Kansas – Kansas (Self-Titled) [Album Review]

Kansas’ self-titled debut album, released in 1974, represented a bold and confident entrance into the burgeoning world of progressive rock, a genre that, at the time, was primarily dominated by British acts like Yes, King Crimson, and Genesis. However, Kansas brought something unique to the table with their distinctly American blend of rock, incorporating elements of folk, jazz, and classical music with a heavier, almost Southern rock edge.

Emerging from the Midwest, the band honed their sound playing countless live shows before landing a record deal, and this self-titled release reflects the tight chemistry and musicianship they had developed on the road. Their signature style, where violin, keyboards, and guitars weave into intricate tapestries of sound, was already taking shape and is apparent throughout the album’s eight tracks, which effortlessly switch between driving rock anthems and sprawling, multi-part epics.

Naturally, with such a cohesive and dynamic sound, the sonic reproduction needs to replicate the production values and in this instance, the 2004 remastering, from which the streamed Expanded Edition derives is perfectly balanced and thoroughly enjoyable. It isn’t the greatest mastering, however, for it sounds a little concealed in places. Of course, that could be due to the recording and mixing styles, and I’ve certainly heard Kansas’ music, in the past, sound a little too thin for my liking. That said, I’d suggest that the mastering for this self-titled debut is one step above what I hear on my beloved Monolith, but you’ll still need to adjust your EQ or tone controls to get the very best out of the album.

Can I Tell You opens the album with a punchy dynamic fusion of hard rock and prog with a touch of funk. Highlighting the band’s tight musicianship right from the start, particularly between Robby Steinhardt’s fiery violin work and Steve Walsh’s powerful vocals, Can I Tell You is a hidden gem that introduces Kansas’ signature sound, balancing melodic hooks with a sense of musical adventure.

Bringing It Back is a solid J.J. Cale cover, but I’d argue that Kansas’ strengths lie in their original compositions. Still, it showcases the band’s ability to groove while simultaneously delving into prog-rock territory.

Lonely Wind is a simply magnificent ballad. Driven by the piano, and featuring a lush arrangement, Lonely Wind is one of their greatest recordings; one that makes this debut album worthy of any music lover’s collection.

Belexes is a quintessential Kansas track, blending progressive rock complexities with hard rock aggression. Belexes is, subsequently, another of the album's highlights as the intricate musical bed magnificently shifts through a series of time signatures and tempo changes, all while maintaining a cohesive driving force.

Journey From Mariabronn is an epic tune that showcases Kansas’ progressive rock ambitions in full force. Musically, the track is akin to a tour de force, with dramatic shifts in dynamics and tempo, but it’s the interplay between all musical elements that not only captivates but creates the song’s expansive soundscape.

The Pilgrimage has a jazz-inspired introduction that initially makes one wonder if they’re listening to the right album. That is, until the folky upbeat nature of the song enters into the mix with a strong emphasis on melody and harmony. While The Pilgrimage is unlikely to be anyone’s favourite Kansas tune, it offers a nice reprieve from the heavier, more intricate songs, thereby showcasing Kansas’ versatility.

Aperçu is the second of the album’s extended tracks and is another deep dive into the band’s progressive style. Clocking in at nearly ten minutes, Aperçu is a sprawling journey through multiple musical landscapes and is one of Kansas’ most ambitious tunes.

Death Of Mother Nature Suite flows seamlessly from Aperçu and is a killer tune that encompasses all aspects of Kansas. From their ballad style to their hard rock and progressive approach, Death Of Mother Nature Suite has it all and is an ideal closer for it allows for reflection as well as compelling the listener to play the album again. It’s also amongst Kansas’ greatest compositions and it’s, therefore, a shame that casual listeners likely won't hear this exceptional tune; for it’s a deep cut, one that all music lovers should listen to.

Kansas’ self-titled debut is a fascinating introduction to a band that would go on to become one of the defining acts of American progressive rock. The raw talent and ambitious songwriting, heard on this release, is undeniable and the band’s ability to balance accessible melodies with complex arrangements sets them apart from their contemporaries. The result is that Kansas is an essential listen for fans of 70s prog rock and rock in general.

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Kansas – Monolith (Album Review)

A soaring progressive rock masterpiece that is intensely underrated is a good way to describe Kansas’ sixth studio album Monolith. For decades, fans have been divided when it comes to this 1979 release for it heralded a slight shift from Kansas’ prior works; one that some would suggest was a step too far. I, on the other hand, see Monolith as a natural progression and one of the albums that would influence the hair metal, ballad-driven, 80s era. 

Visually, the album artwork is perfectly aligned with Kansas’ preceding and future output and only second to Point Of No Return. It possesses an imaginative quality that allows the listener to gaze upon the artwork and ponder how, or if, it is related to the music while creating their very own fantasy.  

