THE WAIT OF GLORY

Proto Kaw blew me away with their previous album "Before became after" and I was eager to hear the long awaited follow up. To make a long story short : The wait of glory is another fine album with inspired melodies that appeal to everyone who like the melodic side of this genre. Strange enough the ghost of Kansas is more present here than ever before especially on the first three tracks. Most of the time the atmosphere has a laid back feel but the music is interrupted several times by bombastic instrumental excerpts in the Kansas vein. There's an orchestral sound popping up every now and then which gives a full blown sound. There's also an eastern influence in some of the orchestration. Both this and the use of exotic percussion adds to the diversity of the sound of this record. The pastoral atmosphere sounds even more smooth on calm, slow tracks like "The vigil" & "On the eve of the great decline". Here the focus is on the beautiful melodies, provided by the splendid voice of Lynn Meredith. I just can't believe he's been silent all these years between Proto Kaw and the first Kansas incarnation. Combined with the philosophical lyrics, he seems to move me several times. On this album he shares some of the vocal duties with Jake Livgren who has been added to the line-up since the release of BBA. His voice sounds rather raw which makes it suitable for a wild rock track like "Melicus gladiator" that would have fitted on a Kansas record.

But Proto Kaw also stands for adventurous musical twists and turns. Though not entirely instrumental, tracks like "Physic" or "old number 63" are exciting jazzy jam sections with a party feel to it. This shows the musical capabilities of the players at their best. The vivid way this sounds comes close to their live performances. Same thing for the instrumental Osvaldo's groceries". On these tracks the sax parts from John Bolton are essential to the mix of progressive rock, jazz rock & psychedelic rock. On the first tracks he plays the flute which adds a folkish element to the music, somewhat reminiscent to Jethro Tull. "Picture this" is obviously the highlight of the album. This shows what this band is capable of. You'll find a rich musical atmosphere wrapped around an optimistic, yet reflective, lyric. Somewhere in the middle there's a really nice interlude sung by Jake. Also the emotional ending part is truly wonderful. I wouldn't have dreamed this pearl wasn't included on "The wait of glory". You'll find more of these atmospheric gems on the previous record and maybe this leaves me a bit disappointing. This album sounds a bit too even, especially the first part of the record is getting too soft sometimes and some excerpts are simply too long. Moreover I have the feeling I've heard it all before.

The bonus track "One fine day" is also worth mentioning due to the soul and pop influences, the harmonic vocals and the splendid melody. The sound of a blazer section in a pop song is reminding me of a band like Toto.

Conclusion : The songs on this record are extremely well crafted & the melodies are inspired. Those who liked "BBA" will like this one as well but will find a band failing to maintain the refreshing effect of that album. Still this is a very good album. If you like melodic progressive rock, Kansas & fusion, you definitely need to check this out by listening to this record or seeing them performing live. You can catch a glimpse of what to expect of a live performance on the bonus dvd which is included on the special edition of "The wait of glory".

***For best results this CD should be listened too using headphones*****

Continuing the dream that started with the release of the Early Recordings of Kansas 1971-73 and Before Became after Proto-Kaw throws this statement called The Wait Of Glory as a gauntlet at the feet of the music industry as if to say ignore us at your own detriment. Following up a successful Before Became After Proto-Kaw avoids the second effort jinx with what may be the progressive CD of the year.

This CD was recorded in October of 2005 in Kansas. This is the first effort with all brand new songs written by Kerry Livgren and with this band in mind. The drummer seat changed with Mike Patrum taking over for Brad Stoltz and Jake Livgren was given a part in the recording band as well as his very important part of the touring band. (Jake has a great ear and plays; guitar, sax, percussion and sings backing vocals live.) This CD is a great mix of a variety of sounds and genres. Livgren is never afraid to explore new territory in his songs and this collection of songs is a perfect example of that.

Almost space rock in parts, Symphonic in others. King Crimson, Gentle Giant, Jethro Tull and Kansas are certainly influences here but there are so much more! Great harmonies in both the vocals and instruments you can even hear a little metal thrown in. Of course the jazz/rock fusion is still there but there are even some touches of AD and some other of Livgren's solo songs and even reaching back to the spirit of the Early Recordings CD. The band itself is maturing right before your ears. This isn't just a fun little project of old friends this is a serious statement that they can compete with any band on any level. If this CD does not get you by the 4th song you won't like it but I'll bet my life most of you will.

John Bolton uses much more use of flute than on BBA which gives the band a Jethro Tull sound and even English folk music in parts. Listen to the instrumental parts in When the Rains Come for a perfect example of that.

Craig Kew's bass playing is stellar. Influenced by Jaco Pastorius he is really coming into his own as one of the top bass players in the industry. Mike Partum's drums are fitting comfortably in the mix and he and Craig work very well together.

Dan Wright is a solid keyboardist playing some down and dirty rhythms and some great solos. It is hard to believe this guy didn't even play for 30 years.

It is hard to believe but Kerry Livgren at this stage of his career is getting better as a soloist and still can deliver some beautiful piano tracks.

Lynn Meredith's voice is great and used differently than on BBA. I think Lynn has confidence has grown the more he sings. The use of Jake Livgren on the lead vocal on Melicus Gladiator gives a harder edge and almost metal sound. The harmonies created by the three Lynn, Jake and Craig are some of the best harmonies I have heard in a long time.

On to the songs. At Mornings Gate is the most ballady of all the songs but it is beautifully done with the piano, flute and choir voices on the keys almost brings tears to your eyes. The Vigil is fast becoming my favorite track on the CD. A beautiful vocal intro that transcends into a beautiful melody featuring Flugelhorn, played by Daryl Batchelor who also plays trumpet on a few songs, flute, synth and piano it reminds me of a slower ELP moment like Take a Pebble in its spirit. Fantastic song.

Old Number 63 is what Kerry Livgren said is progressive R&B and you know what he is right. Lynn does some blues wailing in the intro that reminds me of Warren Ham from AD. Then we get a spoken vocal line almost a rap type verse but the chorus is beautifully harmonized. The instrumental section is fabulous with the band get down right funky in the rhythm line but keeping the mix of runs just going strong. Kudos to Craig and Mike and Dan for that. The soloing is fantastic. The melody lines in this CD are some things I have really never heard Kerry record before. This is a very unique song and I keep hitting the replay button on this one.

