KANSAS

Many strange things have happened to me as a listener. Case in point, the first, ever, album I heard from Kansas was this one, not Leftoverture or Point of Know Return. Therefore the first song was Ghosts, not Dust in the Wind or Carry on Wayward Son. My brother had bought the album and even though I wouldn't listen to anything else but Heavy metal back in these days I gave it a spin....but it turned out to be multiple spins! Come to think of it, since the album is far from the (majestic) core sound of the band, it eased me into their music and converted me into a huge fan. Funny thing is I didn't even know who Steve Morse was and initially I couldn't grasp the depth and taste of his playing! And also I had no idea who Bob Ezrin, the producer, was, who was commissioned to produce the album (Richard Williams: "The moment Bob Ezrin stepped into the room, you knew he was the boss. He didn't sugar coat his thoughts on the material they were working on or the direction he thought the band should be heading toward. He came in and told us that there was a lot of crap here as far as the songs we had. He told us we had a lot of work to do")...On the inner sleeve it reads "Neosho, falls 1951: In that small Kansas town the flood came without warning. Within moments all hopes and dreams were swept away...forever", although I can't make the connection to the concept on every song, some lyrics refer to love lost. Anyway, Ghosts that kicks things off is a piano-driven ballad although Steve Morse manages to insert killer licks and lines. One Big Sky was the first song that grabbed my attention, the children's choir did the trick to the ears of the 15-year-old boy. This is the first out of the four, no less, songs that were written from outsiders. Steve Morse is commissioned to deliver some rockier riffs, but the song remains catchy, especially the chorus. One Man One Heart is the second composition from outsiders which is nice, although things begin to become repetitive. House on Fire is the rockiest of the album and a pleasant change of pace (note to myself: the intro was sounding very weird to my ears and I used to skip the song!). One more hired- gun composition is Once in A Lifetime and it could be the cheesiest of the album, both musically and lyrically (no idea where it fits the concept), but strangely or not strangely enough I still like. Music is an acquired taste, for sure.... The uplifting keyboards of Stand Beside Me open side B and it is the fourth and last composition that bears no name of the Kansas fold. It is permeated by an AOR feeling (which more or less is all over the place) and I guess it was a total piss-off for longtime fans...but, guess what, I still listen to it. Exactly the same goes for I Counted of Love, it is a one-two clearly aiming for radio play. The Preacher is more in the vein of House of Fire where Steve Morse puts to good use once again his talent and imagination. Buried at the end of the album (no surprisingly perhaps) are three tracks that nod to the glorious past. Rainmaker features an instrumental section where Steve Morse truly shines (come to think of it, Richard Williams is sidelined, but truth be told when Morse is around not many guitarists stand a chance to get the spotlight). The instrumental acoustic track T.O Witcher functions in essence as an intro the the final song Bell of Saint James where (you guessed) Steve Morse's magic touch is instrumental, but the song as a whole is a highlight. Richard Williams has mentioned in an interview that he had no idea what to do during the B part of the first section, so Bob Ezrin blended these three different guitar parts in the mix). By the way, the three last songs where my least favourite when I was a teenager...

Conclusion: the album is adapted (or perhaps has surrendered) to the 80s era, but to my ears it still sounds very good, especially if you approach it like that and not as a pure Kansas album whose real spirit is not in the album for sure.

