"Bach Stabber"
This is a great song to kick off the CD--it's one of my two favorites. It's bursting with energy. I heard a rough version of this song while David was still a Kansas member and thought even then it was the fastest violin-playing I had ever heard him do.
David commented somewhere about this song that it was like a conversation between a "brash" rock violinist and a "snotty" classical violinist. It's a fitting description, but I've personally seen this piece in a different light. I thought this song was a musical self-portrait; to me, it is David Ragsdale. During concerts he always shows his flair for blending his classical past with his present rock music (as Kansas is known for doing as well). This song seems to show the two sides of David's musical personality. I've heard about live performances of this song going over very well. Rating: 1 (tie)

"Dimon Street" (formerly "Oregon")
I liked the original title because I've been to Oregon. : ) This is a bit of a change from the first song as it is more of a straight-up rock tune. After hearing a jaw-dropper like "Bach Stabber," I didn't like this song a whole lot until the groove started to grow on me (I guess I take to the complex ones first : ) . The guitar takes center-stage here, as the violin did in the previous song. Rating: 7

"Rondo & Fugue"
This song can totally change my mood. I have a hard time listening to the marching-band style beat and sitting still. It makes me want to go to a football game or something. : ) I used to think I didn't like "classical" music, but it depends on how it's used, and what style it is exactly. This song has a distinct classical flair. The violin has a very light, happy sound. It reminds me of a bird singing for the simple enjoyment of hearing itself sing. I'm not very knowledgeable about musical terms like "fugues;" this song made me want to find out what a "rondo" (Italian for "round") and a "fugue" were. : ) Rating: 3

"After the Storm" (formerly "By the Sea")
As peppy as the last song can make me, this one can relax me just as easily. The title refers to the calm after a storm. I actually preferred the last title of this one too, just because I love being around the ocean, and this song gave me the same calming feeling I get from being at the beach. The harmonizing violin parts and vibratos on this song are just beautiful. It reminds me a lot of the four gorgeous songs David did on the Mantel CD. Rating: 4

"Opus 2 No. 1"
This tune is one of the two most complex songs on the album, in my opinion. The various changes in this song make it very interesting to listen to again and again. Several Kansas fans I've played it for have really taken to it. The violin stands out here, but the instruments blend together fairly evenly. At the end of this song there's a nice build-up with some unique chords. David said this song was the first one he wrote for himself, for his own enjoyment in song writing--rather than writing songs to impress other people. Rating: 5

"Hit & Run"
I like the use of the Hammond organ at the beginning (I think it's a Hammond!--shame on me, I should know : ) as well as the "conversation" between the guitar and the violin (this would make Kansas/Livgren fans think of "Portrait" or "When Things Get Electric"). Behind "Dimon Street" this is my second-favorite "rock" song on D&G because of its rock sound blended with the instruments I mentioned. This song shares its name with a band David mentions in the CD credits.Rating: 8

"Suicide Squeeze" (formerly "Molecular Meltdown")
This song has less violin in it than most of the other songs on the CD. It's more of a guitar-driven song like "Dimon Street." I guess I prefer the violin when there's not so much distortion in its sound. Maybe I would enjoy a live version of it more. It's hard to really love a song like this when there's a masterpiece like "David and Goliath" right after it. : ) Rating: 10

"David & Goliath"
This song is another one on this CD that just amazes me. Though it's over six minutes long, it doesn't seem long, because it stays interesting. Like "Opus 2 No. 1," the instrument-blending is superb. This is an example of what I like to call "circle songs" (Kansas music contains several examples written by Livgren) -- that is, songs that end with the same style/theme/melody they began with. For me, they bring me full-circle when I listen to them, hence my name for them. I remember when I got this CD, I was very anxious for Kansas fans to hear this song because I was sure they'd appreciate the complexity. Rating: 1 (tie)
Since this is the title track (and deservedly so), here are David's own comments on the song from the liner:

"The title cut, 'David and Goliath', is what would have been coined in the late 800's, a 'Tone Poem' - which is in essence, a film score without the film. In other words, it is a musical representation of the Biblical legend of David and Goliath. In order to enhance your sonic perusal, I have prepared this description.
"The opening theme is David's theme which is stated many times, and each time it sounds, it represents David. The second (and much more aggressive) theme is Goliath's theme, and is also a recurring theme. These themes are stated to introduce you to the characters, and to portray the challenge (from Goliath) and the acceptance, which is marked by a return to David's theme.
"The next section of the piece (the development section, for those of you who want to enhance your terminology and impress your friends), represents the gathering of the armies and the war which ensues. This section comes to a close with a sudden solo pentatonic statement from the violin, answered by the entire band, and moves into a guitar/violin solo section which represents 'trash talk' (if you will) from Goliath and David respectively. This takes us into the drum solo section, which marks the actual conflict, and the hurling of the stone from the sling. As the sun sets in the West (as it always does), we are left with David's theme rising triumphant and grandiose, as David, no doubt, is pondering his new financial, political and marital status."

"Jungle Waterfall"
This is another guitar-laden rock song. It's interesting to hear David perform something he didn't write on this solo CD. This song tricked me the first time I heard it--I thought the CD stopped during the "musical pause" while the main guitar riff was playing. Now I am pretty sure that there is a Hammond on this song. : ) I would be interested to know in which ways David put his musical fingerprint on this song since it was not his own. Rating: 9

"Stu's Lament"
I had the story mixed up on this one. I hear that this song is named "Stu's Lament" because David has
a cat named Stu (I won't tell you his real name!) who couldn't stand hearing this song! : ) Now I have
another reason why I like dogs better. ; ) Again, this is one of those songs that reminded me of the Mantel songs. The violin harmonizing is more sorrowful in its sound than calming (as in "After the
Storm"). (Thanks for filling me in, MaryAnn.)
This song is a nice sweet ending to a brilliant progressive rock album. I kind of like the fact that it's
a bit of an opposite to the song the CD started with. Rating: 6

General comments:
Several people have commented on the fact that they enjoy this album as an instrumental. I prefer it without lyrics as well. I'm sure David could write great lyrics for his solo work but this music is so impressive, it can speak for itself. Even the song titles aren't that important (though I hear it was difficult for David to decide on them), since the music is very much up to interpretation. I enjoy hearing the stories behind the inspiration and lyrics of music, but sometimes it's nice (as in this case) to take my own interpretation of the music and go with it.

It's probably quite apparent that I prefer the songs which show David's ability to write complex music as well as his classical training. Maybe on the next album we will see more of that (I hope : ) .
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