WAIT UNTIL TOMORROW - Steve`s Newsletter


May 22 - 2007

Production Company MusicAndVideo.tv Releases Two New Songs From Steve Walsh MusicAndVideo.tv announces the release of two new songs from Kansas lead singer Steve Walsh. The tracks will be released as hi quality MP3s without DRM. Players include Joel Kosche from Collective Soul, David Ragsdale from Kansas and studio veteran drummer Joe Franco. Somers, NY (Billboard Publicity Wire) May 22, 2007 – Production company MusicAndVideo.tv today released two brand new songs from Kansas lead singer and keyboardist Steve Walsh. The two songs, Dark Day and Faule Dr Roane represent the latest creative output from the legendary Walsh and an all-star collection of players. Both tracks have been encoded to deliver the highest quality MP3 available and will also be available as a standard quality MP3. MusicAndVideo.tv elected to forego any Digital Rights Management (DRM) scheme and put their efforts into providing a very high quality product complete with artwork and liner notes that will be emailed to all purchasers of the two song bundle. “We wanted to make sure to provide Steve’s fans with the highest quality product possible and make available all of the ‘trimmings’ that we used to enjoy with LPs and CDs” notes Producer/Engineer Jim Roberts. “Combining one of the most recognizable voices in rock and roll with a fresh new sound, makes this an important edition to the Steve Walsh catalog.” says Executive Producer Larry Stock. Joel Kosche, lead guitarist for multi-platinum recording artist Collective Soul, played guitar and bass. Studio veteran and double bass drum technique pioneer, Joe Franco, handled the drumming and Kansas violinist David Ragsdale was tapped to add the violin parts. Premium quality MP3s of Dark Day and Faule Dr Roane with exclusive artwork are available for purchase via the company website, www.musicandvideo.tv. The songs will also be available worldwide via iTunes, Sony Connect, Napster and Rhapsody in July 2007. Walsh wrote Dark Day while watching the aftermath of Hurricane Katrina unfold on television. A portion of the profits from Dark Day will be donated to the Louisiana Association of Student Nurses. The healthcare infrastructure in the New Orleans has a significant shortage of nursing staff. Today’s student nurses are part of the team that will rebuild the infrastructure for the future. About MusicAndVideo.tv MusicAndVideo.tv is a New York-based production company that provides high quality music production services via their own recording facility and a group of experienced songwriters, producers and engineers.



Now available at Muse-Wrapped Records:

Steve`s new Solo-Album "Shadowman"


Dear Honey, today on our flight to Las Vegas, as others were enjoying pretzels and seltzer in first class, I felt priveleged sitting next to one of the great Spanish apes of yore, replete with a festive wife beater which revealed tufts of shoulder hair the consistency of fucking brillo pads. As he snored vicariously, those very tufts abrased my once supple skin like a cheese grater, removing all of my youthful and luxurious elasticity. I am now yearning to clense myself in the splendid privacy of a ground floor, windows facing west, chilly chilly cinder block cell, courtesy of Dave Green our road manager, (who is slowly revealing himself as the antichrist) where I will shave my armpits, and change my name to Pepe Lopez. And so, until such time as we meander on stage like so many sad monkeys, rendering great expectations to a drunk audience in a parallel universe, busily washing away the memory of massengillian mysogeny, or botched circumcisions suffered late in life, I shall persevere-struggling to keep the remainder of my dick hard in the black man's world.... wish you were here. love, Pepe
Kansas has had some good years and some not so good years. Projects that should've sold lots, and some that shouldn't have. But one thing is for sure. We are deeper than the 3 albums we consistenly draw from. We have gone through a big change here. And in my mind it has been one of the most difficult things we've ever had to do. We have parted ways with our original violinist/singer, Robby. I'd like to say it was pleasant, and friendly. But I was in such turmoil at the time, I didn't really know who was my friend, and who wasn't. I really don't want to publish the details. I just want everyone to know that this change-this metamorphosis will make us stronger and better because we will survive it. We care about our legacy and our music, our friends, and yes, it's the way we make a living, and we don't want that to go away either. So, please come and see us. We're gonna be fucking great.... Steve Walsh

Bonus Track on Shadowman is a Scam
Shadowman consists of 8 songs. There are no bonus tracks that I submitted. If you see an import offering this as an incentive, it is a scam. Steve Walsh


Subaru and Kansas
Billy Greer has forwarded some of his fan mail to me pertaining to the Subaru commercial featuring Dust in the Wind. No one that has written to him likes the idea. The following are my thoughts, not Billy's. Once upon a time we were young. We made records, and we were good. We had each other, and very little else. Luck played it's fickle roll by annointing us with fame and fortune, and we loved it. BUT, the music that Kerry wrote was from his heart, and not about the money, and is to this day-timeless. Over the years, we seemed like we went out of our way to confuse our loyal fans, and truly some if not most of our fans did wander away. Nothing lasts forever but the earth and sky, but we soldiered on with the fans that are still very loyal and caring. As our record sales dwindled, we were forced to take riskier gigs, and make recordings in a new and more economical way, because we had to. What was once all about KANSAS, is now about our individual lives, and the lives of our families. There's no turning back to the days when we headlined huge concert arenas and had elaborate light shows. We still do the best we can, and I happen to think we're still pretty good. But the fact remains, that our lives have changed. The record business has changed. And we now are forced to do things differently-because at 55 years old, we are an albatross. So hold this Subaru commercial against us if you must, but know that at some point in everyone's life, it has to be about a lot more than personal integrity and pride, and the money we earn from the sale of our beloved "Dust", will buy one more roll of toilet paper that will wipe the asses of the ones we love. steve walsh


