Black Calvin Shooter HC 1995

Black Calvin Shooter HC 1995 CAT #HC007

If you just got the first song, "Savior", out of this EP, it'd be money well spent. Listening to it now, it recalls the best aspects of grunge, but is an absolute bruiser. A sludgefest, so much so you think you're spinning at the wrong speed.

This EP was released in 1995 on Craig Comstock's own HC label. It's a solid collection of tracks, and speeds up a bit by the third track, "Lemon," which stands as another highlight filled with noise rock reminiscent of the Jesus Lizard with a bit more melody, but insane out of control guitars.

All around, it's just a great EP, just bruising and relentless. You have to be in a certain mood to really enjoy it, but if you're angry or want to punch things, this can fit the bill nicely.

Merritt Owens Advertising Agency "Whistle and Boom" Sound Effect Damon Unknown Year

Merritt Owens Advertising Agency "Whistle and Boom" Sound Effect Damon Acetate Unknown Year No CAT #

This is odd. It's literally just a sound effect. Sounds like the whistle and boom of a firework going off and it repeats 3 times on one side of the record while the other side is blank.

Typically, if you find Damon records, they are custom press gospel records. Some of which are one-of-kind acetates, others that the label provided multiple copies for whoever took advantage of the companies service. This is just an acetate disc of a single sound, obviously used for the advertising firm that purchased it, but the strange thing is why did they need a record of it?

To get the sound to record, it had to be taped, right? So why wasn't the Merritt Owens Advertising Agency just able to use the tape? Odd. Either way, it does appear the Merritt Owens Agency was based in K.C. The Damon label most certainly was.

Langston Hughes Rhythms of the World Folkways Records 1955

Langston Hughes Rhythms of the World Folkways Records 1955 CAT# FC 7340

The fact that Folkways Records saw enough importance in Langston Hughes' poetry to record it is a pretty fantastic thing. The Lawrence, KS raised poet's voice is now with us, reading in his soft, but confident voice, some of the very poems that made him famous. This album is based and contains parts of his bock, "The First Book of Rhythms", by Hughes.

As the title implies, it's rhythmic poetry and the recording contains numerous sound effects to provide examples of rhythm. From a Kentucky folk song, to washboard, to just nature sounds, it's all used here to empathize the music in poetry.

The album was designed for children. In fact, this copy was once housed in the Somerset School Library of Overland Park, KS. The school no longer exists, but I imagine the record left the library long before it closed its doors. The idea of school children sitting in a circle around a tiny little record player, listening to Langston Hughes, that's a pretty great thought.

Rhythms of the World

Stan Kenton Artistry in Rhythm Capitol 1947

Stan Kenton Artistry in Rhythm Capitol 1947 CAT #H167

There's a bunch of Kenton comps that go by this title and there's even an album previously discussed, New Concepts of Artistry in Rhythm.  It's all because this is widely considered his signature album during his big band period.

It's an enjoyable collection of music.  If someone just threw it on and listened to it today, I'm not sure they'd call it jazz.  It sounds much more like a soundtrack score.  The stuff Kenton was doing wasn't really for dancing, he was trying to advance the art form and usually comes off pretty pompous in liner notes.

The best moments and the ones I think people can grab onto easier now-a-days are the tracks featuring a cool-toned June Christy, "Willow Weep For Me" and "Ain't No Misery in Me."

Ain't No Misery in Me

Stan Kenton Presents: Capitol 1950

Stan Kenton Presents Capitol 1950 CAT# L248

Wichita born Stan Kenton tried a lot of things, some of which stuck in jazz for decades.  This LP however represents one of his attempts at innovation that did not catch on. Regardless, it is a fairly interesting listen and a good attempt at something new.

The album saw Kenton putting together an amazing set of players, some tunes even feature names of the band, "Maynard Ferguson," "Shelly Manne," "June Christy," and "Art Pepper" are all track names and players on the LP.  Throughout the tracks, Kenton took highly sophisticated jazz structure and merged it with classical movements and ideas.

