ALWAYS NEVER THE SAME

Amazing Kansas classics (and a few new ones thanks to vocalist and keyboardist Steve Walsh) are revamped with modern technology and the grand accompaniment of the London Symphony Orchestra. I could certainly be greedy and wish other songs had been given the symphonic treatment ("Journey from Mariabronn," "Apercu," "Icarus- Borne on Wings of Steel," "The Pinnacle," "Closet Chronicles" and "Hopelessly Human" all rush to my mind), but I am thankful for this adventurous album. Not only do some marvelous versions of some marvelous Kansas songs appear here, but Steve Walsh includes three new tracks that are all very good. Also, the London Symphony Orchestra performs two instrumentals, one of which is a medley of songs that didn't appear on this album in full form. On another note, the artwork is incredibly attractive, and the booklet impeccably designed.

"Eleanor Rigby" A fantastic version of a great song right here, full of spirited vocals, heavy guitars, and of course, the majesty of the orchestra. It's dark, unexpected, and a grand way to kick off this record.

"Dust in the Wind" As expected, the orchestra takes a major role here. Otherwise, it's another version of a classic song. I personally don't like the acoustic guitar sound here, but when there are a dozen versions of the same song by the same band, there's little reason to be overly critical since I usually wind up skipping the track anyway.

"Preamble" This delicate and lovely orchestral piece graces the listener with themes from the forthcoming "Song for America."

"Song for America" The orchestra continues, and introduces the initial guitar riff of one of Kansas's best pieces. This dazzling work of art is given a majestic treatment, as the orchestra fills out the sound with stately washes and whimsical embellishments. Both the voice and violin of Robbie Steinhardt are clear and well used. As with many versions of "Song for America," the band chose to leave out the synthesizer solo that follows the two verses, which in my opinion isn't all that big of a loss, except that with the involvement of the London Symphony Orchestra, they could have used that section to really make the song even more of an outstanding version than it already is.

"In Your Eyes" This new one from Steve Walsh is a moderate rocker with an uplifting chorus. Walsh's voice does sound rather strained, particularly toward the end. While this is certainly a great song, it simply does not compete with the progressive classics that appear on this album

"Miracles Out of Nowhere" As with "Dust in the Wind" here, I don't care much for the creamy acoustic guitar tone. I also find the orchestra severely underused, especially during the polyphonic middle section. Otherwise, this is a splendid version of one of my favorite Kansas songs.

"Hold On" This fan favorite is cloaked with a Celtic feel. Sometimes I feel Walsh's raspy voice ruins such staggeringly beautiful music, but I've grown accustomed to it. I would like to have heard Steinhardt sing this one.

"The Sky is Falling" After a very good orchestral introduction, the music goes in a completely different direction, featuring a polyrhythmic clean guitar section before diving into a grittier, southern rock sound. The lyrics are more on the down-to-earth, blues-rock side of Kansas, and at the end, Steinhardt performs a wonderful violin solo.

"Cheyenne Anthem" One could hardly improve on this disheartening but beautiful song, and yet here is this: A completely wonderful reworking of this lovely tribute to a Native American tribe. Instead of stark piano under Walsh's voice, there's the spectacular orchestra, and the lyrical climax is more powerful than ever. In fact, the orchestra handles most of the music during the instrumental section, and does a breathtaking job. In lieu of the haunting vocals during the final verse, there is Rich Williams, who successfully captures the sonic beauty of the final moments.

"Prelude and Instrumental" This piece is an exhibition of the guest orchestra at their finest. It is an explosive medley of several Kansas songs. An excerpt from "Point of Know Return," noticeably absent from the album, can be heard here. There is also a delicate reminder of "Lamplight Symphony," which is unfortunately often forgotten, and it almost brings me to tears hearing it here.

"The Wall" Another of my favorite shorter Kansas songs, there is nothing particularly new during the amazing introduction. The music is unadorned at first, with Williams' velvety electric guitar, until the orchestra and rhythm section come in and fill out the sound. This is most definitely Walsh's best singing of this song, and his inflections during the second lyrical section always give me chills. It's a brilliant rendition of the song, perhaps better than the original.

"Need to Know" This is the third new offering from Walsh. It is a quiet ballad with heartfelt lyrics. Says Walsh, "I wrote 'Need to Know' after I saw Sling Blade about ten times in a row." The heavier section is abrupt and unexpected.

"Nobody's Home" This underappreciated song begged for an orchestral makeover, and it gets it here (and how!). The simple piano during the verses is still there, but the silky sound of the orchestra lends this lovely song the life it needs. It still retains its delicate air. An otherworldly sound (completely appropriate given the nature of the lyrics) returns the listener to the introduction, and this extraterrestrial noise remains to the last moments, particularly in the end. What a fantastic and unpredicted rendition!