We-meaning Kansas, are returning from our trip to Europe right now. We stayed in some of the best places that one could stay in while we were there, and for the most part, the travel, which can be arduous, was smooth. I make a note of the travel, because we joke about being paid for the traveling we do, and the gigs, we do for free. Unfortunately, the tickets to see us aren't so cheap in Europe. It's just one of those unavoidable things. I had some rough spots on keyboards when we arrived in Berlin on June 6. My head was not in the game that night, but I recovered the next night when I found the "stupid switch" that was preventing me from controlling my synths. In Spain, one of them overheated, and Chad Singer on our crew, did an excellent job of negotiating the situation-bringing the keyboard back to life half way through one of the hottest indoor gigs I've ever played. The crowd applauded him, and that surprised me. The whole crew did their best to make all the gigs the best they could be. I found jogging a bit challenging due to the meandering streets and confusing signs. But I'm sure when people come to America, they encounter similar alienating circumstances. I was never sure where I would end up, since I would just take off from the hotel, and hope the street was long enough and straight enough for me to find my way back. Most of the clothes I packed were for the purpose of getting out of my room and enjoying the scenery. And I can't remember ever seeing the sun more often in Europe. I understand that it was unseasonably warm, and that's OK with me while I run. There were a couple of times when I was wishing I could turn the air conditioner in my hotel room on "stun", but as I said, for the most part our accomodations were very nice. However it does puzzle me why most of the showers only have half a door on them, allowing water to accumulate on the bathroom floors. There was a drain on the floor, but why they didn't skip the drain and put a whole door on the shower is really beyond me. My favorite gig was Milan, Italy. When we arrived, we were met by dozens of fans who had our cd's and albums and pictures to sign. They were all very polite, and I hope I signed everyone's. Absolutely no one asked me to sign a blank piece of white paper-which always bothers me. And some just wanted to shake my hand-which is my favorite. We were there with STYX, and the promoter wanted us to close the show. It didn't make sense to us, since we aren't set up to close-with any elaborate production, and STYX is, so we went on first. But very early on in our set, it was apparent to me that the people who were in the audience were there to see us as much as anyone else. I also met some people who already had my newest cd-Shadowman. That was cool. I can't say I'll ever be gone from my family for four weeks ever again. I know it's a curse to say "never", but if ever we come back to Europe, I will not be there a month. There are important things I do for my family, and I'm always afraid something won't get done unless I do it-like cleaning out our cat's litter box. The very last gig we played was in Greece. That was the nicest hotel of them all, and seeing the ruins was spectacular. But as I said earlier, we sometimes run into travel situations that are confounding, and trying to get from Athens to Paris to meet our Atlanta flight came to be impossible-thanks to OLYMPIC AIRLINES. I will NEVER travel on that airline again, and I suggest nothing less for anyone in the world. They're not the only airline that flies to Athens, so please choose one that cares about their reputation. But we're finally on our way back home now, and although yesterday was wasted in the airport in Greece, tonight I'll be sleeping in my own bed. That is, after I take a shower to scrub off the fowl stench of whoever it is sitting in back of me with a rotten egg crammed up their woops-a-daisy. I know that sounds like I'm jealous, but believe me, when I think about it, I've done some serious damage to the ozone layer myself back in my double cheeseburger days. I'm just all out of ammo at the moment. Anyway, thanks for coming to see us to anyone who came and is reading this. I'm sitting here trying to pass the 10 hour flight back, and thought I'd jot down a couple of notes. steve


Steve Walsh "Shadowman"
is preparing for its release on July 5, 2005

Steve's new solo album "Shadowman" is currently prepraring for its release. The title-track is now available on Muse- Wrapped Records at:


Check out www.kansasband.com for your pre-order.


The Art of Unhappiness by James Poniewozik
Many things make people think artists are wierd-the odd hours, the nonconformity, the clove cigarettes. But the wierdest may be this: artists' only job is to explore emotions, and yet they choose to focus on the ones that feel lousy. Art today can give you anomie, no problem. Bittersweetness? You got it. Tristesse? what size you want that in? But great art, as defined by those in the great-art-defining business is almost never about simple, unironic happiness. This wasn't always so. The earliest forms of art, like painting and music, are those best suited for expressing joy. But somewhere in the 19th century, more artists began seeing happiness as insipid, phony, or worst of all, boring-in Tolstoy's words, "All happy families are alike." We went from Wordsworth's daffodils to Baudelaire's flowers of evil. In the 20th century, classical music became more atonal, visual art more unsettling. Artists who focused on making their audiences feel good, from Usher to Thomas Kinkade, were labeled "pop." Sure, there have been exceptions (say, Matisse's The Dance), but it would not be a stretch to say that for the past century or so, serious art has been at war with happiness. In 1824, Beethoven completed the "Ode to Joy." In 1962, novelist Anthony Burgess used it in A Clockwork Orange as the favorite piece of his ultraviolent antihero. If someone titles an art movie Happiness, it's a good bet that it will be-as the 1998 Todd Sollondz film was-about deeply unhappy people, including a telephone pervert and a pedophile. You could argue that art became more skeptical of happiness because modern times have seen such misery. But it's not as if earlier times didn't know perpetual war, disaster and the massacre of innocents. The reason, in fact, may be just the opposite: there's too much damn happiness in the world today. After all, what is the one modern form of expression almost completely dedicated to depicting happiness? ADVERTISING. The rise of anti-happy art almost exactly tracks the emergence of mass media, and with it, a commercial culture in which happiness is not just an ideal but an ideology. People in earlier eras were surrounded by reminders of misery. They worked gruelingly, lived with few protections and died young. In the West, before mass communication and literacy, the most powerful mass medium was the church, which reminded worshippers that their souls were in peril and that they would someday be meat for worms. On top of all this, they did not exactly need their art to be a bummer too. Today, the messages your average Westerner is bombarded with are not religious but commercial, and relentlessly happy. Fast food eaters, news anchors, text messengers, all smiling smiling, smiling, except for that guy who keeps losing loans to Ditech. Our magazines feature beaming celebrities and happy families in perfect homes. (Tolstoy clearly never edited a shelter mag.) And since these messages have an agenda-to pry our wallets from our pockets-they make the very idea of happiness seem bogus. "Celebrate!" commanded the ads for the arthritis drug Celebrex, before we found out it could increase the risk of heart attacks. It gets exhausting, this constant goad to joy. If you're not smiling-after we made all those wonderful pills and cell-phone plans!-what's wrong with you? Not to smile is unAmerican. You can pick out the Americans in a crowd of tourists by their reflexive grins. The U.S. enshrined in its founding document the right to the pursuit of happiness. So we pursued it and-at least as commerce defines it-we caught it. Now, like the dog that chased and finally caught the car, we don't know what the hell to do with it. We feel vaguely dissatisfied though we have what we should want, vaguely guilty for wanting it, vaguely angry because it didn't come as advertised. People tsk-tsked over last month's study in which women reported being happier having sex or watching TV than playing with their kids. But why shouldn't they? This is how the market defines happiness. Happiness is feeling good. Kids, those who exist outside ads, make you feel bad-exhausted, frustrated, bored and poor. Then they move away and break your heart. What we forget-what our economy depends on us forgetting-is that happiness is more than pleasure sans pain. The things that bring the greates joy carry the greatest potential for loss and disappointment. Today, surrounded by promises of easy happiness, we need someone to tell us that it is O.K. not to be happy, that sadness makes happiness deeper. As the wine-connoisseur movie Sideways tells us, it is the kiss of decay and mortality that makes grape juice into Pinot Noir. We need art to tell us, as religion once did, Memento mori : remember that you will die, that everything ends, and that happiness comes not in denying this but in living with it. It's a message even more bitter than clove cigarettes, yet, somehow, a breath of fresh air. Steve


Steve will come up with a new release in the middle of 2005. The details will be available on this site in a couple of month!