Osvaldo's Groceries is an instrumental song that is reminiscent of Frank Zappa's maniac fun stuff. Some fun vocal effects but overall some killer playing. There are all sorts of things going on in this song.

The CD ends with Picture This which is another epic symphonic song in the style of Theophany, its Livgren at his best.

However all that said in my mind the best song is On the Eve of the Great Decline which should be played on the radio. It is a shorter song but it is not really pop more like Pink Floyd if that is even a valid description. In the similar style of Byzantium from Kansas Somewhere to Elsewhere CD it conjures a mystic feel throughout causing a darker emotion than most of this bands output. It may be this song that makes this band fortunes grow. We shall see.

The bonus song on the special edition is called One Fine Day. A real good R&B (in the traditional sense) song that could get radio airplay. Nothing Special but well played.

The special edition also comes with a DVD with three tracks from the Progressive Legends Pre Show at Nearfest 2005. The songs aren't the best ones they play but the video is great and the visuals are fantastic and the sound is clear. For those of you wanting to know what these guys are like live this is a good place to start. We can only hope the rest would be released soon!

The Artwork and design is also a 5 star performance by Ken Westphal who starting to become my favorite cover artist in the modern century.

This is the real deal and the full package. This is the CD that defines Proto-Kaw and will be their measuring stick for all future releases. Take a ride with a band that knows where it is going. For those of you who scoff at Kerry Livgren I would like to challenge you to anyone from the 70's who has released two stellar examples of progressive rock in the new millenium that are of equal value? 5 Stars

In 2004, Kerry Livgren rejoined his old friend's in his pre-Kansas band Proto-Kaw. They took a roll of the dice with Before Became After, as Livgren says, and the response was incredible. In 2002 they dug in the archives and released Early Recordings From Kansas 1971-1973, which was Proto-Kaw, and that is what started the ball rolling. Now its two years later and they have returned triumphantly with yet another masterpiece called The Wait Of Glory.

I have been spinning this disc for two weeks solid now, listening for different nuances that I did not catch from the previous listen. It works that way with the interesting complex musical structures that Proto-Kaw offers. While I loved Before Became After, I think this album shows more maturity and cohesiveness as a unit. Although the first album was an experiment of sorts, it worked very well and I think this album is one-step better, although I could not imagine that prior to hearing this.

Livgren is one intense writer; he is a Christian on a mission to spread his word through some of the most intriguing and attention-grabbing music made today. This is as good as or better than anything that he did with Kansas. He writes about the excesses of man, his demise, and the dangers of the proliferation of his soul. It could be very dark music but it is not as each track has plenty of light and hope waiting on the other side. As they say, there are two sides to every story.

The emotional opening track "Nevermore" suggest that there is no more need to cry or die, it is what the Great Spirit has in store for us if we live right and seek the light. Lynn Meredith is a fantastic vocalist; he takes Livgren's lyrics and makes them come alive, although I cannot help but hear Steve Walsh at times, especially on "Old Number," I swear I heard Steve chime in with some background vocals, and on "Melicus Gladiator" he sounds very similar to Walsh as well. Meredith does a good job carving out his own territory as a vocalist and sounds original for a majority of the album, but just as on the first album, I cannot help but make that comparison and it is of course a high-level compliment from my viewpoint. The most moving and rich track for my listening was "When the Rains Come," the lyrics really touched my soul. Lines like "The rain will fall with life," give you hope and optimism for a better world.

Kerry Livgren is the consummate artist articulating his deepest thoughts and beliefs through his music, and there are few as prolific anywhere in the world. He could not have aligned himself with a better group of musicians. Some of the changes in the compositions you hear will make your head spin; take "Osvaldo's Groceries" for instance, which is the shortest running track on the album clocking in at just over 3 minutes. The band changes tempo at least 10 times during the course of the composition. This band's modus operandi is to keep you on your toes and listening for changes while intently focused on their lyrics. It requires deep introspection and multi-tasking listening abilities-there is no question about that.

I will say it now; this will easily be one of the top prog-rock albums of 2006. As Before Became After will go down as one of the prog-rock classics, The Wait Of Glory will make Proto-Kaw legends in their own time. This is not to be missed, another perfect 10.

© Keith "MuzikMan" Hannaleck-http://www.muzikreviews.com

CD: As a huge fan of the early Kansas and the powerful, very distinctive guitar play by Kerry Livgren, I was very curious to this CD/DVD set. Well, after a first session I was very impressed, what a professional band and what a splendid music! Most of the twelve compositions sound swinging and dynamic featuring fluent shifting moods, good vocals, great interplay and strong soli on guitar, keyboards, saoxphone and flute. The focus is on Kerry his excellent guitar work, delivering many fiery and biting solo and powerful guitar riffs. But the keyboards are also outstanding, from mellow organ waves to bombastic synthesizer flights. Some tracks sound more mellow or dreamy (acoustic guitar, piano, romantic vocals) and one song even reminds me of early Madness featuring a cheerful rhythm and catchy interplay between organ and saxophone. At some moments the music evokes early Kansas (interplay between bombastic organ and fiery electric guitar) but also, how chauvinistic, Dutch band Alquin because of the swinging and powerful climates, the saxophones and the vocals.

The DVD was recorded live at the Progressive Legends Showcase in 2006, it has a running time of almost twenty minutes and contains 3 songs: 1. The Occasion of Your Honest Dreaming (6:12): It starts with a distorted guitar solo by Kerry, then a swinging rhythm with strong interplay and soli on flute and guitar, the music rocks! 2. Words of Honor (4:20): This is a wonderful ballad that alternates between dreamy (piano, vocals) and bombastic (organ, electric guitar), very compelling but also a bit polished. 3. Skont (8:01): The highlight on this short DVD! Kerry plays this time not on his black Fender Stratocaster but on an oddly shaped, Gibson-like guitar, he delivers two great, often biting soli. The strong interplay between the saxophone and rhythm-section evokes early King Crimson. But the focus is on the keyboard player with a mindblowing solo on his digital Hammond organ, strongly build-up and supported by Kerry's heavy guitar riffs, FANTASTIC! The visuals on this DVD are at the level of functional (some wonderful blue spot lights) but the band plays outstanding, if you get the chance to buy this box set instead of only the CD, take your chance!

