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Reviews

Kansas — Somewhere to Elsewhere
(Magna Carta MA-9050-2, 2000, CD)

Somewhere to Elsewhere Cover art

Believe it or not, for the first time in 20 years, all the members of the original Kansas band have reunited! Despite having several “new” releases during the last 10 years, the group has only produced one album (plus a few songs here and there) of new material. Needless to say, Somewhere to Elsewhere comes as a great and pleasant surprise. Ten new tunes, all penned by Kerry Livgren, run the gamut from hard-rocking powerhouses to soft melodic ballads. Several of the trademark Kansas elements, many of which have been missing, are back  the keyboard / guitar / violin harmonies, the orchestral instrumental sections, multiple lead vocalists, the introspective lyrics... And there’s some new twists thrown in to boot. Livgren’s return on songwriting, keys, and guitar is clearly a big reason for this. But it’s the synergy between all the members that makes Kansas. That’s always been the case. It’s great to see the return of the big instrumental sections and orchestral arrangements that was such a big element of the band’s sound in their heyday. “Icarus II,” “Myriad,” and “Distant Vision” all contain great examples of this, and are three of the best tunes on the album. “The Coming Dawn (Thanatopsis)” has a very “Dust in the Wind” flavor and is perhaps Steve Walsh’s best vocal performance in the last 15 years. Fans of Leftoverture and Point of Know Return era Kansas should definitely check out Somewhere to Elsewhere. Bottom line: this is the best Kansas album in a long, long time.

by Mike Grimes, Published 2000-10-01

Everything on this highly anticipated reunion (of sorts) was composed by Kerry Livgren. And while not strictly a concept album, there are thematic references to America's experience in World War II. On a pure complexity level, the project is redolent of 1978-1980 Kansas (just prior to their commercial downspin). Stylistically however, not so much. This is rather a new direction for them, a testament to the professionalism of the band in how they have embraced Kerry's material (as surely they must have Kerry himself) like an old friend. The edge is a bit more prominent, the bluesy and 70s rock elements less disguised, alternating with richly orchestrated extended pieces, which allow the full range of the classic Kansas identity to flower. If comparisons must be made I would point to the more progressive moments of Freaks of Nature; perhaps even Point of Know Return. But the album fits together cohesively well, and does not come across as a pastiche or an attempt to emulate former glories at all. On the contrary, it is an uncompromised, straight-from-the-heart effort with (as on Freaks of Nature) absolutely no attempt to court pop trends or radio airplay. For me the highlight — besides Kerry's obvious huge contribution in the writing department — is probably Steve Walsh, who gives you nothing but 110% in every breath. With each successive listening the power and emotion of this CD continues to grow on me, and I hesitate not in calling it the best recording Kansas has done in 20 years. Gentlemen, it's great to have you back!

by Mike Ezzo, Published 2000-10-01

I have to admit it's been quite awhile since I spent time listening to any new music by Kansas. The group had literally been one of the first US prog bands to cross over into pop upon the departure of vocalist Steve Walsh. When Steve Morse joined the group in the mid-80s, the band had a slight rejuvenation in purpose which worked well live, but was lacking in the songwriting department. It's very surprising then that the band has literally come full circle. Original members Kerry Livgren and Dave Hope have rejoined the band in the studio to try and recapture the band's banner years in digital. And shock among shocks: they actually come as close as Yes' Keys to Ascension set studio tracks. It helps if you give the vintage Livgren build the project up from the bottom on his own. So he's the album's composer on all tracks, and the entire group is again involved in arrangements which explains the cohesion of this work. "Distant Vision" is singularly one of the best tracks Kansas has recorded since Livgren's departure. Plus there's an Arabic theme in "Byzantium" which shows Walsh and company branching out into uncertain territory. And then there's what I'd call a juke joint piece, "Disappearing Skin Tight Blues" which seems to fit into the mix. There don't appear to be any overt religious overtones, but direct comparisons to King's X and offspring upstarts Platypus are evident. Now if only the group were to perform these pieces while opening for Yes rather than a greatest hits walkthrough, I'd truly be impressed.

by Jeff Melton, Published 2000-10-01

Filed under: New releases, Issue 20, 2000 releases

Related artist(s): Steve Walsh, Kansas, Robby Steinhardt

 

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