Audio-Visions
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| Audio-Visions | ||||
|---|---|---|---|---|
 Cover painting by Peter Lloyd | ||||
| Studio album by | ||||
| Released | September 1980 | |||
| Recorded | Late 1979/Early 1980 | |||
| Studio | Axis Studios, Atlanta, Georgia | |||
| Genre | ||||
| Length | 43:25 | |||
| Label | Kirshner/CBS, Epic | |||
| Producer | Kansas, Brad Aaron, Davey Moiré | |||
| Kansas chronology | ||||
| ||||
| Singles from Audio-Visions | ||||
Audio-Visions is the seventh studio album by American progressive rock band Kansas, released in 1980. The album was reissued in remastered format on CD in 1996 on Legacy/Epic and again in 2011, as a Japanese import vinyl-replica CD, as well as part of the Sony/Legacy domestic boxed set, Kansas Complete Album Collection 1974-1983, which packages all of the band's original releases on Kirshner and affiliated labels CBS/Columbia.
Kerry Livgren's recent conversion to Christianity is first heard on this album, primarily in the lyrics to "Hold On", which was written as an evangelistic plea to his wife. That song was the original lineup's last Top 40, peaking at No. 40 as the album's first single.[2] The second single from the album, "Got to Rock On," charted outside the Top 40,[2] and was released as a promo only 12" single as well, featuring a live version of the song on Side B of the promotional single, taken from an ABC Radio "the Source" live concert broadcast from Chicago. In addition, another stop on the Audio-Visions tour was broadcast on the radio show "A Night on the Road", from the Palladium in New York City. In addition to playing almost every song on the album on the tour, the band also played one selection each from Livgren and Walsh's recent solo albums. While every song from the album Monolith was played during the early part of the Monolith tour in 1979, not a single song from Monolith was played on the Audio-Visions tour.
The eighth song on this album, "No One Together", was originally intended for release on the previous album, Monolith, but it was dropped from that album due to an argument between Walsh and Livgren over whose song should be included there (with Walsh winning out the argument by having his song, "How My Soul Cries Out for You", included) and wound up on this album instead.
The album was to be the last album with the band's original lineup until 2000's Somewhere to Elsewhere, and coincidentally the band's latest studio album to be certified gold by the RIAA (which it did in December 1980).[3]
In 2018, Friday Music released a 180-gram "blue-splatter" translucent vinyl remaster of the album, featuring a gatefold cover with the original sleeve artwork, and an insert in the first sleeve of a foldout poster of the album cover.
Reception
[edit]| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [4] |
| The Rolling Stone Album Guide | [5] |
Rolling Stone gave a resoundingly negative review of the album, calling it "the musically overwrought and lyrically fatuous product of a collective hubris gone haywire," and mockingly referring to Kerry Livgren as "Kerry Liver." They contended that Kansas had lost all direction, with "Hold On" being the only track not lost in misdirected ambitions.[6] AllMusic's William Ruhlmann retrospectively remarked how "nothing here matched the music from the group's late-'70s heyday", probably due to the two main songwriters being distracted by their solo careers with Kansas "becoming a part-time occupation".[4]