21st Century Symphonic Prog Done Right!

I for one can not explain why I got this release. I never liked Kansas nearly as much as I liked classic 70's Symphonic Prog groups, however, knowing that a new release is out by the group, which consists of many members of the famous American group, I decided to give it a spin, initially expecting I would not like "music made by geezers in the new century".

Boy, was I wrong! This music reveals the age of the musicians in the way of experience and skill developed over the years not in the way of derivative, boring and aged ideas. Speaking of the latter, the sound hasn't just aged well, for it has adapted the ideas of the modern music as well - while it clearly sounds like old Kansas at times, also taking after other 70's classic groups on the top of this site's lists, it features a more modern sound, crucial to being accepted even among the more loyal fans, as well as interesting ethno-folkish twists. Besides of course Kerry Livgren's inspiring guitar playing, one needs to tribute also Lynn Meredith for his emotional singing and John Bolton, who inspired you to learn to play the flute even better.

Album's grand opener Nevermore is also, in my opinion, one of the most powerful tracks here, and I can spot even some Eastern influences in the music. Overall, it is an emotional, strong, atmospheric song with vocals that are sadder than on any other track on the CD. Relics of the Tempest and When the Rains Come contain some of my favourite John Bolton's work, whereas The Vigil should be pointed as the happiest song here, which one could call the hymn of our life. Osvaldo's Groceries, an instrumental, is the album's most technical, weird track but also quite interesting. I especially like a few parts from it. Old Number 63, with elements of both traditional rock'n'roll and jazz fusion, is also one of my favourites here - a fun song with a great rhythm section that almost sends the listener dancing. One also can not forget to mention Craig Kew's excellent basswork not only on this track but on the album as a whole - creative bass playing that is present and can be heard throughout the record! Overall, I have to say that the songwriting is great, the musicianship is top-notch and has no faults whatsoever and every song shows the group's special sound, offering something new.

Therefore, the conclusion drawn is that The Wait Of Glory is arguably one of the most important releases this year and should have a place in the collection of every person who appreciates the classic 70's prog sound. Not often does it happen that a group of musicians, who have been in it for a long time, can put out an album as interesting, and refreshing as this! If you, by any chance, come to thinking whether you should get this or, say, the new Flower Kings/Tangent, without hesitating this should be your choice! Not only are the artists behind the music the pioneers of the scene but they still have more energy and passion combined with songwriting talent incomparable to that of other retro/neo/modern Symphonic prog groups nowadays. I had previously lost faith in buying Symphonic prog records done after the golden age and did not regret my purchase, and neither should you! Get this if you have the chance, as it is one of the finest examples of talent that doesn't fade with time! A solid, excellent addition to any prog music collection easily!

Wow! Toto, we’re not in Kansas anymore.

Proto-Kaw’s latest work takes a quantum leap into new territory, out of the past and into what is hopefully the future of progressive musical art. The Wait of Glory was worth the wait, and at least for me has exceeded whatever expectations I may have had of the band. I have to believe that anyone giving this album an objective listen will find something to like about it. The arrangements are brilliant and well-crafted and the musicianship is easily the best of their three efforts to-date. I can already tell this is going to be a long review – sorry, my bad.

The band has made a few small adjustments to the lineup, but these have paid huge dividends in their sound. Brad Schulz is out on drums, replaced by Kansas City native Mike Patrum. Kerry Livgren’s nephew Jake has also been added as the official seventh member of the band. Jake Livgren brings with him not only his three-generation musical pedigree, but also an impressive multi-instrument talent that includes guitar, saxophone, a variety of percussive gadgets, and a pretty good voice to boot. The result is a band that is polished, vibrant, and capable of producing some incredibly rich sounds. These guys are without a doubt a musical force to be reckoned with. Each track is an adventure, and after four months and at least a hundred listens, I can say with confidence that there is very little fluff or wasted space in this 70 minute offering.

The opening track is “Nevermore”, a nearly ten minute long work with an attention- grabbing lead-in that features Kerry’s fierce guitar offset by John Bolton’s flute and Patrum’s take-charge drums setting an appropriately proggy tempo. Lynn Meredith continues to impress with his vocal interpretations of Kerry’s lyrics. Meredith has one of those voices that command attention with its richness rather than by overpowering with volume or ear-piercing range. This guy is going to end up as a featured guest on some big artist’s next studio album, methinks. The chorus features a two-vocal round with (I believe) Jake Livgren providing the backing voice. The band actually has three solid vocalists as bassist Craig Kew also sings backing throughout the album. Kerry sings too, but note that I did say “solid” vocalists. Around the middle of the song the entire band cuts loose with about a three minute instrumental sortie featuring Dan Wright on multiple Hammonds, Livgren alternating between guitar and keyboards, and Kew basically going nuts on bass. Kew didn’t really stand out much on the band’s previous album, but here he clearly establishes himself as a major part of the band’s overall sound both in setting the tempo, and with his vocal contributions. Eventually Meredith and Jake Livgren wander back with a closing chorus, and Kerry takes us out with another impressive spider-web of guitar work. Lyrically this is another one of Kerry Livgren’s ‘Thank God I’m a Christian Boy” themes, but very tasteful and more of a celebratory expression of his own faith and not the kind of preachy condemnation of the unwashed hordes that some of his early solo work tended towards. Livgren seems to have finally come to the realization that the Christian walk is more about being a living example than it is about trying to scare the crap out of people. Overall this is a top-rate work that can hold its own with the best progressive music being created today.

There is no letup on “Relics of the Tempest”, and actually Meredith manages to stretch his range quite a bit on this one without sacrificing anything in tone or emotion. This is another “Left Behind” second-coming story –

“They said they knew the reason, the experts all agreed.

Life will manifest in due season, it’s been decreed”

and the tempo reflects the somber and menacing feeling that such an event would likely engender in those in the ‘behind’ category. The lead-in and tempo are rather similar to “Nevermore”, but here the band skips the extended-play instrumentals and gets right to the point. There is also quite a bit more emphasis on vocals here with Meredith’s lead being augmented by both Livgren’s and Kew on the chorus. Instead of an extended instrumental bridge in the middle, there is simply a short contribution by Bolton on flute. Of all the songs on the album, this is the one that seems to have an ever-so-slight Ritchie Blackmore bombastic rock feel to it which I suppose is not surprising considering the average age of the band members and their inevitable influences.