Steve and Kansas will play Europe and Germany in June 2005. Please pick up the exact tour-dates on www.kansasband.com


I highly recommend The Polar Express in 3D at IMAX theatres. It's been a long time since I saw a 3D movie, and the medium has come a long way. Granted, being attached to Robert Zemekis, Steven Speilberg and Tom Hanks doesn't hurt either. It was my daughter's 3rd time seeing the movie in the last month, but she certainly gleened a lot of new feelings watching the 3D version. Seriously, the snow flakes appeared as if they were falling right into our laps. The faces still haven't gone the distance in this new form of animation, but it didn't distract me. The effect was more like a great book that had come to life. I don't even know if they meant the people in the movie to appear real. I think the last movie I saw in 3D was Andy Warhol's Frankenstein. I saw it with Rich who only has one eye. When I flinched because of movie blood apparently squirting in my face, or a bat which looked as if it was flying right towards my head, I would glance at Rich, and he just shrugged his shoulders(like "yeah,whatever"). I guess he wouldn't appreciate the 3D in Polar Express either, but all of you out there with 2 eyes should see it even if you don't have kids. I quit doing interviews earlier this year because there were no more answers I thought were pertinent. The more I talked the less I said. I mean, I'm not an interesting person, in person even when I'm tryin to be. I'm not gonna compete with those who in my opinion have subverted rock music. Too much shuck and jive. I love music, and am presently working with Joel Kosche(guitarist for Collective Soul), and Joe Franco(a great drummer from New York), as well as Shawn Grove and Matt Still who are mixing my tracks. Shawn just did Collective Soul's new cd, and Matt just did Elton John's. Working with talented people like that is fantastic. But the whole "what's your favorite color" type of interviews for me have come to an end. There are just too many of them one could do, and not enough pertinent questions that call for thoughtful answers. Don't get me wrong. Nobody at Time magazine is knocking on my door either. I've quit entertaining my delusions of grandeur, and am thankful for my friend Trent Gardner giving me this set of songs to do. I was flying to a gig last week when I opened the SkyMall magazine. It's really thick this time of year. But in it I saw something I had to have. It was one of those revolving color wheels meant to light up chrome Xmas trees. It changes primary colors as it goes around a lightbulb, and the tree-theoretically is suppose to glow in a new color about every 15 seconds. As a child in the 50's, I remember going over to my friend Rodney's house on Xmas eve to exchange gifts. We're about the same age and have remained close thru the years. Rodney's parents had one of those chrome trees with the color wheel, and I just thought it was fantastic. I'd sit there and just stare at it. My family always had a tree, but never a chrome one. It remains one of my most vivid memories. So I bought this SkyMall color wheel, and my in-laws gave us a chrome tree. Man, I couldn't wait to set it up. It was gonna be my childhood revisited. It was gonna be just as cool as it ever was. I waited for this color wheel to arrive the way the kid in A Christmas Story waits by the mailbox for his little orphan Annie secret decoder ring. And it arrived last night. And I set that stuff up in a big hurry. And you know what. It didn't look a thing like I remember. It was depressing and cold. Works great and all, but I came to realize at that moment that childhood is meant for children and mine was surely gone. No child will ever realize how special that time is until they're adults trying to recapture a little bit of it. But I caught a glimpse of a note on the table my daughter had written to Santa with all the typical misspellings of a 5 year old just learning how to sound out words. I had to laugh a little, and when I glanced up, the glow was somewhat restored to the chrome tree sitting alone in a corner of the room. I walked over to it and somehow, it didn't look so bad after all. Hey, maybe my daughter will like it. Merry Xmas. Steve


It's a sad day here and everywhere in America. Certain times in life we remember where we were when an event took place, and we strain to think of how it was when we first encountered the rush of emotion contained in a moment. As I watch the news, it's hard to put the context together-the mourning of tragedy, and the continuing conflict in a land we barely recognized not long ago. It seems so trivial to celebrate anything. I feel sorry for kids whose birthday falls on this day. They surely will be confused and kids have enough to be confused about in this world without this disruption to their innocence. The sun is shining here, as it was on that morning. But somewhere a parent is crying. There's no answer to their grief. There is only fond memory. I wish it was raining. Steve


Matteo Filippini's Moonstone Project
Originally the Moonstone project started in 1996 only as a musical divertissement. Matteo started to work on some songs in 1997 and next year released "Waves Of Mind", his first demotape. The work (completely home recorded...not so well to be honest!) was a mixture of his musical influences: from the Rainbow oriented hard rocker "The Stranger" to the 70s prog rock on "Lilith" or "Touching The Sky" to the acoustic/folk atmospheres on "Butterfly" or "The Dance Of Woods"...As a bonus the cd will feature guest appearances of a bunch of true Rock Legends: Ian "Groove Machine"Paice (Deep Purple, Whitesnake, Gary Moore, Paul Mc Cartney....) , Steve Walsh (Kansas), Glenn "The Voice Of Rock" Hughes (Trapeze, Deep Purple, Black Sabbath, HTP..), Graham Bonnet (Rainbow, Impellitteri, Alcatrazz, Michael Shenker Group), James Christian (House Of Lords) and Tony Franklin (Firm, Whitesnake, Blue Murder & a million others!). Steve will sing on "The City Of Light", a powerful mid-tempo written by Matteo Filippini & Chris Catena!

