KANSAS (1974)
“So much relies on the course that you take; the fool and the wise man both burn at the stake”1. Can I Tell You (Williams, Ehart, Hope, Walsh) 3:32
2. Bringing It Back (Cale) 3:33
3. Lonely Wind (Walsh) 4:16
4. Belexes (Livgren) 4:23
5. Journey From Mariabronn (Livgren, Walsh) 7:55
6. The Pilgrimage (Livgren, Walsh) 3:42
7. Aperçu (Livgren, Walsh) 9:54
8. Death of Mother Nature Suite (Livgren) 7:43
The band headed to a studio in New York in the summer of 1973 to record their first album. They got two weeks to record, sandwiched in between sessions for Yoko Ono, the New York Dolls, and Alice Cooper. Afterwards, they went home and told all their family and friends that the album would be out soon.
But it just kept not coming out, and not coming out. They went back to playing their old circuit of venues while they waited.
Meanwhile, their recorded debut actually happened on Johnny Winter’s album Saints And Sinners in February 1974. Members of the band had recorded handclaps on one of the tracks while in New York.
Finally, after seven months,
Kansas was released in March 1974.
The opening track, “Can I Tell You,” had actually been the first song written by White Clover, and was one of the songs included on the demo that got the band its big break. It was one of the two singles released for the album. As an opener, it displays some outstanding musicianship , but it wasn’t really indicative of the progressive stylings that the band would eventually become known for. Lead vocals are shared by Steinhardt and Walsh.
The second track, “Bringing It Back,” featuring Steinhardt on lead vocal, displays another side of the band, almost a bar-band honky tonk feel. The strange thing about the song is that it isn’t an original, but is rather a composition by JJ Cale, a singer-songwriter known for songs such as “After Midnight” and “Cocaine” (both covered by Eric Clapton) and “Call Me The Breeze” (covered by Lynyrd Skynyrd). So, while the style is consistent with something Kansas may have written at this time, it is the only cover that Kansas would record until 1998 (we’ll get there, don’t worry about it now).
Next is “Lonely Wind,” a ballad written by Steve Walsh, featuring beautiful violin work by Steinhardt. It starts off sounding a little “by the numbers,” but there are enough intricacies there to keep the song interesting. Starting out very mellow, by the time of the final chorus, the entire band is in, and it has a majestic feel. This wound up being the second single released for the album.
With the next track, “Belexes,” we start getting a feel for the progressive rock sound for which the band would become known. Although only four and a half minutes in length, there is a lot packed in there (even a drum solo). The instrumentation is impeccable, and features a great guitar solo as well as outstanding vocal harmonies. One of the standout songs on the album, IMHO.
“Journey From Mariabronn” is our first example of Kansas’s prog-ish exploration of longer song forms. Different time signatures are used throughout, moving through multiple keys, and this song definitely showcases one of the strengths of the band that helped separate them from other contemporary bands. Many bands only had one melodic lead instrument (the guitar); fortunate bands were also able to incorporate keyboards. Kansas had three, merging violin with guitar and keyboard. This enabled them to feature more interesting compositions, regardless of the style of music employed. The fact that they were experimenting with techniques established by progressive rock bands gave them a real individual sound; no one else sounded like Kansas. This song is one of the first to really demonstrate that fact. The lyrics by Livgren are based on the novel Narcissus and Goldmund by Herman Hesse.
After the prog outbursts of the last two songs, “The Pilgrimage” is almost a breather. It is somewhat a throwback to the bar-band roots of the band. It is interesting that this song was written by Livgren and Walsh together, like “Journey From Mariabronn,” but it sounds NOTHING like it. The songwriting influences for both men was extremely broad, as is evidenced here. It’s a fun song, but is best seen as a palette cleanser.
Next we have another epic-lenth song, “Aperçu.” Like “Belexes,” the music is influenced by the opera Turandot by Giacomo Puccini. At various points, the song features lead violin, galloping drums, tight syncopation, and haunting vocal delivery by Walsh over maudlin piano, as well as impeccable organ and lead guitar work. Again, wonderful vocal harmonies are featured, as are extended instrumental sections. The longest song on the album, “Aperçu” has a lot to offer to the new fan. I love this song.
Closing out the album is another progressive rock extended-length piece, “Death of Mother Nature Suite.” The lyrics feature Livgren showing an environmentally conscious point of view, and also feature the album’s harshest moments (And now she’s gonna die! Yeah! Yeah! Yeah!), delivered with real emotion by Steinhardt. Musically, the song continues directly on from “Aperçu,” and I can only imagine how awesome it must have been to see both songs performed live back to back like that. For all the ferocity of the end of the stanzas, there are also mellow moments. A hallmark of the band, great dynamics are on display for this song as well. I see this as the heaviest song on the album, and a very satisfying close to the opening festivities.
The album initially sold 100,000 copies, and was in the Billboard charts for 2 weeks, rising to # 174 (it would eventually be certified Gold in 1995). While the album met with some critical success, it was considered a commercial failure. So the band hit the road, opening up for the Kinks for the rest of the year.
All in all, I find this to be an EXTREMELY satisfying album, not to mention a fantastic debut. Obviously, some songs stand out more than others, but overall, there is a lot to love here, and this album will always have a special place in my heart.
The 2004 remastered reissue featured a live version of “Bringing It Back” as a bonus track.
Fun fact: one of the assistant engineers on the album was Jimmy Iovine, who went on to become a legendary producer, co-founder of Interscope Records, co-founder of Beats By Dre, and an onscreen personality as a mentor on American Idol.
“How can we begin to describe the years of frustration and endless disappointments which suddenly turned around and culminated in this album? We won’t even try. Suffice it to say that in spite of the fact that this is our first record, we have around 50 years of combined musical experience in one of the most unmusical environments imaginable. Our music has many faces and many moods liked the land we live in. It is a fusion of energy and serenity, a melting pot of ideas. From the very beginning, we considered ourselves and our music different, and we hope we always remain so.
“Thanks and unthanks are, as usual, too numerous to mention, but we pour out both to those deserving and they know who they are. Our lives are in this music. WE ARE KANSAS! KANSAS IS A BAND!”
Topic: The Kansas Discography Thread - THAT'S ALL, FOLKS (For Now) (Read 44991 times)