The layered backing vocals interspersed with Bolton’s flute continue on “When the Rains Come”. While the previous song was heavily focused on vocals and guitar, on “Rains” Wright asserts himself on keyboards quite a bit, including a very nicely done interaction with Bolton on flute toward the middle of the work. Patrum spends quite a bit of time above the rim on drums, which actually comes off nicely given the somewhat somber tone of the song, and Kew wanders off amusing himself (and the listener) on bass again. I have to believe that there was a fair amount of collaboration in the studio as the band members learned the parts Livgren had written for them and added their own interpretations, because this doesn’t sound nearly as tight and precise as what Livgren’s compositions usually come off like. In this case this is a very good thing, because the result is very rich in instrumentation, varied in tempo, and unique in sound. Listen to this and to “Skont” from the first album for a very good view into what this band’s overall musical thumbprint sounds like.

The message in “On the Eve of the Great Decline” should be evident from its title. Musically this sounds a bit closer to “Leaven” and “Axolotl” from the band’s second album. There are actually at least four major tempo changes here, although the song itself is only a bit over four minutes. Wright seems to fade into the background a bit here again, in favor of Bolton and Livgren. There is definitely a stronger emphasis on guitar with this album than on the previous two.

Livgren actually manages to surprise with “Physic”, one of the very few songs he’s written in the past quarter-century that isn’t dealing directly with either salvation or with the threat of the alternative. This is an introspective work that speaks to our innate yearning to understand what came before us, and what the past means to the present and to the future. This was probably also meant to point to Livgren’s version of the holy grail, but it’s abstract enough to be relevant even to those who don’t share his views on that point. Wright takes his turn to go nuts on this one, with some keyboard scales that can only be described as funky. Daryl Batchelor (another Kansas native) guests on trumpet and flugelhorn, giving the song a bit of an overall jazzy feel that is complemented by Kew and Patrum’s tempo. One thing that should be noted about this band that distinguishes them from the vast majority of American progressive artists – this is not a blues-dominated band. Sure, there’s some influence evident, particularly in much of Livgren’s guitar work, but there are far more jazz/fusion tendencies throughout than there are Robert Johnson tributes. These guys may have come out of that generation of 60s and 70s American blues rockers, but they have clearly created some distance between that past and their current artistic leanings.

“At Morning’s Gate” is a short work that opens with a peaceful flute/piano arrangement (most likely Livgren on piano), and overall this sounds like the kind of song that could easily be sung around a campfire to an acoustic guitar at summer church camp, which it undoubtedly will be. Musically this is an interesting change of tempo, and suggests the band may have the sensibility and capacity in them to produce a ballad-like work in the future.

Jake Livgren provides the lead vocal on “Melicus Gladiator”, and my goodness – this guy is a bit of a rocker! His voice has a very edgy sound to it that isn’t as comfortable to listen to as Meredith’s, but sometimes that a good thing. The tempo here is fast but not at all labored, showing that these guys still have plenty of gas left in their tanks. The trifecta of Wright’s keyboards, Kew’s bass and Patrum’s drums are never stronger than on this track, and combined with Jake’s voice offer a whole new dimension to the band. These guys have a whole pile of weapons they have yet to explore, and this song shows that this is starting to dawn on them. Expect many more creative surprises on their next studio work.

If I didn’t know better (and I don’t) I’d say that “The Vigil” is part two of the old epic Livgren wrote for Kansas some thirty years ago – “The Wall”. Check out the lyrics for yourself and draw your own conclusion. Meredith outdoes himself on vocals here, with a shockingly earnest, almost pleading cry of a chorus –

“There’s a love so amazing, it’s a life that turns the tide;

this elusive thing we’re chasing, is the one to stand beside”.

This is another ballad candidate, with Livgren again on piano and Bolton on flute, along with three singers jointly achieving a two-part harmony. Very nice.

Batchelor is back on trumpet for “Old Number 63” with another funk-influenced number. I’ve read the lyrics for this song numerous times, and have come to the conclusion that this is Livgren’s equivalent of the old Foreigner tune “Juke Box Hero” –

Livgren: “He wanders on the sidewalk, he daydreams in the street. He can’t keep it together, no rhythm to his beat. The morning turns to evening, the evening turns to night. The darkness feels so empty, with no relief in sight”.

Foreigner: “Standing in the rain, in a heavy downpour; thought he’d passed his own shadow, by the backstage door. Like a truck through the past, that day in the rain – and that one guitar, made his whole life change”.

Livgren’s life-answer is different of course, but the similar theme strikes me when I hear this one. Heavy drums and lots of percussion along with the brass result in showing yet another dimension to the band.

“Osvaldo’s Groceries” is an instrumental (if you don’t count a few words of shouted dialog from time to time), and the most unique thing in this band’s catalog. This is nothing but a jam session, and it showcases just how well these guys all fit together. This will without a doubt be played live – a lot.

The band returns to more familiar territory with “Picture This”, a multi-tempo’d work with characteristic soaring guitars from Livgren, but also some very rich bass and Jake Livgren throwing in a number of small percussive efforts, including bongos and tambourine. Meredith resorts to a little bit of studio vocal manipulation here, but about the time you notice it Wright kicks in with some tasty keyboards and the transgression is forgotten.

The album finally winds down with “One Fine Day (I’ll be There)”, a final gaze-toward- heaven message from Livgren. This one actually surprises me with it’s heavily 70s feel, reminiscent of much of the music on Livgren’s 1981 solo debut Seeds of Change. Kew outdoes himself on bass, and the melodic, multi-faceted vocal arrangements call to mind 70s bands like Orleans, Gred Kihn, and John Hall. This is just a flat-out feel-good rocker, complete with alto saxophone, rolling drums, and an upbeat tempo. A great mood to end the album on, and clearly another concert staple to come.

