 Kerry Livgren was born in Topeka, Kansas. Drawn to music at a young age, Kerry started with an electric guitar that he built himself and focused on writing songs as he learned to play. Forming his first band while in school they soon found themselves booked throughout Kansas and neighbouring Missouri. As Kerry’s artistic expression developed and changed so did the bands he was part of.
Later in 1970, Kerry formed the group, Kansas. Known for their sometimes bizarre originality, the band went through several iterations before becoming the six-member group signed by Don Kirshner in 1973. Kerry remained with the band for 13 years as the band's primary song writer, lead guitarist and keyboard player. Penning such hits as "Carry On Wayward Son" and "Dust in the Wind," Kerry propelled the band to worldwide success and critical acclaim, with numerous gold and multi-platinum albums. Following his departure from Kansas in 1983, Kerry formed the band, AD who went on to release two albums.
The beginning of Kerry’s hugely successful solo career was in 1980 when he released Seeds of Change. Kerry chose to explore a new musical direction in 1989 and created his first instrumental work ‘One of Several Possible Musiks’. This confluence of orchestral and rock styles received the Dove Award for Instrumental Album of the Year.
In 1994, Kerry moved from Atlanta back to his home town of Topeka Kansas. Once there he initiated his production companies Grandyzine and record company Numavox Records he also developed a state-of-the-art recording and production facility on his farm. Expanding further into different musical ventures Kerry produced the soundtrack for the third SONY's Mind's Eye computer animation feature in 1997.
An unlikely album was released in 2003 Proto-KAW: Early Kansas, which was comprised of Kerry's songs recorded by Kansas II (the band which preceded the familiar Kansas) during 1971-3. Released by Cuneiform records it quickly became the best-selling CD in the label's history garnering wide acclaim in publications such as Rolling Stone. Kerry decided to reform the original group and Before Became After was released to international acclaim in April of 2004. This was followed by their latest release The Wait of Glory which has won numerous ‘best of’ progressive rock awards demonstrating Proto–Kaw’s worldwide following.
Kerry's next release will be the most ambitious of his career. An epic orchestral and vocal composition The Resurrection of Lazarus has been under development for almost 30 years.
FX - Your new release The Resurrection of Lazarus promises to be an epic, featuring a large ensemble cast of vocalists and instrumentalists. How is the progress going and do you have a release date in sight?
'BFD never ceases to amaze. It's the first "go to" tool for drum sounds' KL - The Cantata is such an unusual challenge, it's difficult for me to project a date for completion. I've been at it for over 20 years now! The challenge is as much technological as it is musical. Since the work covers such a span of time, it has actually transitioned from an analog recorded work to digital. The current tools available to the Electronic Musician/Composer are so fantastic that I keep re-working the composition to take advantage of them.
FX - Are you working on any other music projects at the moment?
KL - Yes, several. (another reason for slow progress on the Cantata). I am doing a second solo instrumental album, a follow-up to "One of Several Possible Musiks". It will be called "Several More Musiks". Simultaneously, I am working on a Volume II of "Collector's Sedition". Another Proto-Kaw CD is in the works, as well as continual writing. There is always the possibility of work with Kansas...
 FX - How does the creative process differ for you when you are working on solo projects compared to making music with a band?
KL - There are different challenges to both, and different rewards. Solo work tends to go a little faster as a rule, but in retrospect I wish some of my solo work had been done with a band. There's nothing like a group of guys all playing together and getting it right.
FX - What first inspired you to use software to create music?
KL - The first music software I ever used was a librarian program for the Yamaha DX7. I thought it was fantastic - storing and editing patches on an Apple IIe. Then came Midi and the sequencers - and changed my world. When I realized what they meant for me as a composer, I was hooked.
 FX - How has software changed your approach to making music?
KL - It has given me so many musical tools to work with, that the sounds and instruments themselves have become an inspiration to compose. The software has made virtually any instrument sound possible and easily accessible. The real challenge is to use it responsibly and be truly creative.
FX - Are there any engineering techniques that you commonly use with BFD?
KL - BFD never ceases to amaze. I use it both for final sequenced drum tracks, and for sound replacement with live tracks. It's the first "go to" tool for drum sounds.
FX - How much of a role does music software have in your studio, particularly when you are working on solo projects?
KL - At this point, without the music software, I would be at a standstill. It is centrally important from composition all the way through mastering.
FX - Is there any software program that would be a valuable addition to your studio that you would hope to see next from developers?
KL - Everything keeps getting better all the time. I've fantasized about a dedicated Hardware BFD device, perhaps a firewire box? My personal wish list would be for generally greater computer stability, fewer formats and more standardization, easier GUI's, and a sensible approach to copy protection. If I have a machine go down, I have to spend days if not weeks re-authorizing everything.
FX - What have you got planned for the rest of the year?
Lots of hard work!
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