| Musical Style: Progressive Rock | Produced By: Kerry Livgren |
| Record Label: Inside Out | Country Of Origin: USA |
| Year Released: 2006 | Artist Website: Proto-Kaw |
| Tracks: 11 | Rating: 90% |
| Running Time: 66:13 |
proto- /proto/ pref. first in time; earliest
kaw- /kaw/ n. Native American word for Kansas
Proto-Kaw. The name makes perfect sense. Particularly when you consider that four of its current member where part of the progressive rock group Kansas in its “second incarnation”- before it changed its lineup and went on to great commercial success with the hits “Carry On Wayward Sun” and “Dust In The Wind”. Proto-Kaw can actually trace its most recent beginnings to the decision by Cuneiform Records in 2002 to re-issue onto CD the old demo tapes the band recorded in the early seventies under the title Proto-Kaw: Early Recordings From Kansas, 1971-1973. When the original members of “Kansas II” got together to celebrate the CD and renew old friendships, an impromptu jam session took place in which some of the old magic started to reappear. As a result, the group discussed the possibility of reforming. Guitarist and keyboardist Kerry Livgren, at that point, posed some serious questions: What would the band be doing had it stayed together? What would it sound like now? There was only one way to find out- and that would be to go into the studio. With five of its original members participating, Proto-Kaw soon began the recording process of its 2004 sophomore effort Before Became After. Featuring a blend of old material and new, Before Became After showcased a decidedly progressive rock sound that, at the same time, reflected elements of jazz rock fusion, classic rock and even jam band tendencies.
Proto-Kaw returns in 2006 with a new album of all original material entitled The Wait Of Glory that brings to the table more of the same type of versatility found on Before Became After. And versatility is the key word here in that The Wait Of Glory is a virtual melting pot of jazz, hard rock, rhythm & blues, funk and jam band elements all combined over a foundation of Kansas-style progressive rock. Of course, the Kansas elements in the bands sound come as the direct influence of its former guitarist/keyboardist Kerry Livgren. The mastermind behind Proto-Kaw, Livgren remains at the top of his creative game in the songwriting department while showcasing his still vibrant abilities on rhythm and lead guitar. Joining Livgren are original “Kansas II” members Lynn Meredith, John Bolton and Dan Wright. Meredith proves a particularly talented vocalist, bringing out the best in the bands sound with his warm but gentle classic rock flavored voice. Bolton contributes further depth to the group with his work on saxophone and flute, while Wright adds just the right touch on organ and keyboards. Mike Patrum replaces the bands original drummer Brad Schulz – who participated on Before Became After – and combines with bassist Craig Kew to round out the rhythm section. The one new addition to the group is Jake Livgren – Kerry’s nephew – who plays a “jack of all trades” role in filling in on guitar, saxophone, percussions in addition to contributing lead vocals to one track.
Production values literally breaths life in allowing all the instrumentation to cleanly rise above the mix. I am quite impressed with the way the bass guitar stands out, especially during the instrumental portions to “Nevermore”, “When The Rain Comes” and “The Vigil”.
While The Wait Of Glory is not a Christian album, its lyrics directly reflect the faith of Livgren. Christian imagery abounds, best showcased on tracks such as “When The Rains Come”, “At Morning’s Gate”, “Melicus Gladiator” and “The Vigil”.
The albums first four tracks represent some of the most inspired work from Livgren since Kansas’ Leftoverture, his 1980 solo effort Seeds Of Change or perhaps AD’s Art Of The State.
The symphonic progressive rock of nine minute album opener “Nevermore” begins to a dark and moody orchestral introduction that picks up in pace as Livgren’s crisp rhythm guitar is interlaced with Bolton’s flute. Tapering off as the rhythm guitar drops from the mix upon reaching its first verse, “Nevermore” slowly moves ahead as keyboards stand in support of Meredith’s emotional vocal delivery. After gaining momentum in an acoustic laced manner for its second verse, the song reaches an atmospheric chorus with a hook guaranteed to pull you in on first listen. “Nevermore” repeats its chorus two more times prior to making a time change to a lengthy hard rocking jam session in which guitar, organ and keyboard solos lead the way.
An ominous mood is set as the Kansas influenced “Relics Of The Tempest” commences to a sweeping keyboard solo that, after several seconds, is interwoven with a flute. Subsequent to a touch of rhythm guitar carrying the song through its first and second verse, an acoustic guitar takes over and leads the way to a resounding chorus with one of those catchy hooks that will refuse to go away. Livgren’s majestic lead guitar work helps buttress a nice lengthy instrumental passage. My impressions? Not only is “Relics Of The Tempest” perhaps the albums catchiest number, but if it had been recorded by Kansas during its seventies heyday, I cannot help but think it would have generated significant airplay.