Record World said the single "Got to Rock On" has "a thunderous, driving beat and dynamic tempo shifts."[7]
Track listing
[edit]| No. | Title | Writer(s) | Lead Vocals | Length |
|---|---|---|---|---|
| 1. | "Relentless" | Kerry Livgren | Walsh | 4:56 |
| 2. | "Anything for You" | Steve Walsh | Walsh | 3:58 |
| 3. | "Hold On" | Livgren | Walsh | 3:53 |
| 4. | "Loner" | Walsh | Walsh | 2:30 |
| 5. | "Curtain of Iron" | Livgren | Walsh and Steinhardt | 6:12 |
| No. | Title | Writer(s) | Lead Vocals | Length |
|---|---|---|---|---|
| 6. | "Got to Rock On" | Walsh | Walsh | 3:21 |
| 7. | "Don't Open Your Eyes" | Walsh, Rich Williams, Livgren, Phil Ehart, Dave Hope | Walsh and Steinhardt | 4:05 |
| 8. | "No One Together" | Livgren | Walsh and Steinhardt | 6:58 |
| 9. | "No Room for a Stranger" | Williams, Walsh | Walsh | 3:00 |
| 10. | "Back Door" | Walsh | Walsh and Steinhardt | 4:23 |
Credits
[edit]Kansas
- Steve Walsh – keyboards, vibraphone, percussion, lead and backing vocals
- Kerry Livgren – guitars, keyboards, percussion, backing vocals
- Robby Steinhardt – violin, viola, lead and backing vocals
- Rich Williams – guitar, percussion, backing vocals
- Dave Hope – bass guitar, backing vocals
- Phil Ehart – drums, percussion, backing vocals
Additional personnel
- Donna Williams – additional voice and sounds
- Joey Jelf – additional voice and sounds
- Lisa White – additional voice and sounds
- Victoria Livgren – additional voice and sounds
- Terry Ehart – additional voice and sounds
- The Four Bassmen – additional voice and sounds
Production
- Kansas – producers, cover concept
- Brad Aaron, Davey Moiré – co-producers, engineers
- Greg Webster – assistant engineer
- George Marino – mastering at Sterling Sound, New York
- Tom Drennon – art direction, design, illustrations
- Peter Lloyd – cover painting
- Bob Irwin – reissue producer
- Vic Anesini – digital remastering
- Frank Tozour – Sony digital editing
Charts
[edit]| Chart (1980) | Peak position |
|---|---|
| Canada Top Albums/CDs (RPM)[8] | 96 |
| Swedish Albums (Sverigetopplistan)[9] | 35 |
| US Billboard 200[10] | 26 |
Certifications
[edit]| Region | Certification | Certified units/sales |
|---|---|---|
| United States (RIAA)[11] | Gold | 500,000^ |
|
^ Shipments figures based on certification alone. | ||
References
[edit]- ^ Strong, Martin Charles (1995). The Great Rock Discography. p. 449. ISBN 9780862415419.
- ^ a b "Kansas Chart History: Hot 100". Billboard.com. Billboard. Retrieved December 24, 2017.
- ^ "RIAA Gold & Platinum Database: Search for Kansas". Recording Industry Association of America. Retrieved December 26, 2017.
- ^ a b Ruhlmann, William. Audio-Visions at AllMusic
- ^ Cross, Charles R. (2004). "Kansas". In Brackett, Nathan; Hoard, Christian (eds.). The New Rolling Stone Album Guide (4th ed.). Simon & Schuster. pp. 446. ISBN 0-7432-0169-8.
- ^ Fricke, David (December 11, 1980). "Album Reviews: Kansas - Audio-Visions". Rolling Stone. Archived from the original on February 22, 2008. Retrieved January 9, 2018.
- ^ "Hits of the Week" (PDF). Record World. December 13, 1980. p. 1. Retrieved February 22, 2023.
- ^ "Top RPM Albums: Image 4703b". RPM. Library and Archives Canada. Retrieved May 4, 2021.
- ^ "Swedishcharts.com – Kansas – Audio-Visions". Hung Medien. Retrieved May 4, 2021.
- ^ "Kansas Chart History (Billboard 200)". Billboard. Retrieved May 4, 2021.
- ^ "American album certifications – Kansas – Audio-Visions". Recording Industry Association of America.