Today we'll be taking a deep dive into the most recent release from American Prog-meisters Kansas. First a little background. In the year 2000, the band released "Somewhere to Elsewhere," which was essentially a reunion of the classic 70s line-up of the band, with longtime bassist Billy Greer on board as well. Kerry Livgren and Dave Hope, did not remain as full-time members of the band, with Livgren making occasional guest appearances. In 2006, Robbie Steinhardt (who sadly passed at the age of 71 in 2021 from pancreatitis), their legendary violinist and second lead vocalist left the band, and he was replaced by David Ragsdale, who had been in the lineup in the 90s prior to Steinhardt returning to Kansas. Singer/Keyboardist Steve Walsh remained as the only primary songwriter in the band at that point, and he only wanted to play live, and no longer record albums of new material. He remained in the band until 2014. Meanwhile the other 4 members including 2 original members (Phil Ehart-drums, and Rich Williams-guitar), along with bassist Billy Greer and violinist David Ragsdale decided to become a side project under the name Native Window who released (as far as I can tell) their only album in 2009. While the band continued to perform live, it wasn't until Steve Walsh decided to retire in 2014 that the way was paved for Kansas to begin recording again. Although the band initially approached singer John Elefante, who took over on vocals from Walsh in the early 80s, he politely declined the invitation. Not long after, it was announced that Ronnie Platt, who had been singing with the band Shooting Star would be the new singer and keyboardist, and only a couple of weeks after that, keyboardist David Manion, who had been Kansas' lighting director and played keyboards in Billy Greer's side project, Seventh Key, would also join. In 2015 this new line up was signed to Inside Out records, a German label who specialized in signing prog bands. In February 2016, the band announced that they were recording a new album to be released in September of that year, titled, "The Prelude Implicit," which I also intend to review. During the recording, the band hired the album's co-producer and co-composer Zak Rivzi to join as a guitarist. Returning the band to a 2-guitar line up for the first time since 1991 when Steve Morse left. This made the band a 7-piece with Platt, Williams, Ehart, Greer, Ragsdale, Manion and Rivzi. This line up stayed pretty much intact except for David Manion leaving in 2018, to be replaced by prog-veteran Tom Brislin, who, among others, toured and/or recorded with Yes, Camel and Renaissance prior to joining Kansas. It is that lineup that is on today's album. I have heard and "liked" at least 6 of the 9 tracks on this album. Without further ado, let's see what this 21st century version of Kansas can do.

Track 1 - The Absence of Presence

The title track is probably the one that I am most familiar with. It is also the longest song on the album at 8:22. We begin with a few staccato piano chords before Ragsdale joins first on violin, followed by the rest of the band.. The grand opening section really harkens back to the classic 70s Kansas sound. Ragsdale and Brislin are featured here. At around 1:20, however, everyone except Brislin on piano and Platt drop out. Platt's voice is remarkably similar to Steve Walsh's voice when he was in his prime (whom I consider to be one of my favorite singers). Harmony voices join in for a couple of phrases. The band re-joins with a lush sound at around the 2 minute mark. The tempo becomes rock-steady around 2 and a half minutes for the second verse. The sound after the second verse is immense; it sounds like mellotrons may have been used, although I see no mention of them. There is a synth solo at this time, followed by a bridge. I love the instrumental break at 4:14 with changing meters. Then at 4:35 the guitars are featured for the first time playing a great riff. Brislin takes an organ solo over that riff then there is a guitar solo, not sure if it is Williams or Rivzi. Shortly after the 5-minute mark, the tempo double-times, and we start rockin'! More guitar solos follow at this faster tempo. At 5:40 it returns to the slower tempo with the big lush sound. Vocals return in the manner of the first verse with only piano accompaniment. They turn the lyrics around though. In the beginning he sang, "The absence of presence fills the air, I know you're here but you're not really there," but now the line is: "The presence of absence disappears, I know you're there but you're not really here." An instrumental section closes out the track with synth being featured. GREAT track!

Track 2 - Throwing Mountains

This is the second longest track at 6:21. None of the rest are longer than 5:20. It begins with distant sounding guitars with lots of effects on them. A big heavy riff follows at about 10 seconds. At around 35 seconds the riff changes and the violin takes over the melody. The verse begins at 49 seconds with Platt singing softly. At around 1:10 the dynamic level increases and leads to the chorus. The violin takes the lead again between verses. The second verse has a more syncopated backing. An instrumental break follows with prominent violin, before the big heavy riff returns. Ehart is playing an almost Kashmir style beat. The guitar solos follow then there is a brief violin solo. The next verse has less rhythm in the instrumentation, but they accent between phrases. A cool descending riff takes over after the chorus. Then acoustic guitar accompanies the harmony vocals. The band kicks back in at 5:25. Ragsdale is featured as the song reaches its conclusion. Awesome song.