The special-edition boxed-set includes a twenty minute DVD from a 2005 concert with two songs off their second album and “Skont” from their 2002 recreated collection. While we old farts sometimes rant on about the postage-stamp artwork and sterile packaging of CDs compared to the ‘good old days’ of vinyl, I have to say that I am fast growing to appreciate the value and power of the bonus DVDs that come with much of today’s music. There is no substitute for seeing a band live, and if you can’t a few lives videos is almost as good as being there. The 70s had nothing on those discs, and kudos to labels like Inside-Out and Magna Carta that are doing this more and more now. Let’s just hope this becomes the expected norm, and not something that will serve only to drive prices up even more.

About the only thing these guys haven’t accomplished yet is a theme-based album or an epic, so look for that in their future. Until then I plan to check them out live. I’m traveling to Melvern Kansas this summer to attend Dogstock, where Proto-Kaw is scheduled to play. All of my kids want to go too. That’s the mark of a band that is creating music that is not only progressive, but also accessible. You gotta’ love that.

The Wait of Glory is an album that I believe will offer some appeal to just about anybody who picks it up, and I think most who hear it will add it to their heavy CD player rotation. Five stars and my best wishes to Proto-Kaw for a long and fruitful career.

peace

I bought this album on the strength of the majority of reviews for it, and I must say that I am more than just a little underwhelmed. In fact, not only is this not "symphonic prog" (as the genre for Proto-Kaw would have it), but most of it barely even straddles prog at all. It is not so much that the emperor has no clothes. Rather, it is that the suit that some are claiming is Versace is actually off the rack at J.C. Penney.

There are precious few passages in any of the songs (and most of these are definitely "songs" rather than "compositions") that display any prog elements whatsoever. Indeed, not only does one have to wait until the middle of the album (Melicus Gladiator) for any true prog muscles to be flexed (though Physic has a part or two that come close), but the first four songs have almost exactly the same (slow) beat, and thus one must wait until the middle of the album even to hear anything upbeat. (As an aside, the "extra" song (One Fine Day) is actually among the best on the album, if for no other reason than that it has a bright tempo, and displays some of the elements that made Kansas prog on those occasions when it actually was.) And when Livgren & Co. do express themselves progressively, the results tend to be more methodical (even tentative) than exciting or compelling.

Having said all that, taken as an album with only minimal prog elements in a few of the songs, the songs themselves are not bad for prog- (and sometimes jazz-) inflected rock. And there is an interesting, almost "Native American" flavor to some of the rhythms, chord progressions and arrangements. As well, the musicianship is high- caliber, and the vocals are handled well (if sometimes at bit too oh-so-seriously) by Mr. Meredith, who has a wonderful voice. As is Mr. Livgren's wont (like Neal Morse, he is a recently "reborn" Christian), the topics tend toward the spiritual and eco- environmental, and there are some very poignant lyrical/musical moments in some of the songs. In these regard, if taken on its own terms, the album makes quite pleasant listening, with a few moments of true inspiration.

Ultimately, however, I remain unconvinced that this album can seriously be considered "prog" as a whole (much less "symphonic prog".), and it simply does not measure up to the hype it is being given. And that is sad, because Mr. Livgren can be quite creative (progressively) when he puts himself to it. However, he is going in a different direction now - one that may well be quite interesting and creative in and of itself, but only skirts prog.

After reaching their apparent pinnacle with album "Before Became After" I confess I stayed a bit concerned if "The Wait Of Glory" should be able to achieve the same status. Well, in the beginning TWoG said little to me but when the number of spins started to show its effect things also started to change for me.

Here, PROTO-KAW lost a bit of that rawness state that got me completely; but after several hearings I realized how good the songs were and how well produced this album was. Noticeable is that they seem happy doing this work, with brand new songs and certainly sipping joyfully the positive critics related to their previous output.

'Nevermore' starts the album in a grand manner, those initial sound effects brings reminiscences of old times - the hunter before his prey. Soon, when singing begins we are presented by some soft vocals rivaling with nice flute tunes and a splendid overall atmosphere. Solo parts get more nervous, frenzy, taking us out of the indolence just to appreciate it, the transitions guitar/keyboards are pure progressive.

'Relics of the tempest' is another great song, that flute in the intro is enchanting, to say the least. Meredith's vocals are superb but the band effort is amazing. Does someone know a song you can listen to many times without becoming weary?

'When the rain comes' completes the opening triad of high-quality songs, in all aspects. Up to now the listener is gifted with 22-plus minutes of jaw-breaking music. If wished one could turn off the player and say: enough of marvels, now it's time for dreaming. The good news: there's more!

'On the eve of the great decline' don't let things down, the set of jewels still shine. Here's a great lesson how a symphonic prog short song must be: meaningful in the correct dosing to take the maximum advantage of the exiguous time. 'Physic' with its funk approach is catchy and funny; good brass action here. Later the song evolves to kind of Latin tunes, very interesting and agreeable. 'At morning's gate' is probably the catchiest song in the album roster but even so done in the most honest way one could suppose.

'Melicus Gladiator' brings echoes of the first three songs - with its complex arrangements and crude vocals. The massive attack of great tunes paves the way for the next song, the poignant 'The vigil', a soft hymn-like track full of nice tunes and variations that gathers the attention in the entirety of its 7 minutes. 'Old number 63' returns to the funk beat, including a rap-esque section. Rap? Well, that's how I felt it and if rap songs were like this, I wouldn't mind hearing hundreds of them.

'Osvaldo's groceries', an instrumental piece, is really pleasant but I believe that the exquisite song intro should be better exploited. 'Picture this' is another typical PK song with its different tempos, soothing vocals and fine instrumentation. 'One fine day' ends originally the album in the highest astral level - enjoyable singing and playing to close things rightly.

From the bonus tracks that appeared in the DVD, I'd like to spot the catchy 'Words of honor', a song recorded with all elements needed to be a radio-friendly although I don't know if it really happened in North America.

One final word: I tried to evaluate TWoG tracks in the same manner I originally heard them, it means, with few information about the lyrics, since I have a certain difficulty to pick up the American accent. So, I concentrate my views mainly in the music, although later I discovered that lyrics are great too.

Not a masterpiece, but really essential.

P-K's second album with a slightly revised line-up: change of drummer (I don't like his "modern" sound) and apparition of Livgren's nephew on multi-instrument. I read other reviews claiming this album was much different than the previous one, but personally I don't see any. Graced with another proto-cow artwork (like this one better), the album is having great pains at shaking the Kansas ghost (understandably since Livgren was the most important writer in that band), and for that matter exemplifies best the US prog sound that seems to be the common point for many American bands indulging in prog.