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| Studio albums | |
| Live albums | |
| Compilations | |
| Singles | |
| Other songs |
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| Related articles | |
Audio-Visions
View on Grokipediafrom Grokipedia
Background
Conception and songwriting
Kerry Livgren's conversion to evangelical Christianity on July 25, 1979, profoundly shaped the thematic direction of Audio-Visions, marking the first Kansas album to incorporate his newfound faith into the lyrics.[9] This spiritual awakening, which occurred during the band's Monolith tour, infused several tracks with evangelistic undertones, most notably "Hold On," where Livgren crafted lyrics as a direct plea for spiritual commitment and perseverance in faith.[10] The song's message reflected his personal journey from spiritual searching to conviction, emphasizing redemption and divine guidance without overt proselytizing.[11] Songwriting for Audio-Visions was primarily divided between Livgren and vocalist/keyboardist Steve Walsh, who handled the bulk of the compositions in a largely independent manner. Livgren penned six tracks—"Relentless," "Hold On," "Curtain of Iron," "No One Together," "Playing Man," and "Refuse"—drawing from his introspective style that blended progressive rock structures with philosophical depth, now layered with Christian symbolism.[12] Walsh contributed five songs—"Anything for You," "Loner," "Got to Rock On," "Back Door," and "Diamonds and Pearls"—along with co-writing "No Room for a Stranger" with guitarist Rich Williams; his approach favored more direct, arena-ready rock anthems focused on personal relationships and energy.[12] This split highlighted their contrasting aesthetics, with Livgren's contributions often featuring complex arrangements and thematic weight, while Walsh's leaned toward accessible, high-energy hooks.[10] The album's material began developing in the wake of Monolith's 1979 release, as the band navigated creative transitions amid commercial pressures from the prior album's slower sales trajectory.[13] One key holdover, "No One Together," originated during the Monolith sessions but was reworked for Audio-Visions after being excluded from the earlier release due to internal disagreements over its fit.[14] Written by Livgren in 1979 prior to his conversion, the song's themes of isolation and unity carried forward, underscoring the album's exploratory origins.[11] The collaborative dynamic between Livgren and Walsh, once a cornerstone of Kansas's sound, grew strained during this period, with each pursuing distinct visions that mirrored their personal evolutions—Livgren's shift toward spiritual introspection clashing with Walsh's grounded rock sensibilities.[10] Despite the tensions, their parallel songwriting efforts produced a diverse setlist, though the lack of joint compositions contributed to the album's eclectic feel.[10]Band's career context
Audio-Visions served as Kansas's seventh studio album and seventh overall release, arriving in the wake of Monolith (1979), which, despite peaking at number 10 on the Billboard 200, marked a relative commercial disappointment by selling fewer copies than the band's prior breakthroughs—Leftoverture (1976) and Point of Know Return (1977), each certified multi-platinum with over four million units sold.[15][16][11] The album's position in the discography reflected Kansas's ongoing navigation of progressive rock's evolving fortunes, as the genre faced declining mainstream appeal amid the rise of new wave and arena rock in the late 1970s.[17] The recording preserved the band's intact original lineup: Kerry Livgren (guitar, keyboards, vocals), Steve Walsh (keyboards, vocals), Rich Williams (guitar), Phil Ehart (drums), Dave Hope (bass), and Robby Steinhardt (violin, vocals).[6] This configuration was the last album featuring the full original lineup before significant departures in the early 1980s, with Steve Walsh leaving immediately after its release, followed by Robby Steinhardt in 1982 and Dave Hope in 1983.[11] Released via Kirshner Records with distribution through CBS/Epic, Audio-Visions emerged during a period of internal band dynamics strained by subtle creative differences.[3] Guitarist Kerry Livgren's conversion to evangelical Christianity in 1979 introduced thematic shifts that contrasted with the more secular influences from vocalist Steve Walsh, fostering a disjointed artistic vision without immediate lineup disruptions.[8]Recording
Sessions
The recording sessions for Audio-Visions occurred over several months from late 1979 to early 1980 at Axis Sound Studio in Atlanta, Georgia.[3] The studio, Atlanta's oldest continuously operating facility since its founding in 1963, was equipped with advanced recording technology suitable for rock productions and had previously hosted southern rock acts like the Georgia Satellites.[18] Kansas adopted a self-production approach for the album, with band members Kerry Livgren, Steve Walsh, Rich Williams, Phil Ehart, Dave Hope, and Robby Steinhardt overseeing the process alongside co-producers and engineers Brad Aaron and Davey Moire.[3] The sessions emphasized capturing the band's live energy by tracking the core rhythm sections and instrumentation as a unit, followed by progressive overdubs to layer in elements such as violin and keyboards.[6] Basic tracking began in December 1979, with vocal and solo work wrapping up by February 1980.[10] This timeline allowed the group to methodically build the album's sound while navigating internal creative dynamics during the four-month span.[6]Technical production
