Kerry Livgren Albums (9)
'Prime Mover, Vol. 2'
Release Date 10/13/1998
Tracks 14
Label Renaissance
See Album Tracklist and Review
'Art of the State'
Release Date 10/13/1998
Tracks 10
Label Renaissance
See Album Tracklist and Review
'When Things Get Electric'
Release Date 1/1/1995
Tracks 12
Label Numavox
See Album Tracklist and Review
What The Critics Say
A two-disc retrospective of Livgren's first 10 years of artistic output as a Christian is nicely packaged and annotated. ~ Thom Granger, All Music Guide
'One of Several Possible Musiks'
Release Date 1/1/1989
Tracks 10
Label Atlantic
See Album Tracklist and Review
What The Critics Say
Say this first: The electric drum sounds are dinosaurs technologically and come dangerously close to ruining the whole record -- but most specifically on an otherwise dynamic track "And I Saw, as It Were....Konelrad." Beyond that, this is a spectacular collection of songs that highlight Livgren's prowess as a composer better than any of his previous releases and his ability as a performer free to explore musically with little restraint. Livgren himself plays all the instruments on this album. Though most of the sounds are electronically generated, it is clear (beyond the drum sounds) that he went to great lengths to imitate the sounds of acoustic instruments -- it would be difficult to distinguish his sampled flute sounds, for example. Great guitar work abounds, and it is mystical, almost dreamy in places. The more subtle tunes really make the record ("Colonnade Gardens," "The Far Country"). His flair for spooky writing can be heard on "A Fistful of Drachma." Album-closer "Tenth of Nisan" is reminiscent of Ravel's Bolero in feel -- and Livgren specifically acknowledges his influence. ~ Mark W. B. Allender, All Music Guide
What The Critics Say
Dampened and greyed by an uninspired amalgam of commonplace progressive rock and itinerant guitar wandering, 1984's Time Line ceases to contain any instrumental freshness, despite its vast array of keyboards, woodwinds and percussion. Bogged by the same uninspired formula that Livgren initiated on his first solo effort Seeds of Change four years before, Time Line leans more to a hard rock sound with progressive elements apparent but blatantly stale throughout most of the album's duration. Along with former Kansas bass player Dave Hope, Livgren and keyboardist/vocalist Michael Gleason add the most to the album's tracks with flashes of color arising momentarily on "Time Line" and "Make It or Break It." Tracks such as "Take Us to the Water" and "High on a Hill" overtly confess Livgren's discovery of religion, while a lengthy 24 minute interview with him ends the album. Livgren's guitar work is best appreciated in his days with Kansas, with stronger musicianship surrounding him as well as a greater magnitude of instrumentation. ~ Mike DaGagne, All Music Guide
What The Critics Say
Recorded in 1988 primarily to pay off the debts incurred by AD over the previous years, Prime Mover is decidedly among the "more with less" army in terms of production. Cheaply made and hastily recorded, this record utilizes sampled basslines and drum machines leaving guitar, sax, and harmonica as the only real live instruments. That said, Livgren's songwriting and Warren Ham's vocal delivery are among the best work each has ever done. And for all the shortcuts on this record, the Livgren/Ham team make it work with some considerable finesse -- take a listen to the metrically off-center instrumental section of "Don't Pass Me By" for a good example. Songs contain all of the complexity and melodic playfulness that Livgren fans had been craving since Audio-Visions, with the yearning lyrics that so categorized the early Kansas recordings. Of particular note is "Wandering Spirit," which thematically sounds as though it could have come straight off of Point of Know Return. Another song actually did come straight off of Point of Know Return, "Portrait II" -- with lyrics changed to portray a portrait of Jesus rather than Albert Einstein. On its own merits, this is a very solid album. The final track, "T.G.B." -- which apparently stands for "Texas Gospel Blues," finds Livgren in a spooky blues mode -- something that's scarcely been seen from him. Ham's vocals on this song are spectacular -- with a blues-inflected vocal slide into the each phrase -- this track alone is worth the cost admission here. This record was largely re-recorded in 1998 with additional tracks and released as Prime Mover, Vol. 2. ~ Mark W. B. Allender, All Music Guide