This year 04 is 30 years for us as a recording band. We will mark it by playing several concerts in which we headline to celebrate it. Sometimes when I look around at all the bad news and all the lost jobs in the United States, I wonder why it is that I'm still able to do what I prefer to do in life. There are a number of reasons, but the one that comes to mind the most is the company I have been fortunate to keep. There's no replacing anyone in this band, and it would be hard for me to think of replacing any of the crew either. We all have our faults, as well as gifts, and sometimes(especially when we've been out on the road for a while), the faults get the most attention. True, being in a constantly flux situation as it is getting from one venue to another can and does try a person's patience, and it's also true that out of everybody in our organization, I'm the one that has the least patience for it. So I hope I make up for it in other areas. But truth be told, we're really just stuck with each other for better or worse. faults and gifts. bad habits and good. Everybody who doesn't make it a regular exercise to follow KANSAS, will often come up to me and ask, "so is it the original band?" My response is always "yes". Because if people don't know any different, it's going to color their opinion of us right away if I go into the long and often exasperating explanation of how this formation came to be. And in my opinion, this is the best we'll probably ever be. I know that might sound like Billy Crystal in a movie when he says "did you ever stop and think that this is the best you'll ever feel-the best you'll ever look-the best you'll ever do, and it's not that great?" and the guy he's talking to says, "happy 40th birthday." I wouldn't be an artist if I was settled and comfy in my career. I would retire. But sometimes when I stop and think about what we've been able to sustain, it does make me feel a little humbled. And it does make me happy that we still have fans that are genuinely nice people-nicer than I'll ever be(well, most of them anyway). I'm not a millionaire, like I thought I would be when I was 30, but neither am I a plumber(not that there's anything wrong with that). Recently we lost an old crew member to cancer. He grew up in my hometown and I was once in a band with him. His name is Davey Brown. He was a little younger than me, and went to a different high school. We were both on football teams and so often times, we would fight it out on the field, and then afterwards have a gig at the high school dance together. It was strange to hear he was gone. It was sad. Sad because he was so alive when he was here. He was the toughest guy I've ever met. And he was no bully. But it was as if he was that guy on Kung Fu who went around making the bad guys respect the weaker people he was defending, and ultimately himself. Tough as nails, and talented too. He played guitar. Well, let me amend that a tad. He did what we thought he should do on guitar, but I think it had a lot to do with getting girls to go out with him. Not that he needed to play guitar, but if you go to dances, and you think dancing is really stupid, then what the hell else are you gonna do but play for the damn thing. The way I remember it, girls wanted to be with him, and guys wanted to be him. Kinda like Clint Eastwood. We played in St. Joe about 10 years ago, and I remember seeing Davey. He was still good lookin, but something had been removed from his resolve it seemed. My hometown has ruined many a fine person I grew up with, and I didn't know what to make of his presence. He was in good spirits, but it seemed like so long since I had seen him be a commanding presence, that I wondered if he was truly OK. He wasn't. When he worked for us briefly in the early stages of our career, it was fun for us. We were enjoying some of the biggest fame and fortune a rock band could ever amass, playing huge venues and making lots of cake. Davey was in a situation where at any moment he would've been justified to snap on about 10 people at a time, and probably would have beat the shit out of a lot of people had it not been for the respect he had for us. He kept his cool-even in the worst situations, and it didn't take long before he took his leave from us. I guess it came to him that being the caged animal that we are often times reduced to was definately not his calling. I hope to put a song out on the web in the new MP4 format later on this spring. It came to me as his brother contacted me to tell me that right up until the very end of his life, he spoke highly of us as a band and me as a friend. And as he got sicker and closer to death, he was proud enough to perserve the good memories we had of him and never got in touch with us to tell us he was dying. And then he was just gone. It inspired me. I'm just sorry that I couldn't have done more for him in life. But in the old days, songs were written about people who were larger than life when they were alive, and if that was anybody, it was Davey. steve
About a year ago, I tuned into Ebert and Roeper's tv show that reviews movies, and they showed a clip from "Songs from the Second Floor". It looked rather bleak in an "Eraserhead" type of David Lynch film, but I have been searching for it ever since. I finally found it and have just finished watching it. It's a Russian film, but the DVD I bought was Region 1 which means it played on my DVD player. It's probably the strangest movie I've ever seen. On the cover Jeffrey M. Anderson of the San Francisco Examiner is quoted as saying "Hilarious...A valuable and rare movie experience". Well, the second part of that is most definately true, but the "hilarious" part of that quote is absurd. There are parts that are so disturbing that I found myself laughing merely because I couldn't believe how absurd the situation appeared. Don't get me wrong, the film is compelling-but for anyone of a naturally dark nature(like me), there's plenty in this film that will be sincerely depressing. In other words, I recommend anyone who has artistic ambitions to see it. Also, saw "Identity" with Cusack and Ray Liotta. It was OK....but the one that I loved that I just saw, is NARC also with Liotta. Jason Patrick is also in it..both actors-very powerful. Reading a book called The Lake of Dead Languages. I highly recommend this book. Steve
Tonight is the last time we'll play with the STYX show. John Waite is going away also. I said Hi to him the other night. He seems like a nice enough guy. I don't think he even knows what I do. Doesn't matter much really. Thing is, without everybody doing what they're suppose to do, it just doesn't fly. Trucks have to be driven, guitars have to be strung. Food has to be fixed. etc. etc. I guess sometimes when I see so many people doing the shit that really matters to the mechanics of the actual event, I feel like a fancy lampshade in my grandmother's formal living room. Like the frosting instead of the cake. The couch that's covered in clear plastic. It's been a long time since we've spent this much time away from home. Over two years I think. Somehow I forgot what it was like. The whole pack it up and unpack it then pack it up again. The monotonous drives thru snowy midwest towns you swear you've seen before. A long time ago maybe. Maybe yesterday. Cornfields empty of anything but wind. It all kinda melts together into a drill. A series of tasks that are performed daily, then reperformed the next day. And all the while the floor of the van we're drivin in is slowly disappearing under the weight of a thousand kleenex full of goop, and every kind of soda can and potato chip bag that's made. In fact, it's as if someone took a Conoco food mart and emptied out all the edible contents of every packaged product they sold, leaving the empty wrappers, then put it on 4 wheels and put a drivers seat in it. That's this van at the moment. And it's beginning to smell funny too. Like one of those hot dogs that goes round and round in the food mart for days. Maybe years. The gig is really the only time I feel like I matter in all of this. I mean, most of the time, Billy does the driving, and I just stare at this computer. I been watching Band of Brothers which is about the last really noble war that will ever be fought in my opinion. There was the good guys and then there was the bad. Sure is different now. I mean with all this coded color alert warnings of terrorist danger and attitudes which I try to take into consideration. And be ready but live your lives, and look over your shoulder, but relax. It's confusing. It makes what I do seem trivial. Blurs my thoughts into one long diatribe on CNN. Some use-to-be somebody is articulating exactly what has been articulated by anyone who can breathe ad nauseum. I guess they gotta fill a 24 hour news program with something. And opinions are like assholes-everybody's got one. I'm glad to be going home. I watch the weather there every day. I have a lot of respect for the midwest, but I could never live here again. I'm different now that I moved away. Changed. Not necessarily better, just different. Not many sushi bars in the midwest. No Starbucks. Lots of loyal fans who have received us for 30 years. I hope we get to play sheds in the midwest in the summer sometime. I do remember the way summer was when I was a kid. It's by far the best place to grow up. But you gotta have an imagination if you don't want to end up the video playin loser type. We're just coming up on LaCrosse now. There's some peaks that ice has melted down the side of. Fingers reaching into the frozen river. The sun is shining. Hell, it's almost 30 degrees. That's tropical compared to the -9 it was in Green Bay. My hair even hurt that day. Anyway, one more gig, then I'm real again. Just like Pinnochio. Steve
We're playing for 2 weeks with STYX and last night was the last night of a 4 in a row run. It struck me halfway thru the set that my voice is still strong. Granted, we're only playing an hour a night(which is just the right amount of time for me), but it was due to something else also. I guess I never have stopped to thank Billy for covering my ass on a lot of the high parts I recorded and use to sing. When I went looking for a bass player for STREETS, I had a list of talents I was looking for. He covered all the bases, and on top of that he's one of the nicest people I've ever met. Playing in KANSAS was just natural for everyone involved. I wish him luck on his new solo cd he's doing with Mike Slamer. I can judge nice better than I can be nice. My idea of a reality show is the news. I have very little patience with a book that doesn't grab me within the first 30 pages(like "THE HOURS" didn't), and if I ever see another snippit of an Elvis movie while I'm wearing out the remote, I'm gonna kill a tree. Speaking of movies, here's one that you'll have to pay to see. It's called "THE ACCOUNTANT", and it stars Ray McKinnon. He also wrote, directed and probably edited it. He's from Atlanta, and there's only 3 people in the whole 38 minutes. It won the Oscar in 2001 for best live action short film and it's fabulous. You can buy the DVD or video from www.ginnymule.com I guarantee you'll like it better than anything Hollywood is currently peddling, plus you can simonize your watch with the time you saved. Or you can watch it again. I didn't even come close to digesting it the first time around. I'm also missing two episodes of 24(which my wife is taping for me I hope), my favorite show on current television. And on the Bravo channel last night, all the members of the cast of the Simpson's was on. I hope that got taped too. My favorite Xmas present was from my Mom who gave me an Andy Rooney book. He's the best cynic of them all. It's a great read if your cranky like me. Steve
I'm re reading "Lullaby" by Chuck Palanuik. Great book. The characters in it are so vivid. Recently saw a fantastic movie. It's called "Brotherhood of the Wolf". As I understand it, it's based on a true story. Fantastically frightening. Then I saw "Red Dragon". All I could think of during that whole movie was how great "Silence of the Lambs" was, and still is. Very disappointed in Red Dragon, and in all the press surrounding it. Bought Peter Gabriel's new cd "UP", and am moved by it. Some great moments. Bob Ezrin did some horn arrangements on it also. Bob always stays busy. Again I feel the press has totally missed the mark on it. Have read nothing good about it. But to me it's great. Well worth the wait from his last work. Presently, I'm on my way back from L.A. Phil and I came out to debut our DVD 2 days before it's release. Jim Bellamy of TC Electronic got the surround sound and plasma screen. It was great to see people's reaction to it. Very Positive. I was a bit worried about what exactly Phil and I were going to have to do. I mean, I didn't want to look like the girls on the Price is Right "presenting" our product. Like those girls do at a car show. But Steve Rawls from Reel 2 Reel(where we mixed), did all the interacting for us. Saw Gary Chang out there. He did a lot of synth programming for us on the POWER cd. He has gone on to do movie music. I was watching "ROSE RED" on tv, and noticed that it was his music. He's done others besides. Very talented guy. Phil and I also saw Jeff Glixman there. We went to a sushi restaurant afterwards and shared some old stories. He got a kick out of remembering the 100 dollar corner on the dollar bill story. AES show was a bit of a dog. Walked around from booth to booth, and didn't notice many people excited about anything really. Maybe it's just my age starting to shine a new light on things, but I've been to NAMM shows before(national association of musical merchandisers), and could hardly believe the amount of sheer energy contained inside the building. This time it was a lot like walking through security at a huge airport with no other passengers around. Completely outnumbered by the thousands of security people scrutinizing your every move. Smiling, but not a friendly smile. Like they have been told to. It was like these folks were selling because they had been told to, and they really didn't want to be there at all. At one point there was a gathering of people near Gibson Guitars, and I managed to see that Slash from Guns N Roses was there posing for some camera shots with the guitars. But really that was about the only moments of excitement that were there to be had. Last time I saw Slash, he was in our dressing room at the Greek Theatre watching the telecast of the final Laker's playoff game. It was very exciting and we had the only tv. Everybody was in there rooting for the Lakers, and just down the street they were playing the actual game. Man, I love L.A. We ate sushi at a fabulous place in Santa Monica close to the pier. Jeff had been there before, and I think Phil had also. Great bait. It's funny how raw fish can taste so different from place to place. Was talking to Jeff about an old project that I had recently heard a bit of. It was a band with a guy and girl singer. The music was really rockin, and the two vocalists were good too. Especially the girl. Jeff said, "yeah, that girl would be famous by now if it weren't for that beard". We howled...Steve

