Unknown Soldier

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

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Big Ears

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.

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Unknown Soldier

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.

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Anteater

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.

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Unknown Soldier

@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!

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Anteater

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.

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Electrophonic Tonic

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

Trollheart

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!

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Anteater

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.


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.


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.

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Unknown Soldier

Ambrosia

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