The album starts rather strongly with Nevermore, one of the better tracks of the album and would easily compare with early Kansas tracks; but Tempest is one of the cheesiest track of theirs so far, with the simili-Arabian strings and rather AOR chorus, the drumming being particularly pedestrian. These flaws making its five minutes length almost unbearably long for me. The multiple harmony vocals of When The Rain Comes and the under-mixed flute are the main flaw of the otherwise-good track (drum sound excepted), which spends time to expand into delicate ambiances. The aptly titled Eve Of Great Decline is maybe my favourite track of the album, mostly because of the more intimate climates installed by Wright's synths layers and Bolton's flute. Unfortunately I find Meredith's voice increasingly mid-of-the-road and less personal, and I must say that Livgren's "Christian" messages in the lyrics are forcing this out of him

While Physics holds its own and Morning's Gate is insignificant (but enjoyable nevertheless), Gladiator is another strong track (sung by Livgren's nephew); Vigil is the album's cornerstone, with its centrepiece delightful digression into soft jazz-rock, but I find the drumming intolerably loud. Other tracks like Old Number and the surprising Osvaldo's Groceries (which stands a bit apart from the usual P-K sound, because of the almost ethnic Avant-prog ambiances) add other enjoyable elements, but again I find myself tiring at the constant awful drumming over-flooding the rest of the music. However I must say that Picture This is really not the best track on which to close an album, with its bad Toto feel.

As you all know (most of you anyway ;-), I'm not much a fan of the AOR sound and the Kansas-Proto-Kaw sound is one of its constituent, I generally end up with a migraine from being exposed too long to this kind of music. Already too long (71 minutes in all), the album comes with a very forgettable bonus track (not sure how this track is a bonus either since, it appears on every single issue of the album I've encountered) that adds nothing of value (actually it is easily the worst song) to the album. While I can still listen to this kind of prog and enjoy it once in a while, I cannot imagine owning any P-K or late Kansas album. But overall, this album is much better than BBA

I must admit that I didn't know what to expect from Proto-Kaw's 2004 "Before Came After" CD but I was pleasantly surprised by its classy artistry and I still listen to it often. Encouraged by the quality of that album, I purchased this in anticipation that "The Wait of Glory" would be even better. In many aspects it has a lot of what I like about the previous one as far as depth of sound, top-of-the-line production and superb musicianship goes but it doesn't pack the powerful punch musically that I was hoping for and Kerry Livgren's material is a tad weak on some songs. Yet I can't knock it completely because it still represents some of the more admirable progressive rock that's coming out of the U.S.A. these days.

"Nevermore" is a great opening song and one of the best on the album. Lynn Meredith's voice continues to impress with his range and effortless, emotional delivery but it's Dan Wright's keyboard prowess (and some of Livgren's, I'm sure) that elevates not only this tune but most of this 70 minute album above the fray. During the extended instrumental section Dan's cathedral organ ride is a joy to hear and Kerry's masterful guitar lead toward the end is a treat. The stately "Relics of the Tempest" features the big, deep tones that I prefer in my prog and Wright fills that cavernous space with excellent synthesized orchestral effects. "When the Rains Come" is another good song with a long musical section that will satisfy anyone with a hankering for symphonic prog rock. Here their tight harmony vocals and John Bolton's skillful flute stand out but it's the new drummer Mike Patrum who nearly steals the show. Next is "On the Eve of the Great Decline," a quieter, acoustic guitar-driven number that has a memorable, brooding riff and incorporates exciting dynamics as it builds slowly and steadily before ending on a very subtle note. These first four songs are an excellent example of stellar progressive rock.

"Physic" is a ballsy rocker in the beginning but when they hit the verse and chorus the tune bogs down in something that will plague a lot of the rest of the CD, a semi-retro 1970s attitude that they should have moved far away from by now. I must mention that Bolton plays some seriously mean sax on this song but it's not enough to keep it from retarding the momentum they had generated. "At Morning's Gate" is a melodic, sedate ballad that benefits enormously from Wright's incredible piano and keyboard work. This guy is a pro. He creates a dense richness behind Lynn's voice that you don't often hear these days. Despite their well-meant intentions, "Melicus Gladiator" is more of the damned "blast from the past" influence that I'm tired of hearing already. It's an okay rock and roll ditty and young Jake Livgren turns in a decent singing performance but there's nothing progressive about it at all and the tune just seems terribly out of place. "The Vigil" follows and it's a tale of two musical styles. The verse and chorus are run-of-the-mill, raise-your-palms, contemporary Christian Rock but the lengthy instrumental segment in the middle is pure, primo prog with the flutes, horns, guitar and piano shining brightly. "Old Number 63" also has that been there, done that 70s flavor to it that's a little too stuffy for me. It's a slick, up-tempo, funky rocker with the lyrics spoken rather than sung but it never achieves liftoff despite some fiery solos from Wright, Bolton and Livgren halfway through. Patrum's hot drumming is another perk to listen for while sitting through this slightly uneven tune.

But the proggiest moment comes right out of nowhere on the quirky instrumental, "Osvaldo's Groceries." It has a kinky Polka-from-Hell rhythm, very odd melodies and weird chord progressions that are a delight but it's the unique mixture of different instrumentation that really set it apart. I even detect slight shades of early King Crimson and perhaps a bit of Zappa in this little concoction, too. Very cool. "Picture This" is a gallant attempt at manufacturing an epic song and the grand scale of the sound is noteworthy in itself but it just doesn't work out. After a typical arena rock verse and chorus they transition to a motivating dance beat with Jake taking another successful turn at the mike but, despite their highest aspirations, the tune never goes anywhere that they haven't been several times before. The bonus track of "One Fine Day" is pure pop but it's not bad at all, especially the fluid harmony vocals that fill up the track and Kerry's distinguished guitar stylings. The live DVD that comes with the package is fine for a couple of viewings. Their spirited renditions of "The Occasion of Your Honest Dreaming," "Words of Honor" and "Skont" (where Dan Wright rips it up on the organ) come off decently but as a concert act they don't generate a lot of fireworks. Not that I expected them to.