Book Report
I'm sitting here in coach seated right in front of a kid sleeping with his earphones on and in back of a couple of weighty 50 somethings who both have their chairbacks in such a position as to cause my computer to be somewhere in the neighborhood of my Adam's Apple, and my knees tucked just below my chin. My ass hurts. This is my world. We have traveled to a gig in Ohio(which besides being in the boonies, was really great), and then on to Denver to play in a pavillion(a big expensive tent). Strangely enough, it's the same pavillion that we played in Boston with YES. Denver got in on a "tent" sale I guess. We visited backstage with Larry Baird who was our symphony director on ALWAYS NEVER THE SAME. He indicated that a great bit of his work has tapered off since the NY tragedy. Said he'd been working a lot with 3 DOG NIGHT and that he enjoyed it. I pointed out however that it was really just 2 DOG NIGHT now that Chuck Negron is gone, thinking I was being clever..Larry half-smiled and looked at the ceiling for a moment, and drolly said in an overly measured amount of restrain, how everybody seems to say that a lot. I shut up. Earlier that afternoon, I went running as I have done a lot lately to maintain some sort of control over what little I am able to control nowadays, and afterwards in my room, decided to eat something, when all of a sudden the right side of my face started itching from the inside-like I had inhaled some sort of invisible pepper. Sneezing, blowing, the works. Nothing helped except leaving the hotel room. The symptoms subsided on the way to the gig, and it made me wonder what kind of "essence" I was being penetrated by in room 309. Once we got onstage, I was releived to be able to remember all the words to what I was surely convinced I would forget. I've been in that situation before-the kind of panic before a gig when you can't seem to remember what it is you've done for a living for the past 30 years. It's very scarry not to be able to put the second line of a song with the first-or worse yet, not remember the first one. So you mumble and bumble your way through it thinking you're fooling everybody with your new take on familiar turf, but return to reality when you glance across the stage at the rest of the band, and they're all staring at you like "what the hell's wrong with you now...I thought you QUIT doing drugs!!!" That's when the old familiar flopsweat starts seeping down from your pits all the way to your socks, and your knees start buckling a little and you discover that you're really tired all of a sudden-and all you want to do-all you HAVE to do, is remember that next line before your jig is up. As Seinfeld says "IT WAS A BAD JIG TO BEGIN WITH!!" Right now I'm wondering what's in these airplane seats to make my ass hurt so bad. Turns out I'm wrong about those seatbacks being prostrate. It's just the size of the space that they expect a person like myself to have to live in for the trip. As the guy squawks the gate numbers over the intercom of connecting flights I'm wondering why the Atlanta A concourse is always "ALPHA", B is BRAVO, C is CHARLIE, D is DELTA, E is-come to think of it I forget what E is, and T is TANGO.. I could think of a lot more interesting words to associate the A B C D E and T concourses with, than the words the flight attendants use. We get to watch Frasier in flight and I remember how Kelsey Grammar came to our gig once in Las Vegas. He seemed nice enough, but was surrounded by this bevy of bimbos who did all the talking. Later that night as he was driving back to LA in his Dodge Viper, he totaled it and was found to have coke in his system. I'll bet the "bims" had twice what he had. Read a book that is fascinating. It's called "LULLABY" and was written by Chuck Palahniuk. For anyone who doesn't know who that is, he wrote "FIGHT CLUB" which was later made into a movie."LULLABY is just as fantastic as "FIGHT CLUB", and I won't say anything more about it except that when I read it it was like I was watching a movie. When a book is that visual, it's impossible for me to put it down. I read his last book, "CHOKE" twice in a row. And I'm going to read it again as soon as I read "LULLABY" again. I'm not in the practice of reading a lot, but when I read something again, I begin to pick out certain nuances that I inadvertantly pass over the first time. Like when you listen to a song again, and notice how it is that the drums sound different on the chorus than in the verse-that kind of nuance. Traveling to LA on the 5th of OCT to attend the premiere of our DVD at the AES show on the 6th at the TC Electronic booth. It hits the stands on the 8th. I hope Compendia does a number advertising this effort. I feel they're excited about it, but we'll see. Steve