Opening at an upbeat tempo to an extended jam session in which a hard rocking rhythm guitar is backed by eerie sounding keyboards, the emotional “When The Rain Comes” abruptly makes a time change upon slowing for its first verse. Moving forward at a near crawl, lush vocal harmonies accentuate the song in catchy fashion during its second verse before it flows to an ethereal chorus highlighted by Bolton’s Tull-like work on flute. An extensive instrumental section is flawlessly propelled by an edgy rhythm guitar backed by a blend of flute and organ. Beautiful song. I find the lyrics to “When The Rain Comes Down” to be nothing less than inspired:
Now life is raining
Down upon the earth
Cleansing all who seek the truth
It’s steaming from above
A mighty hand
Brings the dream of endless youth
We’re walking in the
Vale of darkness no more
“On The Eve Of The Great Decline” proves the albums quietest but most haunting track. After an acoustic guitar carries the song through its first and second verse in a portentous fashion, vocal harmonies enter the mix in time to support an emotionally charged chorus giving rise to a sublime ambience. A lead guitar and flute trade off shores up a fleeting instrumental passage moving at a nice leisurely pace. Meredith really shines here with his smooth sounding vocal delivery. The only complaint worth mentioning is that the song is not longer. As its title implies, “On The Eve Of The Great Decline” talks about the decline of civilization:
Dumbing down the culture
Chaos on the rise
Watching all the beauty as it’s waning
Scene is so familiar
Like words that I have read
The world is lost but soon a new one gaining
A jazz flavored instrumental section gets “Physic” off to a strong start as Bolton and Livgren dual on saxophone and lead guitar respectively. Slowing to a funk-laden mid-tempo pace for its first verse, the song gradually gains impetus until it reaches a very fine smooth sounding chorus sustained by vocal harmonies. A keyboard solo opens a minute long fusion-based instrumental passage driven by a nice gritty guitar solo.
After a blend of cello and piano introduces the ballad “At Morning’s Gate”, the piano continues to quietly carry the song through its conclusion as it give prominence to some of the albums best lyrics:
At the potters wheel
In the sculptors hand
We are being shaped
For a better land
Where the winters chill
Is the summers warming sun
And life has just begun
The cello returns to help carry a brief but grand instrumental passage.
“Melicus Gladiator" is a terrific hard rocker with a bluesy feel that brings to mind the classic Kansas track “Mysteries And Mayhem (from Masque). As a matter of fact, Jake Livgren, who handles lead vocals here, is a near dead ringer for Steve Walsh. Once the song slowly fades in, a driving riff pushes it at forward at an upbeat tempo until the rhythm guitar proceeds to the front of the mix and lays the foundation of a good energy-laden chorus. As the song picks up in pace, it expounds upon its subject of spiritual warfare:
Swords wrought
With words of steel
More than a man can feel
Not alone the flesh and bone
Are matched against a foe
Rising, turning, falling, burning
To the earth below
Livgren follows with a nice fast fingered guitar solo to open an instrumental passage with a jazz-fusion like feel.
Proto-Kaw returns to symphonic progressive rock territory on the melancholic semi-ballad “The Vigil”. Beginning quietly to a blend of acoustic guitar and piano, “The Vigil” gains impetus during its first and second verse until it breaks out with an abundance of emotion for an ambient chorus backed by Bolton’s flute. A wonderfully protracted jazzy instrumental passage slowly but softly moves ahead as keyboards, piano and Kew’s bass are all allowed to shine. The songs melancholic feel is reflected in its lyrics:
We were never alone, for it’s chiseled in stone
There’s a place in the heart that reveals it
We can run for a time, but the mountain we climb
Is a door that is closed – something seals it til’
We’re standing outside – wanting in…
The more upbeat “Old Number 63” combines elements of funk and hard rock while reflecting a rhythm and blues vibe as well. After the song moves through its verse portions to spoken word delivery from Meredith, it escalates in momentum prior to transitioning to a short-lived but intensely delivered chorus with an energetic feel. A raucous instrumental passage features several distorted guitar solos that give way to a literal wall of keyboards backed by a horn section.
“Osvaldo’s Groceries” is a quirky instrumental that brings an assortment of styles ranging from jazz fusion, funk, polka, hard rock and even ska. How is that for variety? Livgren tops things off with a biting guitar solo.
The album closes with the majestic progressive rock of “Picture This”, a stunning track that brings to mind “Ground Zero” from Livgren’s 1980 solo effort Seeds Of Change. The piano slowly leading the way through the songs first three verses helps to give it an almost ethereal feel. Tapering off to a near standstill, “Picture This” attains a fleeting chorus conveyed in a grand and stately manner by a piano in the background. Following an instrumental passage carried by an orchestral guitar solo, the pace picks up as the rhythm guitar moves to a forward place in the mix and takes things to their close. The songs chorus is repeated one last time but in a more symphonic fashion in being backed by a blend of rhythm guitar and pounding drums.
Review by: Andrew Rockwell
Track Listing: “Nevermore” (9:15), “Relics Of The Tempest” (5:06), “When The Rain Comes” (8:54), “On The Eve Of The Great Decline” (4:49), “Physics” (5:42), “At Morning’s Gate” (3:08), “Melicus Gladiator (4:50), “The Vigil” (7:18), “Old Number 63” (6:50), “Osvaldo’s Groceries” (3:15), “Picture This” (6:30)
Musicians
Lynn Meredith – Lead Vocals
Kerry Livgren – Guitars, Piano, Keyboards & Percussion
John Bolton – Tenor & Baritone Saxophones & Flute
Dan Wright – Organ & Keyboards
Jake Livgren – Guitar, Alto Saxophone, Percussion & Lead Vocals
Craig Kew – Bass
Mike Patrum – Drums
Guest Musicians
Daryl Batchelor – Trumpet & Flugelhorn
Also Reviewed: Proto-Kaw - Before Became After, AD - Time Line, Kansas - Vinyl Confessions, Kansas - Somewhere To Elsewhere, Kerry Livgren - Seeds Of Change, Kerry Livgren - Collector's Sedition (Director's Cut)
Also See: A Musical And Lyrical History Of Kansas
Videos: "Relics Of The Tempest"
