Author: Peter Podbrežnik
Artist: Kansas
Label: Epic Records
Release: 1976
Rating: 5/5
When an innovative band hungry for a bigger mainstream breakthrough ends up rushing an album under brutal pressure, there are only two possible outcomes: a total trainwreck or a flat-out masterpiece. With their fourth album, the legendary American prog rockers Kansas got the second one, and with “Leftoverture” they created the greatest triumph of their career and a record that still enjoys a reputation as one of the classics of symphonic prog rock. It also became one of the key albums in the birth of a new genre – arena rock. It was a close call, too, because the album could easily have ended up called “Leftovers”: it was made without a break and in a tremendous hurry. On top of that, the band was under heavy pressure from their label at the time, which, after the commercial flop of the previous album “Masque” (1975), had given them one last chance to land a big breakthrough or be dropped. Luckily, Kansas didn’t let those threats weigh on them while making the record and, against the expectations of the individual band members, delivered an album that finally brought the commercial breakthrough that had eluded them for so long. After three excellent albums made in an incredibly short span and nonstop touring, Kansas used “Leftovertue” to carve their names into the history of (prog) rock music for all eternity and to confirm for good their status as the key band of American symphonic prog rock. For the band members, after all the grind and all those exhausting years spent mostly playing in assorted “cowboy” bars, “Leftoverture” meant a long-held dream come true.
A lucky streak of circumstances surely played a part in that. Kerry Livgren, guitarist and occasional keyboardist, was hitting his creative peak right while “Leftoverture” was being recorded and took the lead in shaping it. Kerry, who was still enthusiastically studying Eastern philosophy and Native American legends at the time, was getting one wild idea after another, and this album was in many ways his creative baby, since he wrote all of its key compositions and arrangements. In places he was, as usual, backed up by singer and keyboardist Steve Walsh, who hit a major creative block during the sessions but, on the other hand, enjoyed a real vocal bloom, which only boosted his reputation as one of the finest rock singers of all time. “Leftoverture” was the moment that their trademark “wall” of sound was born for the first time. It was built on a combination of grand symphonic arrangements, the product of an incredible union and chemistry between Livgren’s guitar, Walsh’s keyboards (mostly synths and organs) and violinist/occasional vocalist Robbie Steinhardt. The sound of this album was also completely unique in the whole Kansas discography, since it featured some synthesizers they never used again. There was no shortage of epic compositions with plenty of complex symphonic arrangements and instrumental jams in the middle sections, only here they were a touch more refined and less gloomy than most of their earlier work. At the same time, “Leftoverture” also had more shorter pieces that were already bordering on melodic rock. That trend would only grow with their next albums. Perhaps the greatest strength of “Leftoverture” is that there isn’t a single average track on it, which makes it just as unique in the entire Kansas legacy.
“Leftoverture was loaded with Kansas classics. Most of them are forever etched in the hearts of countless progressive rock fans. The best known of them was undoubtedly the opening hit “Carry On Wayward Son”, a melodic rock composition that brought them worldwide fame and is still considered one of the best-known rock anthems, one that even plenty of people who have never heard of Kansas know. Its creator Kerry Livgren wrote the song as a continuation of “The Pinnacle” from the previous album “Masque”. This melodic rock anthem is packed with incredible energy and the band’s signature instrumental flourishes. A dramatic multi-part vocal intro is followed by a mighty guitar riff laid over a super tasteful keyboard line and an energetic rhythm. Once Walsh’s passionate vocal kicks in, with a tone and lyrical delivery that radiate incredible optimism, this gorgeous song shines in all its glory. The only downside of this magnificent classic is that, because of it, Kansas are today often wrongly labeled an AOR band, while most of their output was actually progressive rock. Next comes “The Wall”, a religiously inspired piece that’s a bit shorter than their earlier symphonic prog epics. Grand symphonic arrangements on keyboards and violin sit in perfect harmony here and flow beautifully together with a mighty, awakening vocal that expresses spiritual rebirth through its lyrics. “What’s On My Mind” was another shorter, more or less melodic rock track, similar in structure to “Carry On Wayward Son”. Here too a mighty riff is woven with great craft through the central melody, which is built from the combination of a passionate vocal and the sound of the keyboards. Half ballad, half energetic rocker, this song does an excellent job of balancing out the symphonic prog epics at the heart of the album.
The symphonic grandeur on the album first swells with the mighty epic “Miracles Out Of Nowhere”, the first of the symphonic prog epics on the record and one of the deepest pieces in their history. That goes both for the structure of the grand, complex arrangements and for the awakening lyrics, which tell of an individual’s spiritual ability to literally work miracles through their own creative energy and potential. Gorgeous baroque arrangements, courtesy of the union of violin and keyboards, carry the composition into fully classical waters. There’s also a polyphonic solo section featuring horn sounds via special synthesizers that they never used again after this album. After a dramatic, mysterious organ section comes another excellent transition and a grand, awakening chorus. A superb classic, and a triumph of fusing classical music and rock. “Opus Insert”, another shorter hybrid of prog and melodic rock, opens with a gradual synth entrance that was rather uncharacteristic for the band. Once again a mighty melody built on excellent symphonic arrangements takes the spotlight, along with an energetic vocal and busy interplay between drums and bass. It also has a witty instrumental section with an emphasis on vibraphone and keyboards. Next up is another shorter piece, the twisty “Questions Of My Childhood”, built mainly on lots of symphonic passages from synths and electric piano. It’s one of those songs where you can marvel at how many different kinds of passion Walsh was able to pour into his voice at his best.
