Compilation By Jon Dolan, Dan Epstein, Reed Fischer, Richard Gehr, Brandon Geist, Kory Grow, Will Hermes, Ryan Reed, Jon Weiderhorn (rolling stone)
For close to a half century, prog has been the breeding ground for rock's most out-there, outsized and outlandish ideas: Thick-as-a-brick concept albums, an early embrace of synthesizers, overly complicated time signatures, Tolkienesque fantasies, travails from future days and scenes from a memory. In celebration of Rush's first Rolling Stone cover story, here's the best of the deliciously decadent genre that the punks failed to kill.
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KANSAS
''LEFTOVERTURE''
1976
43:26
1 Carry On Wayward Son (Kerry Livgren) 05:22
2 The Wall (Kerry Livgren, Steve Walsh) 04:48
3 What's On My Mind (Kerry Livgren) 03:28
4 Miracles Out Of Nowhere (Kerry Livgren) 06:27
5 Opus Insert (Kerry Livgren, Steve Walsh) 04:27
6 Questions Of My Childhood (Kerry Livgren, Steve Walsh) 03:36
7 Cheyenne Anthem (Kerry Livgren) 06:52
8 Magnum Opus (Phil Ehart, Dave Hope, Kerry Livgren, Robby Steinhardt, Steve Walsh, Rich Williams) 08:23
. Father Padilla Meets The Perfect Gnat
. Howling At The Moon
. Man Overboard
. Industry On Parade
. Release The Beavers
. Gnat Attack
Phil Ehart/Drums, Percussion
Dave Hope/Bass Guitar
Toye LaRocca/Vocals
Kerry Livgren/Guitar, Keyboards
Cheryl Norman/Vocals
Robby Steinhardt/Viola, Violin, Vocals, Vocals (Background)
Steve Walsh/Keyboards, Organ, Piano, Synthesizer, Vibraphone, Vocals, Vocals (Background)
Rich Williams/Guitar
**********
REVIEW/AMG
By Stephen Thomas Erlewine
For any art rock band, the fourth album means it's time for a self-styled masterpiece -- if you need proof, look at Selling England by the Pound or Fragile. So, with Kansas, the most determinedly arty of all American art rock bands, they composed and recorded Leftoverture, an impenetrable conundrum of significance that's capped off by nothing less than a five-part suite, appropriately titled "Magnum Opus," and featuring such promising movement titles as "Father Padilla Meets the Perfect Gnat" and "Release the Beavers." Of course, there's no telling whether this closing opus relates to the opener, "Carry On Wayward Son," the greatest single Kansas ever cut -- a song that manages to be pompous, powerful, ridiculous, and catchy all at once. That they never manage to rival it anywhere on this record is as much a testament to their crippling ambition as their lack of skills. And it's unfair to say Kansas are unskilled, since they are certainly instrumentally proficient and they can craft songs or, rather, compositions that appear rather ambitious. Except these compositions aren't particularly complex, rhythmically or harmonically, and are in their own way as ambling as boogie rock, which still feels to be their foundation. It's not really fair to attack Kansas for a concept album with an impenetrable concept -- it's possible to listen to Lamb Lies Down on Broadway hundreds of times and not know what the hell Rael is up to -- but there's neither hooks nor true grandiosity here to make it interesting. That said, this still may be Kansas' most consistent set, outside of Point of Know Return. Take that for what you will.
**********
BIOGRAPHY/AMG
By Jason Ankeny
Fusing the complexity of British prog rock with an American heartland sound representative of their name, Kansas were among the most popular bands of the late '70s; though typically dismissed by critics, many of the group's hits remain staples of AOR radio playlists to this day. Formed in Topeka in 1970, the founding members of the group -- guitarist Kerry Livgren, bassist Dave Hope, and drummer Phil Ehart -- first played together while in high school; with the 1971 addition of classically trained violinist Robbie Steinhardt, they changed their name to White Clover, reverting back to the Kansas moniker for good upon the 1972 arrivals of vocalist/keyboardist Steve Walsh and guitarist Richard Williams. The group spent the early part of the decade touring relentlessly and struggling for recognition; initially, their mix of boogie and prog rock baffled club patrons, but in due time they established a strong enough following to win a record deal with the Kirshner label.
Kansas' self-titled debut LP appeared in 1974; while only mildly successful, the group toured behind it tirelessly, and their fan base grew to the point that their third effort, 1975's Masque, sold a quarter of a million copies. In 1976, Leftoverture truly catapulted Kansas to stardom. On the strength of the smash hit "Carry on Wayward Son," the album reached the Top Five and sold over three million copies. Released in 1977, Point of Know Return was even more successful, spawning the monster hit "Dust in the Wind." While the 1978 live LP Two for the Show struggled to break the Top 40, its studio follow-up, Monolith, the band's first self-produced effort, reached the Top Ten. That same year, Walsh issued a solo record, Schemer-Dreamer.
In the wake of 1980's Audio-Visions, Kansas began to splinter; both Hope and Livgren became born-again Christians, the latter issuing the solo venture Seeds of Change, and their newfound spirituality caused divisions within the band's ranks. Walsh soon quit to form a new band, Streets; the remaining members forged on without him, tapping vocalist John Elefante as his replacement. The first Kansas LP without Walsh, 1982's Vinyl Confessions, launched the hit "Play the Game Tonight," but after only one more album, 1983's Drastic Measures, they disbanded.