Audio-Visions was self-produced by the band Kansas, with co-production and engineering duties shared by Brad Aaron and Davey Moire. Assistant engineer Greg Webster supported the recording process.[3] Recording took place at Axis Sound Studio in Atlanta, Georgia, employing a Studer A80 24-track tape machine for multitrack capture and a Neve 8068 console with NECAM automation for mixing and monitoring. This configuration facilitated the album's intricate arrangements through layered overdubs on guitars and keyboards, characteristic of progressive rock production techniques.[19] The album was mixed at the same facility by Aaron, Moire, and the band. Mastering was handled by George Marino at Sterling Sound in New York, prioritizing preservation of dynamic range for optimal vinyl reproduction.[3]Music
Style and instrumentation
Audio-Visions represents a blend of progressive rock at its core, infused with hard rock and adult-oriented rock (AOR) elements, distinguishing it within Kansas's discography as a bridge between their earlier symphonic epics and more streamlined compositions.[11][1] Unlike the extended suites of albums like Leftoverture, the tracks here average around 4:30 in length, emphasizing tighter song structures designed for broader accessibility while retaining intricate arrangements.[12] This shift marked Kansas's adaptation to evolving rock trends in the early 1980s, prioritizing melodic hooks over sprawling narratives.[11] The album's instrumentation underscores its textural depth, featuring the dual guitar work of Kerry Livgren and Rich Williams, whose interlocking riffs and harmonies drive the rhythmic foundation and provide dynamic interplay throughout.[20] Robby Steinhardt's violin adds a symphonic layer, evoking classical influences amid the rock framework, though used more sparingly than on prior releases to enhance atmospheric moments rather than dominate.[11] Steve Walsh's keyboards, including organs and synthesizers, contribute melodic hooks and lush backdrops, complemented by Livgren's multi-instrumental contributions on guitar and keys, creating a layered sound that balances aggression with orchestration.[20] Production on Audio-Visions achieves a cleaner, more polished tone compared to the denser, midrange-heavy mix of Monolith, with greater emphasis on dynamic range suited for radio play. This refinement highlights radio-friendly elements like punchy drums from Phil Ehart and solid bass lines from Dave Hope, fostering an energetic yet accessible vibe.[11] Drawing from British progressive acts such as Yes and Genesis for its symphonic ambitions, the album infuses an American heartland rock edge, blending orchestral prog with gritty, roots-oriented drive.[21][22] Released in the post-1970s progressive peak, Audio-Visions reflects Kansas's evolution toward subtlety in thematic integration, incorporating understated Christian undertones in select lyrics—stemming from Livgren's recent conversion—without overshadowing the secular appeal of the music.[11] This approach allowed the band to maintain their artistic identity amid shifting industry demands, preserving prog essence in a more commercial package.[23]Individual songs
"Relentless" serves as the driving opener to Audio-Visions, characterized by galloping rhythms driven by power chords and a big opening riff that establishes a sense of urgency and momentum.[24][25] The track incorporates progressive rock complexity through dynamic rhythmic changes, adding to its structure.[25] Thematically, it explores perseverance, drawing from Kerry Livgren's autobiographical depiction of his relentless pursuit of spiritual truth and Christian faith.[26] "Anything for You" is a Walsh-led ballad that opens with a gentle piano introduction, gradually building to an orchestral swell highlighted by violin contributions, creating an emotional arc. The song's romantic devotion motif centers on unwavering commitment in love, conveyed through its lyrical intimacy and melodic progression.[24] "Hold On" is a mid-tempo rocker featuring a signature guitar riff that anchors its accessible structure, blending rock energy with inspirational depth. It presents an explicit Christian allegory of holding onto faith amid life's challenges, with lyrics encouraging steadfast conviction.[27] The chorus is crafted as a hooky, anthemic refrain, ideal for audience participation during live sing-alongs.