Track 3 - Jets Overhead

This one starts with a bit of classical style piano from Brislin. At 34 seconds, the band kicks in with heavy guitars and violin. The vocals take over at around the 1 minute mark with less instrumentation. The rest of the band re-enters by 1:20. Ragsdale's violin melody fills in between verses. Following the second verse more violin is featured, including a full-on solo section. A short guitar solo takes over around 3:40. After that the vocals are almost a cappella, before the instruments return. The harmonies on this are marvelous. An instrumental section closes out this wonderful track.

Track 4 - Propulsion 1

This is the shortest track at only 2:16. It begins with ominous bass and piano. A rhythm emerges, though, and it is more exciting than ominous. There is some great playing with various meter shifts. There's an amazing piano fill in the middle. This is shaping up to be a brief yet fantastic instrumental. That could have gone on at least twice as long to me.

Track 5 - Memories Down the Line

This begins with a slow piano part. Platt joins in on vocals in a ballad style. The rhythm section joins on the second verse, with a slow, gentle beat. Organ joins as we proceed. At 2:00 the band kicks in with violin taking the melodic forefront. Another chorus follows the solo section., but with the full band continuing. There is an excellent dramatic part at around 3:30. A guitar solo closes the song out. Well done.

Track 6 - Circus of Illusion

This one also starts at a slow tempo, with violin and keys. However, at 12 seconds the band kicks in with a big set of fanfares. A delay effect on the guitars makes for an interesting sound as the vocals enter. The tempo increases as the drums enter on the second verse with a big tone. The band is strong on the chorus. Ragsdale's violin takes the spotlight next, and we transition into another verse. There is a complex instrumental break from around 2:50-3:20. Another verse follows, and then a violin feature. An additional chorus takes us to the big finish. Cool song.

Track 7 - Animals on the Roof

A twisting piano and organ riff starts this one, quickly joined by the rest of the band. There are shifts in the meter as the introduction proceeds. The verse, while steady and rocking, has a few meter shifts as well. The chorus is big and mighty. Another verse and chorus cycle follows. The twisting keyboards return at 2:30, then an acoustic guitar joins before the full band kicks in. This section reminds me a little of the break in "Miracles Out of Nowhere," on their 1976 classic, "Leftoverture." A 6-8 bridge follows. Then we have another complex instrumental part, followed by a guitar solo. Another verse and chorus follows. Ehart plays a great snare-drum pattern at around 4:50 while the band continues to the end of the song.

Track 8 - Never

This one begins with ballad style piano. A distant guitar lick leads the vocals in. The instrumentation subtly increases at around the 1 minute mark. The full band is led in by a drum fill at 1:25. However, on the second verse,, the instruments cut back down, although the bass drums remain. The melody of this song is beautiful. It has a bit of a power ballad feel, but a high-quality one. Ragsdale plays a beautiful violin solo, followed by a guitar solo. I like the instrumental arrangement under the vocals. A guitar melody leads to the closing chords of the song. Nice ballad.

Track 9 - The Song the River Sang

An exciting piano part starts this one off. Guitars play a countermelody over it, before starting a riff that brings the rhythm section in. They lock into a 7-8 groove and then the vocals join in harmony. After the verse, the opening piano with a countermelody returns but this time violin is featured. Ehart takes over with a tom-tom based riff. The 7-8 guitar riffs return, but then Billy Greer gets a bass feature over the top. The next verse follows. I love the riffs on this! This is fantastic prog! At around 3:20 the dynamics drop way down while low-pitched piano notes take the lead. Other instruments gradually join in, creating a crescendo. Cool clavinet sound around 4 minutes. There is a "swirl" of various instruments panning this way and that, almost as if we are in the center of a slow tornado with various interesting instrumental sounds passing by while there is a cool riff underneath. And this fabulous cacophony of sounds ends abruptly, thus closing out this fantastic album.

