Curtain Of Iron's uses some choir girls and, pompous as it might be, it is decidedly epic. Could have been something on Leftoverture.
Two songs is hardly enough to make an album though, even with flashes of greatness widely dispersed in the other songs, and even with that considered, the albums inconsistency remains a serious flaw. There are two strong forces pulling at different directions here, and for fans of the band, this is hardly news. With Livgren brim-filled with born-again faith and Walsh hungry for the 'glorious' rock n roll lifestyle, this just couldn't work for much longer. The two interests are quite easy to pick up, making this two mini-albums side by side.
Walsh quit after Audi-Vision and it would take a loooong time before Kansas returned to a sound like that of their golden era. I just don't see where people are getting it. The end of Kansas' creativity? Maybe, for I have yet to listen to the next album in the cronology, but surely one must admit that if this is indeed the last good record by them, it was one helluva swan song! Perhaps the notion that a Symphonic band could retain its originality even into the eighties is a too difficult a pill to swallow for some, but this is after all only the start of that terrible decade for music, and while I'm sure Kansas DID become deluted and falsified over the next few years, AUDIO-VISIONS was not the instance when it happened.
Don't take my word for it, though; listen for yourself. If you can truely say that the album as a whole sounds like any other eighties pop ballad of the times, then by all means stick by that decision, as most of the members here will undoubtedly share that sentiment. But if you are like me and can actually understand what true progression is, I'm sure you will agree that hard rock tendancies to an otherwise irod clad prog record is not a bad thing by any stretch of the imagination.
Sure, the artwork looks like it belongs on a Meshuggah record rather than a Kansas work, but who cares? The music found within is still very organic and melodic and beautiful.
Don't believe me? Try it out, at least once, before you start judging; for I feel that this album is highly underrated around these parts, and I have no good explanation as to why that is, unfortunately.
Four stars, truly. Hardly anything is wrong with this record, except perhaps that it is heavier than anything before it, but for every hard rocker there is a soft ballad to balance this thing out. I truly feel that it is a worthy addition to any progger's collection. Worthy, indeed. The lead guitar work throughout is some of the band's finest, a consolation for some rather stale keyboard passages. The lyrics are reflective, indicative of Kerry Livgren's final religious turn.
Had it been written earlier, the song might have been at home on Masque. The melody of the chorus is great, however, and would have been better suited as part of a longer, more complex song. During the verses, Steve Walsh sings wonderfully over acoustic guitar.
The electric guitar solo is exquisite and fits the tenor of the song extremely well. Some have wondered about the nature of the lyrics: On the one hand, it sounds like a love song even though Livgren didn't write too many of those ; on the other, it sounds like an evangelistic song particularly in the third verse. In reality, it's both. After becoming a Christian, Livgren wrote the song as a plea for his wife's conversion, as she herself was searching for spiritual truth at the time.
It's catchy enough, sure, but the melodies are unimaginative and the lyrics insipid. One might be tempted to replace the "n" in the title with the letter "s. But the music suddenly wanes and leaves us with just a piano and Walsh's voice, neither of which flow from the composition that came before. This song is the perfect example of the transition Livgren's songwriting was taking during that time, from masterpiece after masterpiece to passable but lackluster.
Regardless, "Curtain of Iron" is a true highlight of this album. Pleasing violin work concludes the song. The verses are awkward, relying so heavily on just piano and drums.
The chorus is almost as ridiculous. Notwithstanding, it's a very interesting song, full of fast-paced drums and piano. It is the only collaborative effort on the album "No One Together" There are some good songs on this album, but this track propels the album to four star status. It is almost in the same echelon as "Song for America" or "The Pinnacle. The music during the introduction is fast and exhilarating, building up to a verse sung over only a piano.
Walsh's voice soars here. The bridge is reminiscent of earlier works, with brazen diminished chords similar to those during the guitar solo of "Journey from Mariabronn. From start to finish, it is by a long shot the best seven minutes on this album. Kansas saw fit to give us two more tracks. This one goes from a piano riff that belongs in a hard-boiled detective movie to decent rock music; Rich Williams does a fine job on guitars. The "pipe and drum" section is particularly out of place.
It isn't a bad song, but it's quite simply an awful way to end the album, especially one that will see a bitter end to a phenomenal brotherhood of excellent musicians from the heartland of America. Kansas entered the 's with this album, which showed an increased spilt between Steve Walsh and Kerry Livgren.
Interestingly, for the first six tracks Walsh and Livgren alternate as writers. The albums opens with a Livgren composition, which is followed by a Walsh composition, which is followed by another one from Livgren, and so on. This formula tends to emphasize both that there were tensions within the band Walsh would leave the band after this album and the fact that Livgren is a much better song writer than Walsh.
However, even Livgren's songs are weaker this time around and Audio-Visions is a weaker effort than any previous Kansas album. Loner 5. Curtain Of Iron Side B 1. Got To Rock On 2. No One Together 4. No Room For A Stranger 5. Other Special Records.
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Format : CD. Seller : enomaya. Seller : recordsale. Seller : aor-melodicrock. Price : 5. Seller : airpower. Price : 6. Seller : ambiorix. Price : 9. Seller : rockofages. Seller : ctrjapan. Seller : jappress. Meer informatie. Winkelmand sluit. Menu Genres. Inloggen sluit. Wachtwoord vergeten? No account yet? Maak een account aan. In winkelmand. The album peaked at No. The following year, their fifth album Point of Know Return was issued and certified four-times platinum by the Recording Industry Association of America ; it spawned the Top 10 single " Dust in the Wind ".
Audio-Visions was released in and certified gold by the Recording Industry Association of America. Their eighth studio album Vinyl Confessions contained the single "Play the Game Tonight", which became their first Top 20 single on the Billboard Hot in four years; however, the album itself did not sell well.
Eventually, after the release of a ninth studio album in , the group disbanded. After the release of another album in , the group reunited seven years later for the Freaks of Nature album on Intersound Records. Another studio album, The Prelude Implicit , appeared inAudio-Visions is the seventh studio album by American progressive rock band Kansas, released in The album was reissued in remastered format on CD in on Legacy/Epic and again in , as a Japanese import vinyl-replica CD, as well as part of the Sony/Legacy domestic boxed set, Kansas Complete Album Collection , which packages all of the band's original releases on Kirshner .