[27] "Loner" functions as a short acoustic interlude, evoking a folk-prog vibe through its stripped-down arrangement and introspective tone. Themes of isolation are prominent, emphasized by minimal instrumentation that spotlights Steve Walsh's vulnerable vocals and simple guitar work.[24] "Curtain of Iron" acts as the epic closer to side one, built around heavy riffs and featuring prominent violin solos that add dramatic flair to its progressive framework. The lyrics draw inspiration from Cold War tensions, metaphorically addressing themes of global division and ideological barriers.[28] "Got to Rock On" delivers an upbeat AOR track with a boogie shuffle rhythm, infusing the album with a party anthem feel through its energetic drive and catchy hooks. The bridge stands out with dual guitar harmonies, enhancing its rock-oriented exuberance.[24] "Don't Open Your Eyes" is a moody mid-tempo piece dominated by synthesizers, which create an atmospheric layer underscoring its cautionary tone. It warns against succumbing to illusions, with Robby Steinhardt's violin melody providing a haunting, melodic counterpoint to the synth textures.[24] "No One Together" reworks a progressive suite with a complex arrangement, incorporating odd meters and layered instrumentation to evoke its exploration of unity and isolation. The themes contrast collective disconnection with individual solitude, reflecting broader existential concerns through its intricate composition.[24] "Refuse" delivers aggressive hard rock intensity, propelled by Steve Walsh's raw, forceful vocals that convey defiance. The song rejects materialism, critiquing societal excess and superficial values in its direct, high-energy delivery.[11] "Bones" concludes the album with an atmospheric fade-out, featuring sweeping keyboard washes that build a sense of vastness and introspection. It offers existential reflection on mortality, using its ambient textures to ponder life's fragility and impermanence.[11]Release
Packaging
The packaging of Audio-Visions featured a surreal cover art illustration of a figure emerging from a speaker, created by Peter Lloyd, which symbolized the album's thematic concept of music inducing visionary experiences.[3] The inner sleeve contained the full printed lyrics, while the original LP edition utilized a gatefold format displaying band photographs; the overall color scheme employed blues and silvers to convey a futuristic progressive rock aesthetic.[12][29] On the back cover, a notable photograph showed a man removing headphones, an image that unintentionally resembled the band's lighting technician Merle McLain and lent a personal element to the design.[30] The album was initially issued in LP (Kirshner FZ 36588), cassette (FZT 36588), and 8-track cartridge formats, with compact disc editions not available until subsequent reissues in the 1990s and later.[3][31]Commercial release
Audio-Visions was released in September 1980 by Kirshner Records in the United States, with distribution handled by CBS/Epic Records domestically and various international labels abroad.[3] The album's rollout experienced no major delays, emphasizing a strong focus on the U.S. market while receiving more limited international distribution.[12] The initial commercial formats included the primary vinyl LP and a cassette edition, aligning with standard rock album releases of the era.[32] Subsequent reissues began with a remastered CD edition in 1996 from Legacy Recordings, enhancing audio quality for compact disc listeners.[33] In 2011, a Japanese import featured a high-fidelity Blu-spec CD in a mini-LP sleeve replica, catering to audiophile collectors. Friday Music issued a 180-gram vinyl remaster in 2018, complete with expanded liner notes and a gatefold sleeve for improved presentation, followed by a 2021 pressing on translucent blue swirl vinyl.[34]Promotion and singles
Marketing
Kirshner Records, a CBS subsidiary, invested moderately in promotion following the relative underperformance of the previous album Monolith, prioritizing heartland markets where the band from Topeka, Kansas, had strong fan support. Efforts included in-store displays showcasing the album's striking artwork by Peter Lloyd, designed to capture attention in retail settings.[3] To broaden reach, the label pushed media exposure through print ads in key music publications like Rolling Stone and Billboard, alongside band interviews during this period that subtly touched on Kerry Livgren's recent Christian faith, framing Audio-Visions as a mature evolution in Kansas's songwriting and thematic depth, without overt proselytizing. These tie-ins supported the singles releases by building narrative interest around the album's personal and artistic growth.[35]Released singles
The lead single from Audio-Visions was "Hold On", released in September 1980 as a 7" vinyl single on Kirshner Records (ZS9 4291) in the United States, with "Don't Open Your Eyes" as the B-side.[36] The track, lasting 3:45, reached No. 40 on the US Billboard Hot 100.[37] The follow-up single, "Got to Rock On", was released in December 1980 on Kirshner Records (ZS6 4292) in the US and Canada, backed with "No Room for a Stranger" and promoted as an upbeat rocker to build on the album's momentum.[36] A promotional 12" version (AS 903) was also issued in the US.[38] The singles were primarily issued in 7" format, with select promotional 12" editions; US releases featured no picture sleeves and standard black labels.[37][38] No additional singles were commercially released from the album.[36]Reception
