Many of us Kansas fans were probably frantically worrying when Kansas' first two albums -- 1974's s/t debut, and 1975's _Song For America_ -- would get the remastering treatment, since such other classics as 1975's _Masque_, 1976's _Leftoverture_ and 1977's _Point of Know Return_ had already gotten their shares. Well, we are finally able to put our worries to rest, as _Song For America_ is *finally* here in all it's remastered, and expanded glory. And, like the other remastered editions, there are bonus tracks; of particular interest is the exciting, rocking live version of "Down The Road", which is packed with so much infectious energy, it'll be hard to sit still.
This album has always been a sentimental favorite, and I only seem to enjoy it more and more as time goes on. The album seems to be divided into two conceptual halves: three elongated progressive rock tracks, showcasing the *prog* side of Kansas, and the other three tracks showcasing Kansas' earthy heartland rock, blues and boogie elements. "Down The Road" is a tasty, boogie-filled foot-stomper featuring violin scrapes that recall country music. An excellent opener to the album. The title track, to me, is far beyond brilliant, and shows Kansas at their most compositionally insightful. It contains all of the elements - and then some - to make an engrossing, enjoyable piece of music. Perfect and emotive vocal harmonies, brilliant arrangements, thoughtful lyrics, melody, convincing anthemic/dramatic attributes, which refrain from coming across as silly -- it's a 10. Everything just seems perfect: not a wasted note, no unnecessary meandering or imbalances. Even the quirky, yet powerful 9/8 instrumental section near the end of the song avoids sounding indulgent. This title track deserves all of the praise it gets - the kind of song in which it's power will still stand even after everything else has faded away. "Lamplight Symphony" is beautiful, lush and poignant. The lyrics concerning a man yearning for his deceased wife have been critcized for being corny, and I can understand that. But, in the end, it's the powerful musicianship that matters. I especially love the overlapping of (orchestral: synthesizer) ascending and descending phrases on this track: contrapuntal lines that could be on the level of those found in classical music. Gives the track extra doses of power and drama.
"Lonely Street" is a fascinating blues study in 11/8. Odd-timed and atypical (for blues), the guitar crunch on the verses exude an utterly menacing tone (to match that of the dark lyrics), while Steve Walsh's vocals plow along mysteriously, before he reaches this passionate climax near the end of the song. Overwhelming stuff. "The Devil Game" is excellent, as it reminds me of the kind of song that would be found on MASQUE ("Mysteries and Mayhem" comes to mind) and later albums - therefore reminding me of the *condensed brilliance* Kansas would show more of on later albums. A hard song to describe, sonically speaking, it's a condensed hard rocker, but contains enough complexity to remind one of the *classic* progressive rock attributes. "Incomudro - Hymn to The Atman" is a 12-minute mystical study. 80% of the track is instrumental featuring ethereal and encircling synthesizer textures, brief vocal parts, which at times sound like they are emerging from underwater, and later, a machine-gun drum solo from Phil Ehart. While this track is very compelling on it's own, the unissued live version found on THE KANSAS BOXED SET is an even more exciting listen. The drum solo is extended, and the passionate ending even lasts longer - and the musicianship is crisp, clean, clear, and the band doesn't miss a beat on that 16-minute blast of nirvana. Nevertheless, both are strong, and each have redeeming value on their own terms. I feel blessed having both versions, as I feel both are necessities (for me, anyway.)
Kansas are brilliant musicians in my book, and this album does not disappoint. It shows just one of the many facets this band possesses.