OVERALL IMPRESSIONS:

While the spirit of 70s Kansas permeates this album, it does not come across as an imitation or pastiche, or even an homage to earlier days. This is just a set of fantastic musicians doing what they do and creating a certain sound. There are enough modern twists to keep it current, without losing that Kansas sound. The closing section of the final track was unlike anything I had ever heard, and I'd say it was my favorite moment on the album. I know that Ehart is having some health issues and is not performing live as much, but his presence on this album was strongly felt. I enjoyed every track on the album. I'll go with 4.5 on this one as well (like I gave Styx's "The Mission" last week). Not quite a full 5 out of 5, but close.

Clicked 5, even though it's a 4.5, but 4 is too low!

ladies and gentlemen, we come to Kansas' masterpiece, impressive and wonderful leftoverture, it is true with a slightly more aor touch, but the album is progressive from the first song to the last, it was the first album I heard from them, and with reason I became a fan, it contains a very successful single Carry on My Wayward, covered among others by the masters of progressive metal Teatro del Sueño, I also mention separately the epic miracles out of nowhere, Cheyenne Anthem, and their splendid and round song magnum opus where they will reach the peak of progressive rock, a wild, scandalous song, a true enjoyment for the ears, the main course at the end. In short, for me it is a 5 star album and it is a subjective comment but for me it is the greatest above the most valued ones close to the edge of yes, jethro tull thick is a brick, but I repeat this is an opinion and taste staff of my favorite band.

Song for America is their second album, in line with the first, but it honestly disappoints me a little, and I lower the level a little, this is my opinion, I will limit myself to talking about their longest songs. Song For America is the first epic, it is a great song, some will kill me, but it seems like a song that is too commercial and happy, very radio-oriented and also repetitive, despite its long duration. Next, lamplight symphonic is darker, and more entertaining, it doesn't get long, like the previous one, finally hymn to the atman, his longest song in his discography, it starts very similar to the previous one, it has vibrant rhythm changes and an absolutely splendid that reaches the soul. But there is a problem with this song and it is the stupid and absurd drum solo in the middle of the song that adds nothing and detracts a lot from the album, it doesn't look good at all, something that didn't happen on their debut.

I know that this album is highly valued on this site, which I don't understand, even so off course better than its 80's era, my rating is 3 and a half stars, bordering on 4 but for me it is superior in composition.

What a great discovery, I live in Spain and I didn't know anything about Kansas except for Dust in the Wind, until a few years ago until recently i delved deeper into them, and I saw that their first albums were very progressive, here we are to talk about the debut, for me a great album here we have for me 3 jewels of symphonic rock. Journey four Mariabronn, Apercu and Death of mother, the first journey is my favorite, perfect composition from start to finish spectacular, the other two are not far behind, the rest of the songs are decent within a more basic rock style. I would give this album 4 and a half stars, a very underrated and original band, the 5 stars would go to leftoverture, their masterpiece

This is one of my favorite albums of all time, even though this isn't even my favorite Kansas album (but it's close). Surprisingly, however, this is the only Kansas album to make the countdown! I will not go into as much detail on this one, as I have been previously, since so many of us are so familiar with it.

Track 1 - Carry On Wayward Son

From the famous a cappella intro to the classic guitar riffs, the beautiful piano, the fantastic singing, this song is one of the most definitive classic rock songs ever. That said, I never get sick of it. Its popularity probably makes it one of the best-known prog songs ever recorded. It gained new life in this century from its prominent use in the popular TV show Supernatural. Steve Walsh says on the Device Voice Drum DVD that Kerry Livgren wrote 2 timeless songs in Dust in the Wind and this one. I couldn't agree more

Track 2 - The Wall

When I first started listening to Kansas beyond the radio hits, this is one of the ones that grabbed me the most. Beautiful melodies, wonderful instrumentation (that harpsichord!) and amazing vocals make this a candidate for my favorite Kansas song ever.

Track 3 - What's on My Mind

Even for a song that might be considered a deep cut, it's certainly not filler! The way that Steve Walsh and Robbie Steinhardt's voices blend together on the harmonies is just one of many great things about this song. Kerry Livgren and Rich Williams' guitar interplay is fantastic as well in the solo section.