Contemporary criticism
Upon its 1980 release, Audio-Visions received mixed contemporary criticism, with reviewers divided on its blend of progressive rock elements, Christian themes, and more accessible radio-friendly tracks. In contrast, Record World highlighted the track "Got to Rock On" for its "infectious beat" and recommended it for album-oriented rock (AOR) playlists, viewing it as a strong addition to the album's energetic side.[39] Billboard described Audio-Visions as a solid follow-up to Kansas' previous work, commending the polished production by the band members but cautioning that its lingering progressive tendencies might hinder broader mass appeal beyond core fans.[40] Trade press and fan publications echoed this ambivalence, with some outlets praising "Hold On" as a potential radio hit for its anthemic quality, while others lamented a perceived decline in songwriting depth from the band's 1976–1977 peak, attributing it to internal shifts including Kerry Livgren's emerging Christian influences.[11]Modern views
In retrospective assessments, Audio-Visions is often viewed as a transitional album marking a decline from Kansas's late-1970s commercial and artistic peak, though it retains praise for standout tracks such as "Hold On" and the band's evident Christian thematic shift influenced by Kerry Livgren's conversion.[6] User reviews on Prog Archives average 3.48 out of 5, highlighting the album's strong musicianship amid criticisms of its uneven, bridge-like quality between the band's progressive rock roots and later directions, with the 2018 Friday Music vinyl reissue particularly commended for its enhanced sound clarity and dynamic range.[11][41] The album's legacy positions it as a pivotal bridge to Kansas's 1980s phase incorporating Christian rock elements, as Livgren's faith became more pronounced in subsequent works like Vinyl Confessions.[28] Liner notes from the 2011 Legacy Recordings reissue emphasize Livgren's spiritual awakening as a central influence, underscoring how it reshaped the band's lyrical focus despite internal tensions.[42] Post-2010 discussions on fan sites and in band retrospectives note Audio-Visions as signaling the band's decline amid evolving dynamics and foreshadowing lineup changes, including those following Steve Walsh's departure after its release. The 2015 documentary Miracles Out of Nowhere further contextualizes the album within Kansas's broader trajectory, noting its role in capturing the original lineup's final creative spark before fractures emerged.[43]Performance
Chart history
Audio-Visions entered the US Billboard 200 at number 57 on October 4, 1980, and climbed to its peak position of number 26 the following month on November 8.[7] The album maintained presence on the chart for 15 weeks, reflecting solid domestic interest amid the band's evolving sound. Internationally, charting was more limited; it reached number 35 on Sweden's Sverigetopplistan albums chart for two weeks starting October 3, 1980, but did not enter the UK Official Albums Chart or Australian charts.[44]| Chart (1980) | Peak Position | Weeks on Chart |
|---|---|---|
| US Billboard 200 | 26 | 15 |
| Swedish Albums (Sverigetopplistan) | 35 | 2 |
Sales certifications
Audio-Visions was certified Gold by the Recording Industry Association of America (RIAA) in December 1980 for shipments exceeding 500,000 units in the United States.[47] The album has not achieved Platinum certification from the RIAA, despite its commercial performance. In comparison, it outperformed the band's previous release Monolith, which was also certified Gold by the RIAA, but fell short of the success of Point of Know Return, certified 4× Platinum by the RIAA for over 4 million units shipped.[48][49]Track listing and credits
Track listing
The original 1980 vinyl release of Audio-Visions is divided into two sides for balance on the LP format, with side one comprising tracks 1–5 (totaling approximately 21 minutes) and side two tracks 6–10 (totaling approximately 22 minutes).[12] The album's total runtime is 42:41.[1] All tracks are original versions from the 1980 release, with no bonus tracks included.[3]| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1 | "Relentless" | Kerry Livgren | 4:55 |
| 2 | "Anything for You" | Steve Walsh | 3:56 |
| 3 | "Hold On" | Kerry Livgren | 3:45 |
| 4 | "Loner" | Steve Walsh | 2:26 |
| 5 | "Curtain of Iron" | Kerry Livgren | 6:08 |
| 6 | "Got to Rock On" | Steve Walsh | 3:19 |
| 7 | "Don't Open Your Eyes" | Dave Hope, Phil Ehart, Kerry Livgren, Rich Williams, Steve Walsh | 4:03 |
| 8 | "No One Together" | Kerry Livgren | 6:54 |
| 9 | "No Room for a Stranger" | Rich Williams, Steve Walsh | 2:55 |
| 10 | "Back Door" | Steve Walsh | 4:20 |