Frontiers Records are finally able to unveil all details concerning the release of the hugely awaited first episode of the GENIUS Rock Opera, written and performed by the italian musician Daniele Liverani, known for his work with the prog-metal italian heroes, EMPTY TREMOR. The cast of characters, in order of apparition includes: Mark Boals (ex Malmsteen, Ring Of Fire) as "Genius" Lana Lane as "Doorkeeper" Daniel Gildenlow (Pain Of Salvation) as "TwinSpirit n. 32" Chris Boltendahl (Grave Digger) as "Stationmaster" Joe Vana (Mecca) as "King McChaos Consultant" Steve Walsh (Kansas) as "Wild Tribe King" John Wetton (Asia) as "McChaos King" Oliver Hartmann (At Vance) as "Wild Tribe Consultant" Midnight (ex Crimson Glory) as "Maindream" With: Philip Bynoe (Steve Vai, Ring Of Fire) as "The Storyteller" Choir: Olaf Senkbeil (Dreamtide) Hachy Hackmann Chris Bolthendal (Grave Digger) Additional background vocals on "The Right Place": Rita Celli Additional background vocals on "All Of Your Acts": Thom Griffin (Ambition, Trillion) On drums, the incredible human engine: Dario Ciccioni. The whole concept runs around the many characters that Genius meets during his journey in the parallel dimension where he discovers the secrets of the creation of the human dreams. The final tracklisting will include the following songs: Without Me Today; The Right Place; Paradox; Twin Spirits Land: All Your Acts; Dreams; My Pride; There's a Human; Father; Terminate; I'm Afraid. The music style can be described as an exciting mixture of melodic rock and progressive metal. The cover artwork has been designed by Markus Meyer (Nightwish, Grave Digger, Edenbridge). The release date is scheduled for October 23rd 2002 for Europe on Frontiers Records. The album has been licensed for other territories to: King Records (Japan); One Music Entertainment (South Korea); Rock Empire (Taiwan / China); Hellion (Brazil); The Art Records (Mexico) For more infos and details on the concept and song samples, check out the website: www.geniusrockopera.com

Explorers Club - "Raising The Mammoth"

The Explorers Club on this Expedition is: Drums: Terry Bozzio Bass: John Myung Guitar: Kerry Livgren Guitar: Marty Friedman Guitar: Gary Wehrkamp Keyboards: Trent Gardner Keyboards: Mark Robertson Vocals: Steve Walsh Vocals: James LaBrie Additional Guitar: Jeff Curtis Additional Bass: Hal 'Stringfellow' Imbrie Produced By Trent Gardner Mixed By Terry Brown "The idea of the Explorers Club project is to have a different concept each time," explains Gardner, "a way for me to write for other musicians and to kind of go outside the bounds of the stuff I do with Magellan. I don't really anticipate any Explorers Club projects to be similar to each other. Raising The Mammoth is so much different from Age Of Impact in terms of some of the emphases with more ensemble stuff and more keyboard solos. There are definitely longer stretches of music. It's really a format for me to have carte blanche on whatever I want to do. And I see the personnel evolving each time as the music requires." Offering a bit of commentary on the shade and hue of the tracks themselves, Trent opines that "without sounding too cliché, the first one 'Passage To Paralysis' is the heavier, more epic-sounding one. 'Broad Decay', to me is more of a Pink Floyd-ish and simple, straight-ahead thing to feature Steve. It's almost like a progressive rock ballad but it's got a little bit of r+b too. With 'Vertebrates', I was looking for something that was more organic, something that maybe evoked a bit of old Genesis, but was pretty simple and definitely more acoustic-sounding, with an instrumental contrast where you had a big chunk where it was just vocals and simpler instrumentation. This stuff will wear on you after awhile if it's just blaring all the time. I wanted to have some way to have the album breathe a little bit. And the last piece 'Gigantipithicus', which is the longer one, 20+ minutes, that one is just your typical progressive rock band not knowing when to stop (laughs)." Indeed, as befits the mild warnings from Gardner, each track really is synergistic to the whole, none sounding hurried, but each sounding a little uneasy, eccentric, isolated, alone, part of a prog reality that existed perhaps within the oeuvre of bands from other countries (France, Italy, not the music, just the emotional effect), or on obscure British rarities. Certainly one feels the impending and inviting doom of a Van Der Graaf Generator, a real sense of impassioned thespian mission and vision, especially within the slight but sustaining shiver of 'Broad Decay'. You don't hear pathos delivered through such benign toolings too often anymore. It doesn't kill you with a beating. It applies an intravenous overdose while smiling and disseminating bits of small talk. Steve Walsh is a big part of that song's formula, as well as opener 'passage To Paralysis'. "Steve put in a lot of work on these and really took it very seriously which was greatly appreciated," muses Gardner. "He added some interesting things. On 'Broad Decay', I thought he did a great job there, pulling everything he could out of those lyrics. There are also some technical things he added which were great, just little studio tricks, cross-fades and little embellishments you can do. He's got a great guy he works with, David Manion, who helped engineer his vocal parts. And actually without David, it would have been hard to get Steve's performance represented, because he did a lot of tracking and a lot of layering, that sort of thing." "The second I heard where these songs were going, I knew that Steve was the guy for the first two tunes," continues Trent. "I just knew they worked. I knew he had the vocal chops to do this stuff. And having worked with him on his solo album, I knew how easy he was to work and what he could pull off. Steve is a very open-minded guy. It's just amazing. I would send him a guide vocal part where I'm singing all these things and he's so open to hearing that. But at the same time he'll put the Steve Walsh signature on it, adding those little things that only he does. He's so professional! He's really just no concern. I have no problems with him at all." And in the musical department, Trent and his Club found a new way to bridge physical distances and get everything just right. "On this one we did an extra layer, actually charting it out. We hired someone to transcribe good huge chunks of this thing so that the musicians could see what I had in mind specifically. And that really helped the project long. It's something I never really have done on a regular basis and definitely not to this extent; having a transcription of the music. It really helped speed up the recording process." Working with monster (mammoth) drum legend Terry Bozzio was, as usual, a snap, both Trent and Terry being consummate professionals. But as we've perhaps only subtly revealed, this is more of a keyboard album. As a result, it's no surprise that two of Trent's favourite moments on the album are keyboard-oriented. "One of my favourite deals is actually the beginning of the album where it's almost classical but super dissonant; I think that comes from the ELP thing. It reminds me of something off of Brain Salad Surgery; or Magellan on acid, I don't know (laughs). It's just, 'What the hell is he thinking!?' (laughs). I just decided to go as far outside the pale as possible and just not worry about the length of the tunes or anything like that; just let go; no boundaries. So that was one of my favourite keyboard moments. The other keyboard moment I like is at the end of 'Vertebrates', where the drums come back in. That keyboard solo there was actually Mark Robertson, and gosh, it's great because every few measures he changes keyboard sounds and it builds there really nicely. He steps through what must be eight or nine keyboard patches. It's just killer. He switches from violin to piano to different electronic-type patches but it's done in a logical way." And where can we hear ex-Megadeth fret-burner Marty Friedman? "He's all over the thing. For example, pretty much all the guitar leads, that's Marty. But actually, the stuff that is a little more Queen-like, some of that is Gary Wehrkamp from Shadow Gallery. But Gary's focus on the album was rhythm guitar parts. But occasionally he'll add a three or four-part guitar harmony or something to fill up the guitar end of things. He did a great job of doing that. I think it complemented Marty well. Marty likes to play a lot of his leads in harmony and he does the really fast deals. I'm not sure how he does it, but he does it in harmony, which is great. But Gary's contribution was definitely vital. Kerry Livgren's main contribution is on 'Broad Decay'; you'll hear these little tasteful guitar fills that happen there on that piece. And on 'Vertebrates' you'll hear a little bit of acoustic work that he did. He added some subtlety to it that was definitely needed." Vision, firepower, an appreciation and deep knowledge of art rock history... these are the ingredients that have made Explorers Club - and indeed all of Trent Gardner's diverse, elegantly constructed records - such deep listening experiences for the discerning, thinking man's rock fan. Assembling an army of musicians such as those documented above to carry out the Explorers Club material is the back half of what makes a project like Raising The Mammoth such an immense success. Now it's out of his hands and into yours, Trent sending us off with this last sage-like bit of advice to his fans and prospective fans: "Buy multiple copies of this thing. But then again, I always say that (laughs)."
For release in August 2002.

