October 11, 1977 - Point Of Know Return

A year after their big breakthrough "Leftoverture", Kansas released their fifth album "Point Of Know Return" on October 11, 1977. Kansas finally hit the big time with their last album which contained no tracks over 9 minutes long. They would take the more streamlined approach even further on this record with several shorter songs. While "Leftoverture" did have less progressive stuff on it, it did still have only two songs under 4:30 where as this new album has eight songs all under 4:40 in length! It's a more radio-friendly approach and Kansas also step out of their progressive rock groove with some different styles. Let's see what this new kind of Kansas sounds like!

The album kicks off with the title track, "Point Of Know Return" which would become a successful single. It opens with some epic keyboards before settling into the main verse. Steve Walsh's voice sounds pretty good and he also plays some cool piano. Robby Steinhardt plays some cool speedy violin in the chorus and after the 2nd chorus Steinhardt leads a new riff that is somehow both slow and sappy and epic at the same time. Things sound good, but it's certainly not the progressive rock they have played for years as it has no solos or anything really crazy. It's very catchy though and it did reach a wider audience, which I suppose is what they were aiming for. They bring it back to the main riff for another verse before they jam out the chorus several times until the song fades to an end. Up next is "Paradox" which starts with some cool keyboards before Steinhardt joins in with some violin as well. Kerry Livgren plays some epic synths and Walsh comes in to sing the verse. He sounds pretty good as he takes the lead, with some cool guitar, bass and keyboards backing him up. They move into a nice riff that builds and builds with some cool keyboards and violin before culminating in a decent guitar solo. This instrumental bit in the middle was pretty cool, but compared to the epicness of some of their older stuff it still seems a little tame. They play out one final verse before this song comes to a close. Track 3, "The Spider", is the shortest on the album at just two minutes. It features Walsh and Livgren both playing some cool keyboards as we also hear some violin and nice guitar by Rich Williams. This instrumental song sounds pretty cool as everyone takes turns playing some cool bits. After this fun interlude it's back to the made-for-radio music with another single off this album, "Portrait (He Knew)". It begins with a slow, epic beat with some cool keyboards and violin. Dave Hope's bass sounds great in the background as the keyboards lead the way with some slow but pretty good stuff. Walsh's singing fits the mood nicely as the lyrics are actually about Albert Einstein and how far ahead of his time he was. Nothing really jumps out but it is a cool beat and after a couple verses we do hear a guitar solo that sounds good. This moves into an organ solo that I don't think hits as hard as they intended and I think it falls a little flat. They return for another verse and chorus before a nice drum roll by Phil Ehart segues into a faster ending. This final 30 seconds sounds more like it as they jam out some faster stuff to finish off this song. Side one ends with "Closet Chronicles" which Walsh opens by himself. He plays some slow organ and sings in his high, epic voice before the rest of the band finally joins him to form another slow, epic riff. Livgren plays some cool synths overtop this riff before they slow it down and move to a new part. Some dreamy keyboards keep the pace as Walsh sings an extended new verse that sounds alright, but is nothing special. Hope plays a cool bass riff that leads into a speedier part as we hear an awesome keyboard solo! It sounds pretty great but it's pretty short as they move into a different, offbeat riff. Steinhardt also plays a pretty wicked solo that is very short and then we hear another short keyboard solo. After three short solos, it's time for a longer guitar solo as this is certainly more progressive than the rest of this side. Some epic keyboards return as they move into another new riff that sounds pretty good as they're weaving stuff together great in this song. They finally bring it back for a final verse, this time with some epic keyboards overtop. The keyboards continue after the verse as Livgren continues to play while the song and side fade to an end.

Side two begins with "Lightning's Hand", the only sole lead vocal by Steinhardt on this album. It kicks right into some cool lead guitar and some solid backing keyboards as well. Steinhardt's singing isn't bad, but he sounds like Walsh-lite: I think Walsh's voice would've been more epic and awesome. The middle instrumental part sounds pretty good with some great guitar played by both Livgren and Williams. Walsh's organ and Ehart's drums sound pretty good as well before they return to the verse. The verse is much more tame but the last minute of the song returns to the great guitar-led instrumental stuff as we hear some more pretty cool stuff that leads into a rock and roll flourish ending. The next song, "Dust In The Wind", would become very popular and one of Kansas's best-known songs. Livgren plays the acoustic guitar that leads this song and his riff sounds pretty good and very catchy. This is much simpler than what Kansas would usually play, but when it comes to commerciability, this song struck gold. Walsh's voice sounds pretty epic and it's easy to see why this is much more relatable than a 10-plus minute prog epic. Steinhardt adds some beautiful violin that sounds pretty good and he sticks around for the following verse after a short solo. After this final verse it ends a bit oddly as it very slowly fades out, leaving an extended period of boringness at the end. I liked this song, but I think it's much closer to the bottom of their barrel than the top. Track 8 is "Sparks Of The Tempest" and it starts with a slow, groovy rock riff before settling into an interesting beat with some cool drums, keyboards and guitar. It's a bit of a different riff but I think it sounds pretty good as Steinhardt and Walsh take turns singing. We hear a pretty solid guitar solo by Livgren before they return to the main riff. After another verse Walsh takes lead with a keyboard "solo" that takes us to the end of the song, but it's really just one short riff repeated over and over. It's another pretty solid song, but I am still left yearning for the progressive rock that made them so good in the first place! Up next is "Nobody's Home" as we hear some slow, epic synths and piano by Livgren and Walsh. Steinhardt comes in with another beautiful violin riff and the lead piano sounds pretty good as well. Walsh's voice sounds good as usual, but he gives off a really sappy vibe and this whole riff just sounds so un-Kansas! The violin sounds epic at times, but most of it is a little too light and pop-y for me. They return for a final sappy verse as they repeat the same epic notes over and over. I'm sure they thought this was a grand epic, but I find this pales in comparison to the epics of albums past. The album ends with the longest song, the 7-minute "Hopelessly Human". It opens with some cool keyboards and guitar and moves into another soft, epic riff led by violin and keyboards. Ehart's drum roll signals a shift back to the heavier riff which I like better for sure. Walsh starts the verse with his epic singing and some great piano playing as well. Livgren plays the epic synths overtop of a pretty solid riff before Steinhardt takes over with a violin solo! It sounds pretty great I think and at the end some cool guitars segue into a new riff. Then Livgren solos overtop on keyboards to great effect! Williams adds some cool guitar as well but the synth solo is pretty awesome! This is more like it guys! It quiets down again as Walsh's piano is left and he sings another verse. The epicness continues as we hear some more cool synths in this final verse. The last minute has the band playing out the soothing main riff while Ehart throws in some nice drum fills. We hear some prominent bells that take over the main riff as that is another odd ending to an otherwise pretty good song.

That is the end of "Point Of Know Return" and I thought it was a good album, but ultimately a disappointing one. While their last album begun a shift away from prog and towards more commercial music, it still had plenty of the awesomeness that makes Kansas so good. This newest album takes it to another level as there are almost no progressive parts on this whole album and much shorter, more accessible songs. This is a shift that I don't like at all and since Kansas would continue in that direction, this will be the last album I have by them in my library. How does it compare to their other albums? While I'm sure some thought that was one of their best albums yet, I don't think it even beats "Masque", my previous least-favourite Kansas album. I'm sad to see another band abandon their roots for fortune and fame, but alas it happens to almost everyone. And so, here are my final rankings for Kansas:

1. Song For America
2. Leftoverture
3. Kansas
4. Masque
5. Point Of Know Return