Prog rock gourmets will probably prize the grand symphonic masterpiece “Cheyenne Anthem” most of all. It was one of the most beautiful anthems in the history of progressive rock and classic rock, and one of those immortal songs that lodge themselves in the heart and soul of any fan of this kind of music forever. Its mystical aura is only heightened by the fact that it was dedicated to the Cheyenne, the Native Americans of North America, and the triumph of their spirit over white oppressors. As for the lyrics, it’s one of many Kansas songs that talk about the stupidity, gluttony and greed of the white man, who usually ruins everything he touches. Throughout its whole running time, incredible epic scale, melancholy and anthemic might mingle, lifting the listener up and filling them with incredible energy even in their hardest moments. The gorgeous melancholic opening verse, laid over the melody of lovely orchestral keyboard drapes and acoustic guitar, was sung by violinist Steinhardt. The first great contrast follows, as Walsh’s dramatic vocal suddenly bursts in and, with its fairy-tale expressiveness, sets the “stage” for the final, triumphant revelation. At that point comes a gorgeous arrangement with grand female choir vocals and a lovely transition with a beautiful passage on violin and keyboards. That’s followed by a dramatic, twisty, highly complex symphonic section that makes no secret of flirting with some of the sonic influences of the legendary Emerson, Lake & Palmer, especially when it comes to the keyboard sound. After that, the grand, triumphant central motif of the composition returns, which is also one of the most beautiful tributes to any Native American people. Words can’t describe the grandeur and energy running through this divine composition, in which Native American legends and the incredible will and unbreakable spirit of humankind’s yearning for freedom come alive again for a while.
“Leftoverture reaches its peak and greatest triumph with the closing, mostly instrumental masterpiece, “The Magnum Opus”. It was yet another of those symphonic prog compositions of incredible epic proportions that still stir the spirit of every fan of experimental music and symphonic grandeur. It’s split into many complex, completely differently arranged sections with all sorts of witty names. It opens with the dramatic section “Father Padila Meets The Perfect Gnat”, which features melancholic symphonic arrangements on keyboards, violin and vibraphone, along with plenty of dramatic guitar solos. The entrance of Walsh’s sensual vocal announces the section “Howling At The Moon”. Next comes “Man Oveboard”, where the huge ELP influence is once again obvious, as twisty, dramatic improvisations between keyboards, violin and guitar follow one another at a staggering pace. Then comes the section “Industry On Parade” with Livgren’s sharp, almost metal riffs and a breathtaking dramatic solo. The section “Release The Beavers” brings in plenty of dramatic, wound-up-to-the-limit keyboard passages before settling for a while into a mysterious sonic swell. The closing section “Gnat Attack” is true nirvana for all technical instrumental connoisseurs, packed with incredible, ultra-fast and polished interplay between brutal guitar riffs and solos and lightning-quick keyboard passages. This section will remind plenty of people just how much influence Kansas had on prog metal and neo prog rock, and how many ideas the American prog metallers Dream Theater borrowed from them (in different forms). “The Magnum Opus” was truly the band’s real magnum opus, and even today it remains one of the three main contenders for the best composition in their history.
“Leftoverture” is the most magnificent jewel, not only in the history of Kansas but, in my view, in the entire history of American symphonic prog rock, and it still glows with undiminished brilliance. With it, Kansas hit the peak of their creative powers, and although many very good albums followed, they never managed to get that close to prog rock perfection again. After the huge commercial success of the album and the single “Carry On Wayward Son”, they gained worldwide fame and finally started playing big arenas and in front of European audiences, who must have been pretty surprised by an American band that could stand toe to toe with most of the European (especially British and Italian) symphonic prog champions. At the same time, it marked the moment the band first drifted slightly away from their progressive rock roots toward melodic rock in order to reach a bigger audience, which later led to the gradual shift of their sound toward AOR/melodic rock. The album was also important for the development of neo prog rock and early prog metal. As a whole, “Leftoverture” (including its mystical cover with an old, ancient-looking scholar in front of a mountain of books and sheet music) is an album you simply can’t praise enough. As such, it belongs in every household, no question.
Lineup
Steve Walsh – vocals, organ, synthesizer, piano, keyboards, backing vocals
Kerry Livgren – guitar, keyboards
Robby Steinhardt – violin, viola, vocals, backing vocals, vibraphone
Rich Williams – guitar
Dave Hope – bass guitar
Phil Ehart – drums, percussion
GUEST MUSICIANS:
Toye LaRocca – vocals
Cheryl Norman – vocals
Production
Jeff Glixman, Kansas
Track list
1. Carry on wayward son (5:13)
2. The wall (4:47)
3. What’s on my mind (3:27)
4. Miracles out of nowhere (6:29)
5. Opus insert (4:26)
6. Questions of my childhood (3:38)
7. Cheyenne anthem (6:50)
8. Magnum opus (8:27)
Album length: 43:17
Bonus tracks from the 2001 reissue:
9. Carry On Wayward Son (live)
10. Cheyenne Anthem (live)
