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Review:
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When it comes to reviewing new releases from classic
bands, I like to stand out from the pack a bit. I’m young
and stupid; and, no, I didn’t see Rush or Floyd in the 70’s
like some of these other reviewers out there. I haven’t
heard and do not own the vast discographies of all the classic
prog bands, and I’m in no hurry to, either (I like my discovery
to be organic). So, in some ways, I’m less biased, as I’m
not necessarily comparing the new albums to the old, nostalgic
classics. I don’t think it’s fair to compare albums with
30 years between them, either. So, I’m going to review the
new Kansas album, having only heard a couple albums and,
of course, the greatest hits record. The single question
in my mind is not, “Does this live up to the old stuff?”,
but is instead, “Is this a good album”? “The Prelude Implicit”
is an excellent album, in my opinion.***
Kansas has obviously seen some changes recently. First
off, signing to Inside Out Music was a huge step, and honestly
quite unexpected. Additionally, Steve Walsh stepped down
as lead singer in 2014, so the line-up only contains a couple
original members, Rich Williams on guitar and Phil Ehart
on drums. The rest of line-up is Billy Greer on bass, David
Manion on keys, Ronnie Platt on vocals and keys, David Ragsdale
on violin, and Zak Rizvi on guitars. Normally, with a line-up
that devoid of original members, fans wouldn’t be that excited,
and I’ve seen plenty of that sentiment around the Internet.
However, the initial singles they have released completely
convinced me to give this album a go.***
We all know the style of Kansas. The band plays progressive
rock with plenty of folk influences. In many ways, they
are the lesser known influences of bands like Dream Theater.
Their music is quite complex at times, but they are probably
most well known for their incredible ballads. “The Prelude
Implicit” does not deviate from this course, as some songs
are more ballad-based (“With This Heart”), but other tracks
(“The Voyage of Eight Eighteen”) are definitely more “epic”
in feeling and have wonderful, even technical, instrumental
sections. Add to this the very current (yet timeless) political
themes, and you have an album that is completely relevant.***
All of the performers here sound amazing. Normally, the
older the band gets, the less technical or daring they become
(see the band YES). With Kansas, I found myself amazed at
how complex the music is, though I wouldn’t expect anything
innovative. Obviously, David’s violin is a very prominent
instrument, gently weaving in and around the rock music,
creating atmosphere and such a delightful tone. David and
Ronnie lay down some gorgeous keys and some synth solos
that make me giddy. Rich and Zak continue the strong guitar
history of the band with memorable, inspired licks and a
tone that demands your attention, especially on “Visibility
Zero” and “Crowded Isolation”.***
Yet, with all of that, I think the standouts for me
are Phil’s drums and Billy’s bass. I was thrilled with the
power and groove these two produce throughout the album,
and the mix does them justice, too, with great oomph for
both of them. As bands age, I especially expect the drums
to disappear little by little, but they are my favorite
part of the album here, besides maybe the guitar work.***
Additionally, Ronnie’s voice seems to be the center
of any controversy over the new album. Personally, he sounds
quite a bit like Steve Walsh, but I would compare him to
the likes of Ted Leonard of Spock’s Beard for a contemporary
example. I really enjoy Ronnie’s style and range, and, combined
with backing vocals from many of the other members, the
vocals on the album are pristine and the vocal lines, while
lacking any huge hooks for the most part, are a joy to hear
and sing.***
So, the new Kansas album swims against the current for
classic bands releasing new material. It doesn’t come across
as dull or forced, but instead feels current (considering
the popularity of the retro sound right now) and the music
is genuinely wonderful. My favorite songs are “Visibility
Zero”, “The Unsung Heroes”, “Rhythm in the Spirit”, and
“Crowded Isolation”. My absolute favorite is “The Voyage
of Eight Eighteen”. The album just feels right, so give
it a chance and try not to compare it to the nostalgia of
the past, as no album would ever win that fight. Let “The
Prelude Implicit” stand on its own two feet.***
The
Prog Mind
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