{"id":37836,"date":"2004-01-29T00:00:00","date_gmt":"2004-01-29T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/early-recordings-from-kansas1971-1973\/"},"modified":"2004-01-29T00:00:00","modified_gmt":"2004-01-29T00:00:00","slug":"early-recordings-from-kansas1971-1973","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/early-recordings-from-kansas1971-1973\/","title":{"rendered":"Early Recordings From Kansas:1971-1973"},"content":{"rendered":"<p>Long before &#8220;Dust In The Wind&#8221; blew across the musical horizon,<br \/>\nthere was a different Kansas. That Kansas was for all purposes, a<br \/>\ncompletely different band except for the founder, Kerry Livgren.<br \/>\nThe earlier version of Kansas formed in 1971 and disbanded in 1973.<br \/>\nThey also left a recorded legacy which was never released until<br \/>\nrecently. The Kansas you know carried only a passing similarity to<br \/>\nits predecessor. The famous version played arenas and went<br \/>\nmulti-platinum. The other played crappy bars for free beer, and<br \/>\nplayed unbridled, experimental progressive rock.<\/p>\n<p>Recently, the old tapes that early version Kansas recorded were<br \/>\nremastered and released under the name Proto-Kaw. The results are a<br \/>\nfascinating look at the early work of a composer whose later songs<br \/>\nwould become fixtures of classic rock radio. Often, these sort of<br \/>\nreleases are more of the vanity kind, and cater to the sycophantic<br \/>\ndiehard fans who can&#8217;t live without every b-side and studio fart.<br \/>\nThis is definitely not the case, as this disc easily stands on its<br \/>\nown as a cohesive collection of original music.<\/p>\n<p>In stark contract to the more mainstream work of Kansas, these<br \/>\nrecordings delve into long-form prog-rock fantasies, free-form<br \/>\njazz\/fusion, psychedelia and epic visions that should make any fan<br \/>\nof early ELP, Genesis or King Crimson prick up their ears. The<br \/>\namazing thing about this, is that very few people had ever heard<br \/>\nthese recordings, and that they went unreleased and virtually<br \/>\nunknown for over 30 years. Amazing to me, because of the quality of<br \/>\nthe music. I was expecting some able players backing up Livgrens&#8217;<br \/>\nwell-known talents, but that was not the case. Musically, these<br \/>\nguys are more than able to crank out some stellar progressive jams.<br \/>\nI was amazed at the quality of the musicianship. Every man stands<br \/>\non his own here and supports the cohesiveness of the band. Singer<br \/>\nLynne Meredith has an excellent range, transitioning from a soft<br \/>\ncroon to menacing growl. Liberal use of woodwinds greatly enhances<br \/>\nthe ensemble sound, and sets this apart from a lot of other music<br \/>\nof the genre, and of the time. John Bolton plays sax in an<br \/>\naggressive, some might say brutal style. His powerful chops propel<br \/>\nthe driving &#8220;Nactolos 21,&#8221; and the live track &#8220;Skont,&#8221; (my favorite<br \/>\ntrack) which also features a killer Hammond organ solo by Dan<br \/>\nWright, that sounds like nothing I&#8217;ve ever heard before.<\/p>\n<p>True to the genre of early progressive rock, the track titles<br \/>\nare full of fantastic imagery in themselves. &#8220;Reunion In The<br \/>\nMountains of Sarne,&#8221; &#8220;Nactolos 21,&#8221; &#8220;Totus Nemesis &#8221; and &#8220;Greek<br \/>\nStructure Sunbeam&#8221; are some examples. The songs stay mostly within<br \/>\nexpected progressive realms, but often venture into instrumental<br \/>\nexperimentation. Often compelling, often collapsing into atonal<br \/>\nchaos, the juxtaposition of highly structured sections and totally<br \/>\nunstructured instrumental jams ultimately add a perfect touch to<br \/>\nmusic that was meant to be extremely experimental and fresh. This<br \/>\nis an amazingly strong album, very typical of the prog-rock<br \/>\nsensibilities of the early 70s. The influence of ELP and King<br \/>\nCrimson will be apparent. What will be less apparent, unless you<br \/>\ndabble in some of the more obscure progressive rock from that era,<br \/>\nis the even stronger influence of some lesser known bands of the<br \/>\ntime. Specifically, Touch, Gentle Giant, Van Der Graaf Generator<br \/>\nand Soft Machine.<\/p>\n<p>Two songs here would eventually appear on the first two Kansas<br \/>\nalbums, &#8220;Belexes&#8221; and &#8220;Imcommudro.&#8221; They appear here in a similar<br \/>\nform as their eventual Kansas recordings, but with a more rough and<br \/>\nexperimental feel. Listening to both gives an interesting view into<br \/>\nhow those two songs evolved. The remainder of the album flows along<br \/>\nsimilar lines. The highlight for me is the two live tracks that<br \/>\nclose the disc.<\/p>\n<p>Recently, I was privileged to hear Proto-Kaw play live in Kansas<br \/>\nCity. All the original members save keyboardist Don Montre, who has<br \/>\npassed away, were on hand to celebrate the release of a new CD<br \/>\nfeaturing all new Proto-Kaw material. After 30 plus years, these<br \/>\nguys haven&#8217;t lost one bit of the shine that graces this disc. I got<br \/>\nto hear three of the new tracks, and they sounded simply amazing.<br \/>\nHopefully I will be able to review that release as well. In the<br \/>\nmeantime, this CD would be a welcome addition to any collection,<br \/>\nalongside the early progressive giants.<\/p>\n","protected":false},"author":42,"featured_media":26590,"comment_status":"open","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"tags":[],"artist":[6965],"rating":[5646],"class_list":["post-37836","review","type-review","status-publish","has-post-thumbnail","artist-proto-kaw","rating-rating-a"],"acf":[],"_links":{"self":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/37836","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review"}],"about":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/types\/review"}],"author":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/users\/42"}],"replies":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/comments?post=37836"}],"version-history":[{"count":0,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/37836\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media\/26590"}],"wp:attachment":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media?parent=37836"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/tags?post=37836"},{"taxonomy":"artist","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/artist?post=37836"},{"taxonomy":"rating","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/rating?post=37836"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}