Steve Walsh Albums (4)
What The Critics Say
Say this for Steve Walsh and his career outside of Kansas: it's not predictable. Well, that, and that he's been intent on rocking much harder on his solo records than he did in Kansas, a band that always favored elaborate dramatics. That was the case with his 1980 arena rock solo debut, Schemer-Dreamer, and that's the case a quarter of a century later with Shadowman, which rockets off with a bracing blast of speed metal riffs and pounding double bass drums. To that sonic assault Walsh marries a heavy dose of prog theatrics and socially conscious lyrics. It's a weird hybrid of big, slick '80s album rock, '70s arena pomp, modern metal, and '90s D.I.Y., all tied together with washes of art rock synths. It's not just heavy, it's bludgeoning, letting up only on the brooding acoustic "Pages of Old" and elegiac closer "The River." So, those expecting a mellow album from this 54-year-old -- a bunch of "Dust in the Wind," perhaps -- should just forget it, because this is an idiosyncratic heavy rock album with heavy drama and heavy issues. Since each track plays like a multi-part epic even when it lacks multiple parts, this can be a bit exhausting to hear. While this may not be easy to listen to -- it's not just too deliberately heavy, but it's too insular, with little breathing room for the listener -- Shadowman is almost admirable: say what you will, Walsh is pursuing his own muse, labels and audiences be damned. There may not be many who want to follow him, but at least he's following his own path. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
This solo offering from Kansas' lead vocalist was released in conjunction with that band's fine comeback, Somewhere to Elsewhere. This is an exploratory collection of songs that range from the metallic title track (thanks to Mike Slamer's explosive guitar playing) to the aggressive dance number "Heart Attack" and periodic progressive and symphonic meandering that parallels those of his main band. The song "Kansas" combines Magical Mystery Tour psychedelia with a haunting exorcism-like vibe that exemplifies this album's recurring theme of rebirth; Steve Walsh seems to be thumbing his nose at the demons and habits that have entrapped him for so many years. The more plaintive "Nothing" with its steel guitar and comparable vocals actually recalls early-'70s Neil Young, and "Mascara Tears" is reminiscent of mid-'70s Electric Light Orchestra. Co-producing this smorgasbord of styles along with Walsh is Magellan keyboardist Trent Gardner. Bassist Billy Greer who's appeared with Kansas and Streets continues his longtime association with Walsh on this recording. ~ Dave Sleger, All Music Guide
What The Critics Say
A great album cover should give an indication of the sound of an album, or at least its sensibility. Happily, that much is indeed true with Steve Walsh's solo debut, Schemer-Dreamer, which sports what very well could be the greatest album cover in rock history. There are no less than four illustrations of Walsh, all shirtless and in running shorts, with the point of focus being an image of Walsh in sunglasses towering over a stadium and pointing two guns at the viewer (thankfully, he's being safe and wearing ear protection); above it is a glamorous head shot silhouetted by a mountain range, with his hair looking appropriately wind-swept; to the right is a shot of him singing and to the left, he's engaged in an indiscernible athletic activity. It's a portrait of an id raging out of control -- it's the Dirk Diggler album brought to life! -- and that's the sound of the record. Stepping outside of Kansas for the first time, Walsh leaves behind all of the art rock pretensions of his band and indulges himself in all his rock star fantasies. He winds with a big, loud, dumb arena rock record, one that sounds completely tied to its year, if not month, of release. It's ridiculous, to be sure -- not as ridiculous as the cover, of course -- but it's more fun than nearly any Kansas record, which admittedly isn't saying too much. Kansas fans will likely miss the ambition that marked that band's albums, since this is nothing but generic hard rock, designed to rock arenas across America. They'll probably also miss the hooks that marked "Carry On Wayward Son," since every one of these seven songs follows the template of late-'70s/early-'80s arena rock so closely that there's no space for such niceties as hooks or melodies; it's all formula, all the time. Nevertheless, it's a fascinating artifact of rock star vanity from the pre-MTV days, and it's kind of fun because of that, especially when that glorious cover is factored into the equation. ~ Stephen Thomas Erlewine, All Music Guide