From MagnaCarta.

Explorers Club - "Raising The Mammoth"

In addition to finishing up the ambitious "Leonardo" project and the fourth Magellan album, Trent Gardner is working on material for a new Explorers Club project. Special guests include drummer Terry Bozzio, Dream Theater bassist John Myung, Kerry Livgren (Kansas), Gary Wehrkamp (Shadow Gallery), Mark Robertson (Cairo), Marty Friedman (Megadeath), Steve Walsh (Kansas) and James LaBrie (Dream Theater) Terry Brown will be mixing the album. Dave McKean has designed an incredible package for this 2nd Explorers Club release. For release in early 2002.

Frontiers Records / Now & Then Productions are finally able to announce the details of one of the biggest projects ever undertaken by the company! During the spring of 2002 the label is going to release worldwide the first episode of a Rock Opera Trilogy called GENIUS. The first episode entitled "A Human Into Dreams' World" shall feature such characters as: Mark Boals (ex Malmsteen, Ring Of Fire) as 'Genius' Lana Lane as 'Doorkeeper' Daniel Gildenlow (Pain Of Salvation) as 'TwinSpirit n.32' Chris Boltendahl (Grave Digger) as 'Stationmaster' John Wetton (Asia, Uriah Heep) as 'Mc Chaos King' Steve Walsh (Kansas) as 'Wild Tribe King' Oliver Hartmann (At Vance) as 'Wild Tribe Consultant' Midnight (ex Crimson Glory) as 'Maindream' Philip Bynoe (Steve Vai, Ring Of Fire) as 'The Storyteller' More details on the cast of characters of the forthcoming episodes shall be announced in the near future. The music and lyrics have been completely written, arranged and produced for Frontiers Records by the Italian musician Daniele Liverani, know for his work with the progressive metal band Empty Tremor. Daniele plays all Guitars, Keyboards and Bass on the whole Opera, except drums, which are played by the incredible human engine Dario Ciccioni. The whole concept runs around the many characters that Genius meets during his journey, only 8 of which are appearing in this first episode. Furthermore, a storyteller will help the listener to follow the various events.... During the three chapters of the story the listener shall be able to experience the thrilling adventures of the teenage drummer Genius who becomes accidentally captured in a parallel dimension where he discovers the secrets of the creation of human dreams. Unfortunately, he has also creates a lot of problems and paradoxes which put the whole existence and the safety of that parallel dimension in serious danger. The music style is very varied featuring a unique and spectacular blend of Melodic Rock, Heavy Metal and Progressive Metal styles for 72 minutes of music powered by a winning cast of some of the best singers from all the ages and styles... The album is currently in the final vocal recording stage and will be mixed by Mike Slamer (Streets, Steelhouse Lane, Seventh Key) in Los Angeles during January 2002.

"10 Questions - 10 Answers"
A short Interview with Steve

Why did you choose the word "Glossolalia" for the title of your latest solo project?

Glossolalia means "speaking in tongues" and I thought it was appropriate after taking into consideration the many subjects my cd speaks to.

"Glossolalia" got excellent reviews. Are you still satisfied with your work on it?

The work I did on Glossolalia will never be finished in my head. After a while you must release it to satisfy contractual agreements, but as it is with the songs we play in Kansas, they are truly never etched in stone. If they were to be, they would become dated and lose their interpretation.

Can we hope for another solo-project from Steve Walsh?

I am always writing, and someday hope to release another collection.

Together with Kansas, you returned for a tour in Germany this spring after 7 years. What were your impressions of this tour and about your fans in Germany?

People who came to see us in Germany were very intensely interested in us and that I took as a compliment. The venues were very interesting to play, and the promoters were very accomodating. As always the gigs were the focal point of our trip to Germany. Finding the light switch in hotel rooms was not usually simple, but the people in Germany were helpful to us.

With the exception of the fact that the Germans are driving very fast on very small highways, which moment of your recent tour remains with you the most?

It was also the first time I heard of a group called "RAMMSTEIN" which I now consider one of my favorites.

Do you think that there are categorical differences about touring in the U.S., in Germany or in Japan?

The cultures of Germany and Japan are of course, vastly different, but in the end, people are people, and those who came to see us shared a common bond.

Is there a chance for coming back to Germany in 2002?

I hope we come back to Germany very soon.

Since the release of this website in December 2000, many, many fans have sent a message to you via the section "Heart Attack." The people love you and your music. Would you like to say some words to them?

I wish all of the people in Germany a lot of good will, and hope we don't take so long coming back to play.

Are you satisfied with this Steve Walsh Fanpage?;-)

The fanpage is flattering, and I thank you, Ferdi.. (I thank you too, Steve:-))

Are there any plans to create and to release an official Steve Walsh Page?

As far as I'm concerned, this is my official web page.


Kansas song on Christmas Album

Kansas have contributed an original track - "The Light" to The December People - "Sounds Like Christmas" album. Check out Steve Walsh's vocal contributions to "We Three Kings" and "Angels We Have Heard On High/Christmas Lullaby"; as well. The December People rearrange familiar carols, showing us how they may sound if performed by the likes of Kansas, Genesis, King Crimson, Pink Floyd, Led Zeppelin and Yes among others. Also features Kerry's nephew, Jake Livgren on vocals for the Kansasesque 'Up On The Housetop/Deck The Halls'. Kansas' touring line-up consists of drummer Phil Ehart, singer Steve Walsh, violinist Robby Steinhardt, guitarist Rich Williams, and bassist Billy Greer. In a reply to a question concerning whether Kerry Livgren and Dave Hope will tour with the band, Ehart said, "Though they play on 'Somewhere to Elsewhere,' Kerry and Dave will not be touring with the band. But there's always a chance that these guys might drop by, just like Kerry did in Kansas City recently." Look for updates on Kansas tourdates on the Kansas website.
For release October 23 2001.