Track 4 - Miracles out of Nowhere

The mysterious keyboard sound at the beginning, the odd meters, the acoustic fingerpicking, the shared lead vocals with Walsh & Steinhardt. There is a reason that this has become a concert staple and fan favorite. Then, let's talk about the 7-8 instrumental break. It's basically a round or canon the way that the different parts interplay. Phil Ehart's drumbeat is deceptive in how it sounds so simple yet isn't. I love the tempo changes. There was no "grid" or pro-tools to contend with in those days, and it was a beautiful thing. The closing instrumental section is just incredible!

Track 5 - Opus Insert

Cosmic keyboards usher this one in. I always feel as though Kansas are revealing the secrets of life on this one. What a fantastically orchestrated instrumental break and closing section.

Track 6 - Questions of My Childhood

The tempo increases on this one. Walsh never gets enough credit for his keyboard skills. Great song.

Track 7 - Cheyenne Anthem

Another fantastic, shared lead vocal between Steinhardt and Walsh. The children's choir is a nice touch. The accelerando in the instrumental break is so much fun. I also love the closing section.

Track 8 - Magnum Opus

- a. Father Padilla Meets the Perfect Gnat

- b. Howling at the Moon

- c. Man Overboard

- d. Industry on Parade

- e. Release the Beavers

- f. Gnat Attack

And we have the closing epic track. Dave Hope gets a bass feature in the intro of this one. Then vibraphone. Never forget that "Rockin' and Rollin'... is only howling at the moon!" What a fantastically proggy extended instrumental section on this one! And Steinhardt finishes it off with a wonderful violin flourish.

OVERALL IMPRESSIONS:

What can I say! It's one of the all-time great prog albums. Shoulda been higher, and shoulda been more Kansas on the list. Maybe it's because it's a British mag readers' poll? Not sure if Kansas is as popular in the UK as they are in the US. 5 out of 5 stars. (Referring to Prog Magazine's top 100 prog albums of all time poll.)

Go for it! "Freaks Of Nature" is the steamiest, most vibrant and rocking CD in the Kansas repertoire. This album marked the comeback of the band in 1995 after they had thrown in the towel a few years earlier. Due to lead singer Steve Walsh's serious drug problems, the then record label (MCA) dropped the band. When master guitarist Steve Morse also left, the band called it quits. With Morse, Kansas had created the surprising symphonic AOR albums "Power" and "In The Spirit Of Things". However, founding members Phil Ehart, Richard Williams and Steve Walsh got the itch to continue and together with bassist Billy Greer, violinist David Ragsdale and Greg Robert on keyboards, they breathed new life into Kansas. They found a new record label in Intersound and recorded "Freaks Of Nature", which was extensively promoted through performances with bands like Styx. What stands out on this album is how the departure of Steve Morse was musically compensated for. Guitarist Richard Williams, after 21 years, finally has the chance to step out of the shadows of his predecessors, but he doesn't take it. He delivers his always recognizable solid riffs and only occasionally does he showcase a flowing melodic line or solo, as in Desperate Times or Hope Once Again. Instead, he often gives his guitar a good workout, as in the robust Black Fathom, which contains just about the only scintillating solo on this album. He's not really a soloist. He's used to giving others space and he does just that.

"Freaks Of Nature" is a brilliant return to the typical Kansas violin sound of the 1970s. Responsible for this is the talented David Ragsdale. His playing is somewhat more straightforward than that of former violinist Robbie Steinhardt. Ragsdale uses fewer embellishments, is less flamboyant. His skills were already evident on the 1992 live album, where he performed the Steinhardt parts with verve. Now that he has to rely on his own creativity, he stands tall, primarily due to the tremendous variety he brings to the songs. Energetic and classical in I Can Fly, driving with pizzicato attacks in Desperate Times and lyrical in Hope Once Again. The title track is hypnotic in the middle and Peaceful And Warm is enchanting at the end. Ragsdale is the chameleon on "Freaks Of Nature". All the songs he co- wrote, often together with Walsh, can be counted among the highlights.

The absolute knockout is the song-oriented Under The Knife, featuring refined violin and broad gospel choirs. It brings Toto to mind a bit, a comparison that can be made quite often. Songs like the lackluster Need and Cold Grey Morning, written by Kerry Livgren, have that sultry feel.

