyfish with some Bruce Springsteen and Beatles thrown in. :)

http://www.israbox.com/uploads/posts...6f8cc53927.jpg
Moon Safari - Lover's End (2010)

I can provide links to either of these records via Mediafire to anyone who needs them, so take your pick gentlemen. :)

Ambrosia

Ambrosia

I rather like Moon Safari, but I'll go with the majority, whatever they decide.

Sometimes I friggin hate democracies, because thanks to you my choice is now under threat.;)

Haha, so we're looking a 2-1 in favor of Ambrosia? Who are we missing as far as votes go? :afro:

Big Ears, I think that's it. We're the not-so-famous five, aren't we? ET, US and I have voted, of course you make the decision and then that's four with the large-lobed one to cast his vote yet.

Well, Ambrosia's self-titled is a fairly distinct and unique progressive rock milestone in and of itself, so lets just go ahead and go with that. I'll be interested to see what some you think of it. :)

Fun Fact: Alan Parsons was involved in the production of this record (as well as the one who mixed it) and the members of the band all participated in some of the Alan Parsons Project albums of the latter half of the 70's.

Does anyone need a link?

I'm trying to think if I've ever listened to it, it's not in my records anywhere, as like a true music geek I mark each album I listen to. Anyway Ambrosia would seem to follow on from the Kansas album and is a good choice.

For those who have Spotify, it's on there. I prefer to have a chance to listen to these albums a few times which means mostly on my ipod out and about or downstairs, so I'll take a link Ant if it's going. Am I right in thinking these guys come from Latvia? If so, they'll be the very first Latvian band I've ever listened to...

Check your inbox, I sent you a link. Anyone else need one?

It looks as if the decision has been made, but I would probably have erred on the side of Ambrosia.

No you're totally off your trolley, these guys are from LA were the best AOR bands usually come from.

Me and my trolley parted company many years ago! :laughing: No, just look at what my favourite download site has to say about them: Ambrosia mp3 music download, all songs and new albums, discography|megaboon.com

Of course, then look down and they say "From Los Angeles!" Idiots!... :rolleyes: Anyway I'm a fool too: sure Latvia wasn't even a country in the 70s, was it? Part of the USSR, comrade... Double :rolleyes: and let's have a :banghead: for good measure!

So just so I know, are we then going with Ambrosia as the next choice?

Yep! :beer:

1. What were your VERY FIRST impressions on listening to the album, say from the first five minutes in?
Ambrosia's sound sounded so familiar to me, but I have never heard a single song by them and only knew of them in passing as one of the rare American prog rock bands. Right off the bat, it's clear Ambrosia has a knack for AOR song writing, but I felt like the prog was lacking. However, that would change as the album went on.

2. What did you think of the opening tracks?
I liked the unusually groovy bounce on Nice, but I feel like the album really begins to take off on the 2nd track, Time Waits for No One. It had that small Yes flavored passage very early in the song and when the vocals came in, it reminded me of the Moody Blues, sans their obscenely British attitude. Holding on to Yesterday takes it foot off the gas and lightens the sounds, but the breathy backing vocals and the violin part later in the track really bring it all together. The guitar work on World Leave Me Alone is some of the best instrument work on the album.

3. What did you think of the later tracks?
Starting with Make Us All Aware, the album takes on a Supertramp style sound, especially with the piano work. That influence/sound climaxes with Lover Arrive, which excels with it's dreamlike tone and heavenly instrumentation and backing vocals. And just when the Moody Blues sound seems to have gone away.... Mama Frog slaps you in the face with how much it sticks out from the rest of the album, but in a good way I believe. Drink of Water is a goodtrack but it takes away from Mama Frog's powerful ending.

4. Did you like the vocalist? Hate him/her? Any impressions?
I'm not sure who is the lead vocalist is, (all the sources that have credits for the album do not designate a lead vocalist) but I enjoyed his voice. It complimented the music well, but is nothing incredible or unique.

5. Did the music (only) generally appeal to you, or not?
I would say so. This is a fairly diverse collection of songs, but all of the ideas and styles had something I could grasp onto and enjoy.

6. Did the album get better or worse as you listened to it (first time)?
Better. The album grows more into it's prog sensibility as the album goes on and it is better fro that, I believe.

7. What did you think of the lyrical content?
I'm slightly disappointed the song titles essentially give away the lyrical themes in the songs, but that is the minorest of minor complaints I have for this album.

8. Did you like the instrumental parts?
On repeated listens, I was really impressed with the background instrumentation such as the strings, keyboards and piano.

9. What did you think of the production?
Fairly subtle, but the sounds are blended together together into a delicious smoothie of light prog rock.

10. How well do you already know the band/artist?
Knew of them. That's about it.

11. What sub-genre, if any, would you assign this music to?
Light progressive rock with predominantly AOR and soft rock traits.

12. On repeated listens, did you find you liked the album more, or less?
Much more. My score for the album jumped up at least 3-4 points after 5 listens.

13. What would you class as your favourite track, if you have one?
Lover Arrive, Mama Frog and World Leave Me Alone were the standouts for me.

14. And the one you liked least?
It's not that the opening two tracks were bad, but I enjoyed them least compared to the rest of the album. And, I think Drink of Water starts off a little slow but recovers nicely.

15. Did the fact that this album is a debut/sophomore/middle period or later period allow it, in your mind, any leeway, and if so, was that decision justified or vindicated?
From what I can tell, this is a debut album. Unfortunately, it seems like this would be Ambrosia's watershed album from the reviews I've read online.

16. Are you now looking forward to hearing other albums by the band/artist?
Not really, but this will be rotation when I'm looking for a light-prog rock album.

17. Did you get, thematically, the idea behind the album if there was one?
I didn't pick up on a theme.

18. Did the album end well?
As I said, Drink of Water starts off slow, but the final 2 minutes of instrumentation do the album justice.

19. Do you see any way the album could have been improved?
Aside from some mellotron, perhaps the opening tracks could have been a weeeeeeeeeeee bit more proggy.

20. Do you think the album hung together well, ie was a fully cohesive unit, or was it a bit hit-and-miss?
I think the album works better as a collection of song, a sort of 'Best of' rather than a cohesive album. But since Ambrosia did not try to have a central theme to the album (as far as I can tell...), I don't have any issue with that.

Ovarall Album Rating: I was wrestling with what my score should be, in the end, I'll give it a Pitchforkian score of 8.85/10

Has anyone continued to listen to any of the albums suggested by someone else in this thread? Because of Great Disasters, I am still listening to It Bites' The Tall Ships. Or, has anyone followed up any of the albums with further material by the same band/musicians?

I have to say that the only album suggested here that I still listen to, other than the ones I suggested nyself, is that It Bites one. I love it and it's going to feature in a special review soon. Other than that, no: I listen to the albums, comment on them but generally speaking don't, or haven't, listened to them again since.

Oh, apart from Big Big Train, but that was one I had bought anyway and was waiting to enjoy in the first place.

I've learned from the thread too, as I have listened to albums that I would not otherwise have heard.

So... did I jump the gun by reviewing Ambrosia?

Not at all. I think the rest are just digesting it. I've actually reviewed the album before on my blog and in one of my older journals, but once everyone else gives their take, I'll do a new review to fit the format here. :)