In 1986, however, Kansas re-formed around Ehart, Williams, and Walsh; adding the famed guitarist Steve Morse as well as bassist Billy Greer, the refurbished band debuted with the album Power, scoring a Top 20 hit with "All I Wanted." When the follow-up, 1988's In the Spirit of Things, failed to hit, seven years passed before the release of their next effort, Freaks of Nature. The London Symphony-assisted Always Never the Same followed in 1998, and in 2000 Kansas issued Somewhere to Elsewhere, their 14th studio album (and last to date), which saw the return of founder singer/songwriter Kerry Livgren. Subsequent years found Kansas continuing to tour and release compilations and live albums, culminating in their 2014 inductions into the Kansas Hall of Fame and the Georgia Music Hall of Fame, which coincided with the group's 40th anniversary. Miracles Out of Nowhere, a DVD/CD career retrospective, followed in early 2015.
**********
BIOGRAPHY/WIKIPEDIA
**********
WEBSITE
**********
TO THE TOP
For close to a half century, prog has been the breeding ground for rock's most out-there, outsized and outlandish ideas: Thick-as-a-brick concept albums, an early embrace of synthesizers, overly complicated time signatures, Tolkienesque fantasies, travails from future days and scenes from a memory. In celebration of Rush's first Rolling Stone cover story, here's the best of the deliciously decadent genre that the punks failed to kill.
**********
KANSAS
''LEFTOVERTURE''
1976
43:26
1 Carry On Wayward Son (Kerry Livgren) 05:22
2 The Wall (Kerry Livgren, Steve Walsh) 04:48
3 What's On My Mind (Kerry Livgren) 03:28
4 Miracles Out Of Nowhere (Kerry Livgren) 06:27
5 Opus Insert (Kerry Livgren, Steve Walsh) 04:27
6 Questions Of My Childhood (Kerry Livgren, Steve Walsh) 03:36
7 Cheyenne Anthem (Kerry Livgren) 06:52
8 Magnum Opus (Phil Ehart, Dave Hope, Kerry Livgren, Robby Steinhardt, Steve Walsh, Rich Williams) 08:23
. Father Padilla Meets The Perfect Gnat
. Howling At The Moon
. Man Overboard
. Industry On Parade
. Release The Beavers
. Gnat Attack
Phil Ehart/Drums, Percussion
Dave Hope/Bass Guitar
Toye LaRocca/Vocals
Kerry Livgren/Guitar, Keyboards
Cheryl Norman/Vocals
Robby Steinhardt/Viola, Violin, Vocals, Vocals (Background)
Steve Walsh/Keyboards, Organ, Piano, Synthesizer, Vibraphone, Vocals, Vocals (Background)
Rich Williams/Guitar
**********
REVIEW/AMG
By Stephen Thomas Erlewine
For any art rock band, the fourth album means it's time for a self-styled masterpiece -- if you need proof, look at Selling England by the Pound or Fragile. So, with Kansas, the most determinedly arty of all American art rock bands, they composed and recorded Leftoverture, an impenetrable conundrum of significance that's capped off by nothing less than a five-part suite, appropriately titled "Magnum Opus," and featuring such promising movement titles as "Father Padilla Meets the Perfect Gnat" and "Release the Beavers." Of course, there's no telling whether this closing opus relates to the opener, "Carry On Wayward Son," the greatest single Kansas ever cut -- a song that manages to be pompous, powerful, ridiculous, and catchy all at once. That they never manage to rival it anywhere on this record is as much a testament to their crippling ambition as their lack of skills. And it's unfair to say Kansas are unskilled, since they are certainly instrumentally proficient and they can craft songs or, rather, compositions that appear rather ambitious. Except these compositions aren't particularly complex, rhythmically or harmonically, and are in their own way as ambling as boogie rock, which still feels to be their foundation. It's not really fair to attack Kansas for a concept album with an impenetrable concept -- it's possible to listen to Lamb Lies Down on Broadway hundreds of times and not know what the hell Rael is up to -- but there's neither hooks nor true grandiosity here to make it interesting. That said, this still may be Kansas' most consistent set, outside of Point of Know Return. Take that for what you will.
**********
BIOGRAPHY/AMG
By Jason Ankeny
Fusing the complexity of British prog rock with an American heartland sound representative of their name, Kansas were among the most popular bands of the late '70s; though typically dismissed by critics, many of the group's hits remain staples of AOR radio playlists to this day. Formed in Topeka in 1970, the founding members of the group -- guitarist Kerry Livgren, bassist Dave Hope, and drummer Phil Ehart -- first played together while in high school; with the 1971 addition of classically trained violinist Robbie Steinhardt, they changed their name to White Clover, reverting back to the Kansas moniker for good upon the 1972 arrivals of vocalist/keyboardist Steve Walsh and guitarist Richard Williams. The group spent the early part of the decade touring relentlessly and struggling for recognition; initially, their mix of boogie and prog rock baffled club patrons, but in due time they established a strong enough following to win a record deal with the Kirshner label.
**********
BIOGRAPHY/WIKIPEDIA
**********
WEBSITE
**********
TO THE TOP
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