Side two just KILLED from start to finish, with the deepest, punchiest bass, moving up the frequency ladder to the clearest sweetest mids, and following it all the way to the top with the most extended grain-free, silky highs.

Most copies, like so many rock records from the era, are veiled and smeary. Often they lack extension at one or both ends of the frequency spectrum, more often than not up top, which results in harshness and shrillness, not the sound you want on a Kansas record!

But copies such as this one show you the kind of sound that is possible with Leftoverture. It is, in a word, SMEAR-FREE, with superb transients, textures and clarity that are the natural result of getting every last bit of musical information into the grooves.

Another tough test: the vocals on the first track. They often sound strained right from the get go. It’s the rare copy that doesn’t show some strain on those first four lines. This copy, as good as it was, even had a trace of it. (Sometimes the sound is so strained it’s game over after the first thirty seconds. Who can listen to that kind of sound?)

Folks, if you have the big speakers that a balls-to-the-walls rock record like this one demands, you are in for one serious audiophile quality prog-rock experience. (Or is is Art Rock as the AMG likes to call it?) Wall to wall and floor to ceiling barely begins to do it justice. Like so many of the great rock recordings, the sound just JUMPS out of the speakers!

Side one was good, but simply not in the same league as side one, not even close. We gave it an A+ for being open and extended, but it is not as full-bodied as the best.

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