FREAKS OF NATURE

I picked this up years ago in the discount carousel of a gas station during a family vacation, which might normally say a lot about the album at the outset. But all it says to me is that I got a great deal on an oasis in an terribly arid period of my favorite band. This album rocks, and rocks hard. Finally the violin has returned, only it is not the beloved Robby Steinhardt wielding the bow; David Ragsdale may be playing the same instrument, but his style and skill give the music a completely different flavor, and it by no means disappoints. He has a cleaner tone and a more restrained way of playing, which is of course a contrast to his predecessor's way of handling things. The bass guitar stands out more on this album than any other Kansas recording, and the guitars are generally the heaviest they've ever been. The drumming is terrific (I never expect less, really). Keyboardist Greg Robert, who toured with the band a bit, is credited as a full member, but since Walsh plays keyboards too, it's impossible to know what Robert's contribution to the recordings was. For once, there is a female vocalist, Renee Castle, who is a guest on "Hope Once Again." It's too bad this album didn't regenerate Kansas's status as a viable American progressive rock band (which it possibly could have done), but it got very little attention outside the circle of diehard fans. Quite simply, this is the best album Kansas ever did without the general involvement of Kerry Livgren. It's a shame it gets so little attention.

"I Can Fly" I was never completely impressed by this opening song, but it wore on me over the years. It is full of changes, and it sounds very close to the music Steve Walsh would be making at the turn of the century. It's full of heavy guitar contrasted with a more orchestral respite.

"Desperate Times" Irresistibly catchy, this more simplistic song has a pulsating guitar driving it throughout, and during the chorus, Ragsdale sounds like he almost lit his strings on fire. He gets to do a bit of plucking also, which leads into a beautifully powerful instrumental section, courtesy of Rich Williams's gorgeous guitar tone. Even Billy Greer and Phil Ehart get some of the spotlight, as there is a section with Greer's growling bass under Ehart's rapid fire snare and tom fills.

"Hope One Again" The jewel of the album, featuring magnificent lead guitar and poignant violin. Walsh sounds phenomenal singing such lovely words. The whole song is itself a highlight, but the highlight of the highlight is the glossy violin followed by one of Williams's best guitar solos ever.

"Black Fathom 4" Kansas takes a heavy approach with stomping bass and guitar chords that give way to more subtle music and lovely violin work. Greer once again stands out as he paves the way for Williams and Ragsdale to solo all over each other in a brilliant moment of polyphony. Walsh sounds abysmal though, as he pushes his voice far beyond his newfound limitations, eliciting shrieks that sound like a preteen's attempt at mimicking David Lee Roth's screams.

"Under the Knife" Perhaps it is overly dramatic, but I confess that this is one of my favorites on the album, and I liked it immediately. It's a clever arrangement for an otherwise straightforward song, boasting some great guitar, stellar violin riffs, and mysterious lyrics. Greer steps into the fore with Ragsdale toward the end.

"Need" This is another fine offering, with a slight Turkish flavor, mellow organ, and Greer's bass warbling around. It's a rock ballad, sure, but it's one of Walsh's best.

"Freaks of Nature" The title track is not so good, however, though that has nothing to do with Williams's (excellent) guitar playing; it just isn't that strong a song. The vocals, vocalizations, and lyrics range from forgettable to laughable. Even the instrumental section is grating and directionless. I usually don't hesitate to pass on this one.

"Cold Grey Morning" Livgren sneaks a mighty composition onto this album, showing that sophisticated rock is not lost on him (or Kansas). The introduction is one of the best moments on the album. Williams's plays a clean guitar solo in the middle that showcases what a fine musician he is. Before the chorus returns, there is a brief reprisal of "Paradox" from Point of Know Return, which is played again on piano at the very end.

"Peaceful and Warm" I think this proves that Walsh does a better job writing acoustic songs than Livgren does, which is a little weird, really. But Walsh's "Taking in the View" was the greatest song on Power, and "Peaceful and Warm" is quite simply one of the best parts of Freaks of Nature. "Dust in the Wind" is a great song, but lacks complexity, and (through no fault of Livgren) actually suffers from repeated airplay. This song is haunting, desolate, and yet retains an element of coziness not heard on any other song on this record. The violin is nothing less than exquisite, and everything here is a sharp contrast to the heavier music that permeates the other pieces. The final couple of minutes is uplifting instrumental music using lovely piano and violin; I've heard this "hidden piece" is called "Beware the Gnat," but I can't find a credible source to confirm that.