Kansas stood apart from their peers, since they were an American band that dared play on the epic scale of such English art rockers as Genesis. Consequently, Kansas is a truly weird hybrid of British pomp, doggedly artistic concept, and arena boogie, all served up with more violin than there is flute on a Jethro Tull album. It's hard not to admire their blatant ambition in one sense, since few bands try as hard as Kansas do here. Still, there're a lot of scales and arpeggios, galloping triplets, dramatic organ, and stately ...
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Kansas stood apart from their peers, since they were an American band that dared play on the epic scale of such English art rockers as Genesis. Consequently, Kansas is a truly weird hybrid of British pomp, doggedly artistic concept, and arena boogie, all served up with more violin than there is flute on a Jethro Tull album. It's hard not to admire their blatant ambition in one sense, since few bands try as hard as Kansas do here. Still, there're a lot of scales and arpeggios, galloping triplets, dramatic organ, and stately ballads that signify nothing and go nowhere. Since it's as grounded in boogie as it is in art, the group never gets as weird as their more interesting counterparts, but that reliance on arena rock does make them unique. But uniqueness isn't the same as good, or even interesting listening, even if Kansas remains a period piece like no other. [The 2004 reissue boasts improved sound, new liner notes, and one bonus track: a live "Bringing It Back" recorded in 1975 at the legendary Agora Ballroom in Cleveland.] ~ Stephen Thomas Erlewine, Rovi
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