Analyzing KANSAS’ “Carry on Wayward Son” (1976) Matthew A. Bardin, BM Eastman School of Music: Theory 481 The goal of this paper is to, after providing a brief historical context, show a show a multi- faceted analysis of the song “Carry on Wayward Son” by KANSAS. Specifically, I will be looking at the lyrics of the song and giving my personal interpretation of their meaning, The formal arrangement of each section of the song, an analysis of the chords and their harmonic function, the melodic content and notable aspects of each formal section, the use of syncopation, and KANSAS’ use of instruments and timbres over the course of their song. It is my goal that looking at this information will allow me to create a generalized statement that evokes the essential characteristics of the track. KANSAS originally formed as a stereotypical ‘garage band’ out of Topeka, KS in the early 1970s. since their debut album in 1974, they have produced eight gold albums, three sextuple- platinum albums (of which Leftoverture (1976) is one), a platinum live album, and two different one million-selling singles. Over more than 40-year tenure of the band there has been several changes in the band’s line up, including a hiatus where the band was broken up in 1984. Currently, Phil Ehart (percussion) and Rich Williams (guitars) are the only two original band members still playing with the group. While the specific group dynamics play an interesting part in KANSAS’ sound and popularity over the years, it is beyond the scope of this paper. Rather than the entirety of KANSAS’ history, I will be discussing aspects of their 1976 album Leftoverture, and the track “Carry on Wayward Son.”1 1 More information about KANSAS and their music can be found at their website: http://kansasband.com/ 1 Leftoverture was initially released in 1976 through Kirshner, and would ultimately become one of KANSAS’ strongest, best-selling albums. At the time the album received mixed reviews. Rolling Stone and other groups enjoyed the music, even going as far as saying that Leftoverture puts KANSAS right next to bands such as Styx and Boston, and that they (KANSAS) represented midwestern values of the American musical heartland. Other critics felt adversely about KANSAS, feeling that their music lacked the quality and intelligence of European progressive rock. It should be noted that when writing the songs that would ultimately become Leftoverture, previous song writer Steve Walsh began to suffer writer’s block and Kerry Livgren had to write the majority of the songs on the album. “Carry on Wayward Son” actually appears on Leftoverture twice. The studio recorded version opens the album, and a live recording closes the B side of the vinyl. For consistency, and the fact that most people are familiar with the studio version, this is the recording that I will use for all of my analysis. “Carry on Wayward Son” is the opening track of Leftoverture and was conceived by Livgren as the continuation and completion of the track “Pinnacle” which closed out KANSAS’ previous album, Masque. When listening to the tracks back-to-back, it is easy to pick up on different motives and grooves between the two songs. However the focus of this paper is on the aspects of “Carry on Wayward Son” for more information on Masque, please see the footnote below.2 As shown on the album liner, “Carry on Wayward Son” has the following lyrics: Carry on my wayward son For there'll be peace when you are done Lay your weary head to rest Don't you cry no more 2 Masque was KANSAS’ second album, released in 1975. Information and audio from the album can be found at 2 Once I rose above the noise and confusion Just to get a glimpse beyond the illusion I was soaring ever higher, but I flew too high Though my eyes could see I still was a blind man Though my mind could think I still was a mad man I hear the voices when I'm dreamin', I can hear them say Carry on my wayward son For there'll be peace when you are done Lay your weary head to rest Don't you cry no more Masquerading as a man with a reason My charade is the event of the season And if I claim to be a wise man, it surely means that I don't know On a stormy sea of moving emotion Tossed about I'm like a ship on the ocean I set a course for winds of fortune, but I hear the voices say Carry on my wayward son For there'll be peace when you are done Lay your weary head to rest Don't you cry no more Carry on, you will always remember Carry on, nothing equals the splendor Now your life's no longer empty Surely heaven waits for you Carry on my wayward son For there'll be peace when you are done Lay your weary head to rest Don't you cry no more Figure 1: Lyrics for “Carry on Wayward Son” (1976) Looking at the lyrics we can see that they are arranged in a series of alternating four and six-line stanzas, excluding the second to last stanza from this pattern. Each of the six-line stanzas can be broken into two phrases that, as discussed later, have the same musical material. In looking at the break down of the structure of the text, I would say that “Carry on Wayward Son” is organized as a chorus followed by two VCUs3, followed by a bridge and one more chorus. Where each of 3 Verse-Chorus Unit. 3 the verses can be broken further into a repeated phrase, each chorus is followed by an instrumental feature, and the first chorus serves as part of the introduction for the track. While there is no one definitive text analysis for this, or any song, after reading through the text without music several times and listening to the song several times to see how Kansas worked with the material musically, I believe I have found a meaning for “Carry on Wayward Son”, at least for me. Without hearing from Livgren, there is no definitive answer. Based on my interpretation, I believe “Carry on Wayward Son” to be, at least on a surface-level, a self- reflection on a coming of age story. Looking at the opening phrase, we hear the chorus presented in the lead and backup vocals, without any instrumental harmony added. This makes sure that all of the listener’s attention is on the words, which are telling the main character of the song not to worry, things will work out if they keep going. After a long instrumental introduction, the solo voice enters singing the text of the second stanza. This set of text helps to set up the character’s dilemma: they are looking to improve themselves, to become better at what they are wanting to do and achieve some sense of satisfaction. The end result of this endeavor is given away at the end of the phrase with the text, “but I flew too high”, a reference to the story if Icarus.4 The second phrase of this verse is a series of contradictions meant to illustrate the confusion and desperation of the character; something that is only lifted when they are dreaming. From there the chorus returns, confirming for the listener that it is indeed the chorus. This is the only time in the song where consistent vocal harmonies are used. I feel this is to help illustrate the last line of the first verse: “I hear the voices when I'm dreamin', I can hear them say”. It is this line that also 4 In the myth, Icarus and his father build giant wings in order to escape from a prison. During their escape however, Icarus uses his wings and flies too close to the sun, causing the wax holding them together to melt. Icarus’ wings then break, causing him to plummet to his death. 4 gives me a retroactive analysis of the opening chorus and instrumental intro of the song. I believe that this line puts the opening into the context of the main character’s dreams, and that the instrumental transition is them waking up before moving into the verse. The second verse has a similar character to the first. The character in the song is still singing about how they are pretending to have everything figured out. The character has even surprised themself with the level of their deception, as shown in the line, “my charade is the event of the season”. In the following phrase of the verse, the weariness and craziness of this lifestyle is shown to be getting to the character through a metaphor of their boat being trapped in a storm at sea. Through this metaphor, Livgren moves back into the chorus, this time putting the voices on the winds of the storm. After the third iteration of the chorus, I feel that it has become apparent to the listener that what started out as an introduction has become a formal device. Every time the chorus occurs, it is immediately followed by a virtuosic instrumental break or series of solos. These solos, shown in more detail later, help to give the song its energy and turmoil as the main character is retelling their story. Following the third instrumental section, the listener reaches the bridge of “Carry on Wayward Son”. In this section, I feel the main character has finished their story as now they are singing back and forth with the harmonized voices from the chorus.