In summary, if you liked the previous album you'll find a lot to enjoy on this one, as well. I, in my greedy way, simply wanted more pizzazz. My true hope is that they strive to go in a more exploratory direction in the future because they've done about all they can do with this particular mindset. Perhaps it was the excitement of recording together again after so many years that so completely energized and electrified the "Before Came After" project but for whatever reasons it is a superior album to this one. Yet you owe it to yourself to hear Dan Wright's keyboard expertise no matter what, especially if you love outstanding keyboard work. 3.4 stars.

Never Give Up!

I got trouble listening to this album for the first time. It's not due to poor arrangement nor lack of musicianship, it's more on the trouble on melody, music flow and energy. Yes, I reconfirm that the melody produced here is not catchy at all. In fact I feel that the melody is somewhat being forced to sound that way so that my ears cannot accept right away. The situation is worse by the facts that the music is not energetic at all, especially on the vocal line - there seems no energy at all. With no energy, this album lacks of drive which leads to lack of soul. It sounds to me like a series of music streams that flow not in a natural way. I cannot catch the tagline melody - the one that makes the music so memorable.

I then switched my paradigm from expecting something great in terms of combination between melody, arrangement and musician's virtuosities (Kerry Livgren is an excellent guitar player) - without taking into considerations about melody. By doing so, it helps me elevate my appreciation towards the music. Well, at least I do appreciate how the music blends nicely the musical instruments like flute, keyboards, and guitar. The music itself sounds like a combination between Alan Parsons Project, King Crimson and Kansas. However, do not expect that there are great melodies like Kansas have done in most of their albums.

Overall, it's a good album even though it lacks energy / drive and melodies.

Peace on earth and mercy mild - GW

Well i think this is a mix between Kerry Livgren and Kansas music.

A very american concept prog.album.

Vocals are good and musicias do a very good job.

Prog style is not very defined.Some tunes are symph.prog,others art rock,others crossover prog...

Not as good as the creations of their contemporaries of american prog. Frost and Presto Ballet,but in comparison to the last albums of Kansas or the same Kerry Livgren is better.

3 stars.

This album has a more Kansas feel than the prior Before Became After. At least during the trio of the opening tracks. I have enjoyed Kansas as soon as in '74. As a fifteen years old Belgian fan (there were not many in those days, believe me), I never paid a particular attention to their lyrics and by the time Livgren converted to Christianity and integrated more and more of these elements into their work, I wasn't in Kansas any longer.

I rediscover the band at the turn of the century and read more about Livgren's orientation which I just don't share. To incorporate this into his music and preach amongst his fans is not an approach I can stand for. But I respect him as a great song writer of course.

While the previous Proto-Kaw album borrowed quite a lot to several prog giants, this one is more personal but I'm afraid that I am closer to Maani's opinion than from the one of the majority of my fellow reviewers.

Some tracks are working alright like the very good opener (Nevermore) but the AOR sounds are too many for my taste. There is a jazzier approach at times and you can add some funky feel as well. Not my cup of tea. The best example (and one of the worst song here) is the dreadful Old Number 63.

Some fine melody with the sweet The Vigil offers a pleasant break; that's true. But there are (too) few like this IMHHO. John Bolton is very emotional in his flute play (I far much prefer him in this role than on the sax).

My preferred song from this album is an excellent Kansas song. Melicus Gladiator rocks as hell and provides some great violin. Almost a classic song I should say. I know one shouldn't expect Proto-Kaw to be a Kansas clone, but I can't help: every time they produce such a number, I 'm charmed. Picture This is another of these good Kansas songs.

At the end of the day, this album starts fine and ends up in the same pleasant manner. Three stars.

Proto-Kaw's second release as a reunited group is almost as strong as the first, and by almost, I mean "on the heels of." It's a very strong album overall, and like the first, has only a few songs that drag it down a bit. Other than that, there's so much here to sink one's teeth into, with several moments of absolute brilliance. Almost everything is strong here: Kerry Livgren's solid song-crafting, Lynn Meredith's distinctive vocals, and the band's tightness work together to produce a collection of music well worth having.

"Nevermore" The tribal feel working with powerful electric guitar, drums, and Craig Kew's heavy bass make for a great combination. The lyrical sections of this song proceed at a moderate pace. Meredith sings reservedly for the most part. Livgren's guitar work is exceptional, and I really like Dan Wright's organ build-up during the middle. No, he is not Keith Emerson, but his style works extremely well within the context of the music. No musician takes center stage here for too long. In fact, because of the way the musicians work together and take their turns in the spotlight (something I have always admired about Kansas), the instrumental section of "Nevermore" is one of their best. There is a spirited guitar solo that accompanies the song as it fades out.

"Relics of the Tempest" Regal strings and flute lead into a more straightforward rock song. The vocal melody is simply excellent, and Meredith comes out more strongly than on the previous song (although sometimes it sounds like he has a cold). The lyrics describe a (post-Rapture) apocalyptic world. The instrumental section, full of flute and electric guitar, is uplifting.

"When the Rains Come" This is a song composed of very different but well-constructed sections, the first of which is some wild saxophone work and intriguing guitar. After two minutes of this, things calm down for powerful and pleasant piano and acoustic guitar, over which Meredith sings and John Bolton's flute pipes in from time to time. The vocal harmonies are superb here. Once again, the instrumental section is fantastic and vigorous; the musicians (not the least of which is Wright) produce a thick wall of sound, one that can at times be very delicate.

"On the Eve of the Great Decline" Yet another excellent track, this has a mystical feel during the verse, and the chorus is highly powerful. Inspiring acoustic guitar and exotic flute pave the way for Meredith to perform at his best. It's a stellar performance, and one of my favorites on the album.

"Physic" This one opens up with some strange sounds briefly before getting into the main theme, which is a jazz-tinged, saxophone-laden rocker. After a couple minutes of music, the singing begins, which isn't bad, but isn't exactly a highlight of the album either. The harmonies are again exceptional, as is Wright's organ during the last two minutes.

"At Morning's Gate" A simpler melody takes over at this point. It's a brief song, with heavy piano and a clear-cut Christian message.

"Melicus Gladiator" Striking electric guitar and saxophone bring this charged rocker in. Vocalist Jake Livgren has a lot of energy, making it even heavier. The keyboard solo is similar to those of Jodan Rudess of Dream Theater- fast, furious, and sounding like a guitar. The other instrumental work is equally fascinating.

