LEFTOVERTURE

Together with Song for America not only Kansas progressive rock masterpieces but also the crowning achievements of progressive rock combined with hard rock, pop and boogie. Although this record does contain more commercial influence and catchiness than the previous records, it is for the good measure and compositionally ingeniuosly blended with delicate complex suites. Comparing to "Song for America", there is less improvisation and soloing but tighter arrangements and compositional maturity. Kerry Livgren has reached his music highest point - Steve Walsh didn't compose any song on his own here. Keyboards and violin are clearly instrumental highlights as on every 70's Kansas record, but guitars, bass and drums don't stay far behind.

The strong anthemic start with "Carry on Wayward Son" draws attention of every rock-positive listener. Guitar and dynamic rhythms dominate the song. Walsh's vocal is a trademark; it confirms that he was one of the best and instantly recognizable voices in progressive rock. "The Wall" starts a melancholic introspective mood that is so prevalent on this and "Point of Know Return" record. Keyboards are restrained in the background but solemn to support the slow pace. Walsh's vocal changes from the energetic and dynamic singing to subdued. "What's on my mind" starts as a typical hard-rock Kansas song but soon changes into a mid 70's synth pop territory to switch back to hard rock riffing. The keyboards are almost non-hearable in this composition.

"Miracles out of nowhere" is one of the prog highlights featuring catchy melody without sacrifying progressive arrangements. Keyboard and guitar acoustic interplay come to forefront in the middle of the song. Fast hard-rock final part is an acquired taste but in the end results in a symphonic and dramatic accord sequence pleasing our hearts and ears.

"Opus insert" starts of as an ELO song with keyboard but soon ventures towards progressive rock. Classically influenced instrumental showcase here is incredibly tasty. The song could have been much longer as the three distinct parts flow away too quickly. This is a how at their peak blossom with ideas in such short time.

"Questions of my childhood" reminds of Yes and early Kansas works. Fitting violin and missing guitar keep the track catchy and relatively soft. Piano and moog are used as keyboards.

"Cheyenne Anthem" is the first pure progressive rock composition; however it remains catchy. The slow tempo in the first half is compensated by dynamic instrumental preludium lifts up the spirit. Acoustic guitar and female background vocals give space for a down-to-earth Steve's vocal before returning to the main motive. This composition's quality is comparable to anything that progressive rock composed in 1976 but still have to give way to "MAGNUM OPUS"!

Yes, the last track of this album is with the "Pinnacle", "Song for America" and "Incomudro" Kansas' epic best. All three compositions can serve as introduction to progressive rock keyboards - various instruments with fitting playing are displayed. "Magnum Opus" starts soberly as a promising pop track but soon bursts into a tremendeous lengthy instrumental overture - as if the band new that it would be their last fully progressive rock epic piece. Syntesizers, Hammond Organ, ARPs, clavinet, moog - sit down, close eyes and follow this keyboard arrangements wizardry. The overture continues almost until the end, leaving actually no space for Steve Walsh voice to say goodbye.

For all fans liking progressive rock, this is a must album. It is not in the league with most complex, most inventive albums but astonishes with the compositional quality and extremely high musicianship.