I can fly, I really can wave goodbye to familiar land. It seems as if these words reflect how liberated Steve Walsh feels now. The man who was once called the Tarzan of prog impresses once again with his exuberant voice. His emotions are always genuine. It is the impact his voice has on the music and vice versa that makes "Freaks Of Nature" so vibrant.

Disappointing is the absence of keyboard solos, even though the band has two keyboardists. The supporting roles of Messrs. Walsh and Robert are not overly significant, resulting in a relatively low symphonic level on this album. However, it is undeniably progressive. Other factors contribute to the success of "Freaks Of Nature".

For example, the rhythm section. Since 1985, Billy Greer has been the perfect bassist within the Kansas ranks. Together with Phil Ehart's drums, they leave a significant mark on this album. Their playing is tight and dynamic. It blazes, it sparks, it sizzles and when the temperature reaches boiling point, steam rises. The majority of the rocking character of this CD can be attributed to them. Phil Ehart is the king of thunderous breaks. He really goes wild in Desperate Times and the song stands strong. It is characteristic of the entire album.

"Freaks Of Nature" is a strong album, a unique specimen that cannot be compared to any other Kansas album. The band wears the heavy rock sound well. It occupies a special place within the Kansas repertoire. On the other hand, it also features familiar elements such as violin playing, Walsh's euphoric vocals and the fantastic rhythm section. However, don't expect the symphonic level of albums like "Masque" and "Left Overture". Instead, see "Freaks Of Nature" as a complement to those albums. The production is fresh, the sound compact and the sound pressure is excellent. Those who prefer their Kansas to have a more rocking edge will find "Freaks Of Nature" to be a great, one- of-a-kind CD.

Originally posted on www.progenrock.com

In the Spirit of Things wasn't a success commercially-wise. More than that, Steve Morse had to leave the band due to the interference of MCA Records (the label where the band had signed back then). They had actually disbanded, but a nameless German promoter kept them going for a European tour. The good news was that violin became part of the set-up again, although it wasn't Robby Steinhardt but David Ragsdale who was a truly worthy replacement. When a listener puts the CD into the player, they immediately realise that Kansas have abandoned the 80s style and they kind of want to make up for it in just one song. I Can Fly rocks hard, but there are also twists and turns galore. Mind you it's still miles away from their 70s core sound, but the music is relevant to the time. It gives way seamlessly to Desperate Times which is more melodic. Actually, the word 'melodic' can be used for every song in this album. As a whole, I would say that only two songs fall short, Need (not bad, but my interest falters along the way, a bit monotonous) and the subsequent title-track (those 'Hush-like' na-na-na-na's are completely out of place, but the song really rocks) although Kansas made sure that the album would not end like that. They did a come back with Cold Grey Morning (when the very first notes emerge, one can't help but think that this song is more 70s and indeed is a Kerry Livgren's song!) and, mainly, Peaceful and Warm which may be the summit of the album, a real gem.

Overall, I would say that the return of the violin made plain how much it was missed all this time, the new musicians did a great job and Jeff Glixman's production is stellar. Kansas stroke a nice balance between their original sound and the 90s, writing more concise (no track exceeds the six minutes) songs with very strong choruses. Fine by me.

The first Kansas live album is drawn from various shows on the Point of Know Return tour - but though songs from that feature heavily, a healthy range of selections from the previous four albums also feature on the setlist. It's an apt capstone to what is arguably their most widely beloved phase, and captures the band at a glorious peak - by this time Carry On Wayward Son has being a monster hit for them, giving the band the confidence to double down on their musical direction and make Point of Know Return an unabashedly progressive release, and that's exactly the side of their sound they showcase here.

The thing about peaks is that you don't stay there long - if you did they'd be plateaus. The Monolith album has its advocates for sure - but it's hard to deny that there's a bit more naysaying and a bit more enthusiasm about that one, a discontent that only becomes more pronounced once you push forward into Kansas' 1980s discography. Whilst their most loyal fans would stick with them through thick or thin, the good ship Kansas would undeniably face choppy waters after this - making it all the more valuable that they produced this live document of their imperial phase right as it reached its apex.