"The Vigil" Things simmer down a good bit on this somewhat extended piece. The vocals come in immediately with an interesting chord progression on piano and acoustic guitar. The other instruments are far more subtle during the verses, but on the chorus, it's John Bolton's flute that stands out alongside Meredith's convicting voice. The lyrics on this song are some of my favorite from all of Livgren's work. The bridge is exquisitely crafted, as is the instrumental section, which features a synthesizer solo, Craig Kew's embellishments on his fretless bass, and awesome layers of vocals.

"Old Number 63" This funk-tinged rocker has some annoying shrieks and spoken vocals. It's easily my least favorite track on this album, one that I'm always tempted to skip (and I often fall to that temptation). As a reward for listening, however, the musicians get some great jamming in, and each solo is extremely good.

"Osvaldo's Groceries" The only instrumental on this record boasts some quirky polyphony and some eccentric musicianship. The voices on the piece are definitely on the weirder side of weird. At times, the music has a distinctive Yiddish flavor.

"Picture This" A lovely verse gives way to an even lovelier (almost Celtic) section in 10/4. Wright dazzles the listener with some subtle but fancy phrases from his organ. The guitar lends this song the rest of what it needs to be a great piece.

"One Fine Day" The last track (more of a bonus track) is Proto-Kaw breaking out with some Motown. It's funky enough, and I guess is a fun piece to listen to, but nothing is lost in passing it by.

It was worth the wait!

Before Became After was a great album with a great title. Proto-Kaw was Kerry Livgren's pre-Kansas band, that reunited many years later when Kerry's days in Kansas where long since past. The Wait Of Glory is another great album with another great title. These two subsequent albums constitute the most consistent period in Kerry Livgren's career since the Leftoverture/Point Of Know Return period in 1976/77. It has indeed been a glorious and long wait for him to return to this kind of form. He did reunite with Kansas in 2000 for the excellent Somewhere To Elsewhere, but it was only a one-off thing. Proto-Kaw was also a relatively short-lived project, but they left behind an impressive couple of albums (as well as a compilation of their pre-Kansas material).

Like on Before Became After we find here excellent progressive rock with Symphonic, Hard Rock and some Jazz influences. The Hard Rock side of the band is somewhat emphasised compared with that first album. The material is strong and melodic and excellently performed. This time Kerry's nephew Jake Livgren joins the band which is now a seven piece! We have again Lynn Meredith's excellent and distinctive lead vocals, Kerry's great guitars and keyboards and the other members play assorted keyboards (though mainly organ and piano), flutes, saxophones, bass and drums and different percussion instruments.

The feel of the music is classic but the production values are modern which creates a timeless sound. The music of Proto-Kaw might appeal to any fan of classic progressive rock. Different aspects of the band's sound might remind of different other bands; Jethro Tull, King Crimson, Deep Purple, Queen, Kansas and others. But they have their very own style and sound and they are not derivative at all. We should keep in mind also that Proto- Kaw were there already in the early 70's helping to define progressive rock in the first place even if they never broke through to a wider audience like Kansas did.

There is also a slight World-Music influence in some songs due to the flutes and the exotic percussions creating a somewhat 'mystical' and perhaps even 'religious' feeling. Some have complained that the lyrics are too religious, but this does not bother me at all. I am an atheist myself but I have no problem with Kerry's religious inspiration.

Picking out favourite tracks from The Wait Of Glory is hard since everything here is very good, but Nevermore and When The Rains Come are especially good. The album is varied and contains many different moods and emotions as well as different styles. But it all holds together very well creating a diverse yet unified whole. The buffalo is once again on the cover art, here depicted as a tribal painting on the wall of a cave (presumably) with fossils in the stone one of which is a saxophone! It looks really cool.

The wait of glory was worth it, both Proto-Kaw albums are excellent additions to any Prog collection but I tend to think that The Wait Of Glory is even better than Before Became After.

Highly recommended!

Two years after their debut "Before Came After" PROTO-KAW release their second album "The Wait Of Glory". As most feel this isn't as good as the debut, although if you liked that one not a lot has changed. I must admit I have had no success getting into this one at all. It's rare that I don't even like one song, but sadly that's the case here.

"Nevermore" opens well with a nice heavy sound before a minute. It settles when the vocals come in. Organ and bass before 4 1/2 minutes as it gets fuller. Some nice relaxed guitar after 5 1/2 minutes followed by piano. It kicks in before settling after 7 minutes. Vocals and guitar are back late. "Relics Of The Tempest" is a song I don't like at all. Sure it's kind of catchy but the chorus is cringe worthy. "When The Rains Come" is probably the one i'd pick as the best if I was forced to. Some heaviness here with sax and I like the guitar 1 1/2 minutes in. It settles with vocals after 2 minutes unfortunately. Flute and organ follow. It's heavy again around 8 minutes.

"On The Eve Of The Great Decline" opens with acoustic guitar and reserved vocals. Some flute too. Drums before 2 minutes as it gets fuller. Contrasts continue. "Physic" kicks in fairly quickly with sax. A change before 2 minutes and the vocals join in. Organ and drums lead followed by a fuller sound. Nice guitar. "At Morning's Gate" features piano, flute and reserved vocals. "Melicus Gladiator" gets more powerful with vocals before a minute. It's an okay song. "The Vigil" turns fuller with flute and organ as contrasts continue. "Old Number 63" is different. It's uptempo with sax and different sounding vocals. "Osvaldo's Groceries" is a catchy tune with sax but i'm not a fan. "Picture This" opens with reserved vocals, light drums and flute. Piano follows. Guitar after 2 1/2 minutes is welcomed. It kicks in after 3 minutes.

Fans only.

THE WAIT OF GLORY was released by the "Kansas old style" group of Proto-Kaw and has the advantage of containing Kerry Livgren on board. This album is much in the style of Kansas, mix of prog with straight AOR rock and synth rock and is not bad but is a pretty average 3 star album. It came with a disc of concert footage which I watched more than listened to the actual album. I would class this at about he level of Kansas with MONOLITH. Not great not bad, just good. 3 stars almost perfectly. I am glad this band is around though.