Sonically, the lossless Apple Music stream is sufficient but I’d be lying if I didn’t say that Monolith requires a remaster. The sound is arguably well-balanced, but it’s a little thin for my liking and you, like I, will likely find a need to adjust the EQ or tone controls on your playback equipment to get the most out of the recording. That said, a thinner sound was applicable to rock bands throughout the era, and even into the 80s, so your opinion may differ from my own. The 2020 vinyl reissue on Music On Vinyl may address this issue but that largely depends on the mastering that was used for this particular reissue. At any rate, I have yet to acquire that version so I’m not able to comment further. 

On The Other Side is a masterstroke as it pertains to the opening song of an album. The guitars soar, the bass slides in perfectly, and the drum backbeat is utterly amazing before Steve Walsh’s vocal enters the mix and culminates in an incredible classic rock tune that is up there with the best rock music ever recorded. That said, Robby Steinhardt’s violin and anvil performance stand out here, ensuring that the song itself, and Kansas’ overall sound signature, is progressive in that this isn’t just another generic rock album. 

The music video is an excellent live performance of the song, but I do wish that they had just got straight into the performance itself as the introduction is utterly ridiculous. Similarly, the video ends rather abruptly rather than fading out, and the multi-window editing style disappointingly becomes a recurring aspect that ultimately detracts from the music itself; a common style from the era, but one that has aged badly. 

People Of The South Wind adds incredible energy to the album and while it isn’t the strongest song from Monolith, it’s a solid tune with some killer guitar licks, particularly in the solo, that will likely appeal to many. People Of The South Wind most certainly was radio-friendly, with a pop/disco-vibe, that is true to the times but would likely have been declared a sell-out by their hardcore fan base.

The music video for People Of The South Wind thankfully does away with the finicky edits, allowing the music and the faux live performance to remain undiluted. The result is a much more compelling music video than On The Other Side. Still, it ends abruptly and I hope that it is merely someone not paying due diligence when digitising the original tapes rather than that being the way the videos were ended. 

Angels Have Fallen opens with Steinhardt’s stunning violin, but it is the lyrical delivery from Walsh that truly captivates the senses as the song builds to its ultimate peak before returning to a more mellow tempo. It’s simply magnificent and is without a doubt one of the strongest songs on the album and in Kansas’ entire catalogue, but it should be noted that the mix is the pinnacle element here as every musical aspect is perfectly positioned in the soundstage. Angels Have Fallen is one of those songs that you can immediately connect with upon hearing it. That aspect is no more apparent than during the second half of the song where the vocals, guitar, and other musical elements bring the song to its soaring closing moments that will encourage you to turn the volume to 11. Phil Ehart’s drumming in this particular section is second to none proving that he is one of rock and roll's greatest drummers. 

How My Soul Cries Out For You picks up the tempo but flows perfectly from Angels Have Fallen with its signature progressive elements that do sound a little dated, but not in the detrimental sense of the word. You likely won’t seek it out on its own, but as an album track, I couldn’t imagine Monolith sans this tune. That said, the mid-song lull should have been reconsidered as it breaks with the flow of the music and makes me question if it was really necessary. There’s also an audible drop-off towards the end of the song; likely intentional as it sounds like the master tape was spliced and recompiled in the mixing phase and never corrected or adjusted. An irritating aspect, yes, but one that we can do nothing about. 

A Glimpse Of Home has a corny opening, upon modern-day reflections, but it’s an underrated sonic masterpiece so good that it makes me wonder how A Glimpse Of Home and Monolith, in general, was not better received for it has stood the test of time and is amongst some of the very best music released in 1979.

Away From You is a solid tune but it suffers from another quirky introduction that ages the song. Of course, the trite chorus structure doesn’t help either but it’s one of those moments where you have to accept it for what it is. 

As it pertains to the music video for Away From You, there isn’t much to say as it retains the faux live recording featured on On The Other Side and People Of The South Wind. A solid promotional video, yes, but not music video worthy. 

Stay Out Of Trouble, by comparison, is a killer tune. Perhaps the only questionable aspect is its shifting tempo; a stylistic choice that is suitable but becomes disjointed in the listener’s mind thereby making it difficult to select the best tempo to attach oneself to. Look, it’s progressive rock 101 but it may take a few plays to fully become engrossed in Stay Out Of Trouble. 

Reason To Be is a lovely ballad. Yes, I am one of those music lovers that adore ballads and don’t find them corny; even when they most certainly are. It is just that I often adore the vocal prowess of rock musicians and Reason To Be showcases just how good Walsh is as a vocalist and while some may disagree, I’d put him on par with any of the Eagles. It’s so soothing that it becomes the ultimate closing song as it both encourages me to listen to the album again and reflect on the music that I’ve just heard.

The music video for Reason To Be, however, is woeful and what is it with that wow and flutter in the audio, I can’t help but wonder if that is intentional or not, given that it has a metallic sound signature. Likely, it was simply on the original tape that was digitised by the record label and they never corrected it, but it really throws out the tuning of the songs for those who enjoy watching music videos. 

Overall, Monolith is sensational and the fact that it has been so underrated is a travesty for it is a remarkable piece of audible art. While some would disagree, I consider Monolith to be Kansas’ best album. 

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