At the same time, I find that one double album of live Kansas is about all the live Kansas I feel like I have an appetite for; Kansas were always very capable when it came to capturing their best side in the studio, and so the original album renditions of these tracks generally feel more compelling than these live run-throughs, which are capable and solid performances but don't really offer much that make me see the compositions in question in a new light.

1. Carry On Wayward Its direct entry with the tube which made me discover KANSAS on a K7 vulgurus and which made me far from it... what a beautiful lonely title on it, and almost 30 years later, or more, I takes me back to this album; the title that makes you think of no other group, therefore a musical standard space; the piano, the guitar riff, the velvet keyboard break from velvet; this declension which immerses you in the prog-yes as with MMEB when all of a sudden it drifts onto a space where the voice is silent to leave the combat of the instruments; the energetic cover before a second guitar-keyboard solo super fruity, vitaminized with this bonbom which vibrates in your speakers and the fast end which makes you miss 2. The Wall 3 years before the real... drinkable intro, I have the impression that listening to music finally makes me eat fruit, I'm talking about adjectives often reserved for cooking; good a ballad with his violin, KANSAS that's it, that's what made me move away from it, and now I find it not bad; in fact it is with a traditional instrument in SHAMAN that I changed tack and better accepted the classical instrumentation in a group, except for GENESIS whose flute I immediately liked; good the romantic ballad with a keyboard solo that eye on those of Tony from GENESIS precisely; US symphonic rock that stands out from UK rock, more nervous, more heavy rock 3. What's on My Mind or the consensual title where we especially notice this heavy riff sign of AOR rock afterwards; a sweetness and a nervous chorus to lift the stadiums, yes at the time when the stadiums were used to listen to real music; the sudden break that launches Rich and Kerry's solo right behind; short good but not great either 4. Miracles Out of Nowhere for a folk rock title stamped Robby, vocals and violin for the pack; bordering on grandiloquent for the air, the choirs and sympho-folk-prog for the rest; the end is worth it for the association violin which brings the guitar to do its taff, a singular sound which resembles only them, that gig of hell at the end and that makes good, the génesisien organ recalling that c is a demarcation of the dinos above all 5. Opus Insert... I don't even want to check if this track was on that damn best of - bad of!! the title where the too high voice sharpens the rhythm and where you have to wait for the keyboard break to settle down a bit; by far I prefer the more melodic STYX with enchanting vocals; short in view of 'Song for America' I am disappointed; otherwise I would have found it fresh and inventive, a bit complex, perhaps too much, good all the same much more than the too crazy GENTLE GIANTS 6. Questions of My Childhood in the same vein with violin and piano gently dueling; more pop-rock country than anything else, nice but I can't find the progressive fiber as I hear it 7. Cheyenne Anthem acoustic guitar intro, Robby again on vocals on this track, a slow rise; I find there by retro listening to the sound of STYX and SHADOW GALLERY an obviousness on this title; soft violin as on the SOLSTICE, the folk side in front, Occitan at MINIMUM VITAL, Breton or Irish; well it starts all of a sudden on a jerky, nervous, burlesque, festive break, proto Balkans, on the madness of the Charisma sounds, there it is finally great; it sends me back to the GENESIS of the 80 paradoxical that! Back to acoustics before yet another super-typical symphonic flight! 8. Magnum Opus in 6 parts, roll of drums, keyboards of 'Flash' and shots, intro which takes place; grandiloquent and symphonic with a stratospheric guitar solo and a vibraphone à la DIRE STRAITS, in short superb or how a tune can send you very high on the high ethereal layers; the break is provided, intense, it goes into all ranges; a deluge of synth notes above all; a slide of more or less improvised tunes, a sound which shows that there was not only YES to launch into fruity, dark, turlupine progressive drifts and a nothing on KING CRIMSON; in short it rocks this break you understood it well; most is the instrumental tirade that seems to never end .... VERY GOOD!( 4.5)