Seventh Key
Billy Greer has completed a solo project entitled "Seventh Key." It will feature appearances by Steve Walsh, Rich Williams, Phil Ehart, Steve Morse, Terry Brock and Mike Slamer. The release dates are set for April 26 in Japan and May 14 in Europe.

The songs: 
The Kid Could Play 

Only the Brave 
When Love Is Dying 
No Man's Land 
Every Time It Rains 
Prisoner of Love 
Broken Home 

The players:
   Richard Williams – Guitar on "Missy",
"Every Time It Rains" & "No Man's Land" 

                     Steve Morse – Guitar on "Every Time It Rains" & "No Man's Land" 
                     Phil Ehart – Drums on "Every Time It Rains" & "No Man's Land" 
                    Steve Walsh – Keys on "Every Time It Rains" & "No Man's Land" 
                     David Manion – Keys on all remaining tracks 
                     Chet Wynd – Drums on all remaining tracks 
                     Igor Len – Keys on "Broken Home" 
                     Terry Brock – Backing vocals 
                     Mike Slamer – Acoustic and Electric Guitars 
                     Billy Greer – Bass, Acoustic Guitar and Lead Vocals 
                     Produced, engineered and mixed by Mike Slamer

Steve and Kansas in Germany, 25-Jan-2001
It is confirmed, Steve will play with Kansas in Germany. Here are the official Tourdates:

Sat 03/31/01 Heilbronn, GER Block E 

 Sun 04/01/01 Tuttlingen, GER Stadthalle

Mon 04/02/01 Berlin, GER TBA

Tue 04/03/01 Hamburg, GER Grosse Freiheit

 Wed 04/04/01 Karlsruhe, GER Festhalle 

 Fri 04/06/01 Kaiserslautern, GER Burgherrenhalle

 Sat 04/07/01 Fulda, GER Richthalle 

 Sun 04/08/01 Stuttgart, GER LKA 

 Mon 04/09/01 Munich, GER Colosseum 

 Tue 04/10/01 Neu-Isenburg, GER Hugenottenhalle
Mexico, 19-Dec-2000
Our trip to Mexico was cut short recently by a wave of cold weather which dipped deep into the country, causing many people who were not prepared for it to seek shelter in the government owned buildings where we were scheduled to perform. I understand that as of this letter they are now struggling with a volcano which is erupting violently displacing many people-I think around 
Mexico City. Lately I have been busy trying to get a feel for this particular video editing software. We are pondering doing a DVD and who knows, it might come in handy. Phil, and Rich and I think if we had some "behind the scenes" video, that people might enjoy it a little more. In any case, we are thinking of doing a live performance sometime in the fall and possibly archiving it for use on the DVD. There were a couple of places that we played which were very exciting. The audiences seemed to be familiar with our music and they were extremely enthusiastic. I had some interesting reading material. My wife suggested I read a book about a religious zealot who takes his family(his wife and 4 daughters) to the wiles of the Congo in Africa to try to "redeem" the native people. It's written from each of the women's different viewpoints in alternating chapters. It lays out many platforms, but most of them concern the husband/father person.Very descriptively it lays out their very lives being completely changed and so therefore they themselves change. And it's all about how life causes change, and the people who don't change end up tragically. My wife trusts me which is good. She somehow knows that I am bound to write things and do music, and she trusts that I won't change into something or someone who doesn't relate to our life together. She is not dependent on me, and I appreciate that. I on the other hand depend a lot on her for the freedom which allows me to dabble in art. I also saw a movie several times while I was traveling. It's called FIGHT CLUB and it stars Edward Norton and Brad Pitt. It is shockingly violent, but I found the philosophical undercurrent compelling. Another movie which struck me recently 
is called REQUIEM FOR A DREAM. It is about drug addiction. It is very stark and real. The music is hypnotic and tragically irresistible. My wife and daughter and I are going to visit my mother over the holiday and there I will be performing the Christmas song I recorded and donated to the church I attended as a child. I'll be doing it (happy christmas-by John Lennon), as well as dust in the wind. It will be at the shopping mall in my hometown, and I think someone is going to record it. This will be the first time my daughter sees me sing with a microphone, and with people and music. I hope she doesn't get too freaked out. I remember the first time I took Bleu, my son to see me perform. He was about 7 and he got a little concerned over the volume. He still enlightens me with any new music he's interested in. I like that about our relationship. It speaks of change. It's the thing that drove a stake between my father and me-rock music. I can still see him laughing out loud the first time we sat in front of the television and watched the Beatles on the Ed Sullivan show. He was laughing like Stanley Kowalski in A STREETCAR NAMED DESIRE by Tennessee Williams. I miss my father around the holidays, and wish I could have met him halfway in a lot of those misunderstandings. Although once we started recording albums he stopped asking me when I was going to get a real job. Anyway, hope your holidays are fulfilling. Steve
Steve's letter from Mexico, 12-Dec-2000
We are in Mexico performing 9 shows. The people have responded well to our arrival and seem to enjoy our performances. Their culture is obviously different from mine, and so I have a little trouble accepting their sense of values in the order they think is most important. Most of all I wish they would take better care of the animals I have seen. Besides needing about a days worth of grooming, I would suspect that such a display is just the tip of the problem. Most of them look in dire need of medical attention. And in the big cities we have been in, I feel that they are just roaming around trying to avoid the smoking clog of automobiles and scavenge a morsel or two 
to sustain them in their miserable existence. I hope I'm not being too judgmental-I just wish they cared a little more about life-all life.
I have rendered a song by John Lennon for a Christmas cd which is being sold to benefit the school I went to as a boy. I was approached to write one, or sing one, and since I'm not very good at writing "happy" songs, I decided to cover a song called "Happy Christmas". It's a really good song with children singing the chorus. After the cd was completed the priest in charge of the 
project took it to a company to get it printed and they stole the money he gave them as a deposit and disappeared. They went on however, and will sell some hopefully. I think you can find out how to order it if you go to www.kansasband.com. The name of the school is St. James and it's in my 
hometown of St. Joseph, Mo. I'm going to see my family on Christmas day and I think they want me to perform this song on the 26th at a shopping mall. I think that will be the first time my young daughter will see me perform. I hope somebody tapes it for her. We are deciding whether or not to do a DVD of a live show. The offer has been made, and it sounds interesting. The fall is when we're thinking about shooting it. Still planning to go to Japan in January, and Europe in March. 
The summer is still being discussed.
"The Absolute Man - Leonardo" 

Another Trent Gardner project which will include quite a few guest appearances by the rest of the Magna Carta staple of artists with special guest vocalists. This is a musical piece based on the life and times of Leonardo DaVinci. James LaBrie (Dream Theater, Mullmuzzler) will be singing the role of Leonardo. Featuring the Instrumental talents of (so far) Jeremy Colson & Steve & Pat Reyes (of Dali's Dilemma), Josh Pincus (Ice Age), Chris Shryack (Under The Sun - vocals), Steve Walsh (Kansas - vocals). With many more to be added.  Artwork has been designed by Dave McKean. For release July 2001.