The release isn't as challenging as some of his later work and experiments, it's fairly pleasant and easy to listen to.  It's easy to see why the classical/jazz merger didn't stick with others or even Kenton, it sounds forced and segmented.  Still, it's interesting hearing something tip toeing around Stravinsky before it goes full out jazz band.

"Maynard Ferguson"

Chris Connor Sings Lullabys For Lovers Bethlehem 1954

Chris Connor Sings Lullabys For Lovers Bethlehem 1954 CAT# BCP 1002

Love everything about this Bethlehem release from Kansas City's Chris Connor.  The cover shot, the title, the now rarely used 10" format, the misspelling on the title, the album is aesthetically pleasing to me.

There's no complaints about the music.  It's a lo-key affair, but still swings.  Connor's voice was in top form and like all her work, she kept things cool.  You also get an almost restaurant/mood music feel from the use of both an accordion and clarinet throughout the album, but it works here, doesn't fall into the hooky category at all.

She was joined by the Vinnie Burke Quartet on the album, hardly a household name anymore, but a capable band nonetheless.  Oddly, the album doesn't credit production.  Apparently in the 50's all that mattered was the singer and the band.

Kinda digging this guy's vinyl rip to You Tube of the album

Stan Kenton New Concepts of Artistry in Rhythm Capitol 1952

Stan Kenton New Concepts of Artistry in Rhythm Capitol 1952 CAT# H383

So, when I first embarked on this project and found out Stan Kenton was from Wichita, KS, I was like, "Sweet!"  Then, as I started actually keeping my eyes peeled for all records that have a Kansas connection and saw how many Kenton albums are out there I said to myself, "Fuck, Stan Kenton is from Wichita."  I mean seriously, how many things can I possibly come up with to say about Stan Kenton?

Luckily, this 10" is pretty interesting and at points, challenging.  Kenton was in transition and on this album his orchestra had just begun it's experimentation with swing.  The first track, "23 Degrees North - 82 Degrees West" comes in with killer horns that take a bit to come together, but it works within a few seconds.  The Latin flair on that track is the most exciting part of the album, but there are other moments to explore, love the guitar lines on "Invention for Guitar and Trumpet," and the revamped ballad, "My Lady.".

As per usual, on this album Kenton's orchestra is loaded with talent, Maynard Ferguson, Lee Konitz, and Gerry Mulligan, just to name a few.  Of course, Kenton tells you all about that on the back side of the album in true douche-bag form.  The guy describes all the tracks like his work is for the better good.  But, outside of that, solid album, cover art is incredible.

23 Degrees North - 82 Degrees West

The What Gives Up All Night With Bus Stop Label 1995

The What Gives Up All Night With Bus Stop Label 1995 CAT #1012

The What Gives almost exclusively belong to Jon Harrison.  It's really his thing with the help of others.

If you don't know Jon Harrison, all you have to do is listen to this.  He's into records; worked for years as the primary in-store buyer and pricer at Love Garden Sounds in Lawrence, KS.  He's into power pop and 60's Anglophilia; one time webmaster for the short lived Little Hits.com and if you get onto big time Power Pop webboards, he's among the most respected voices.  He's pure Lawrence; he moved there in college never left.  He's also incredibly tall, you'd think his tie to Lawrence would have been basketball he's so tall, but it was the music scene and school.

The What Gives songs are pure Jon.  Sweet, sappy, power-pop gems with a ton of 60's influenced harmonies, chiming guitars, and almost exclusively about heartbreak.  The tunes also got a nice bedroom pop appeal about them, very homespun and natural production.  It's a smattering and scattering of just a million different obscure pop influences.  You could say you hear a lot of the Byrds in his music and you'd be right.  You'd also be right about saying you hear the Beach Boys or the Beatles...Or the Bongos, or Let's Active or the Nerves, it's all there.  The songs were produced by local producing extradonaire, Ed Rose.  The songs feature a plethora of great Lawrence talent, mainly because Jon's a pretty awesome guy.  I don't think there was ever a hope of this 10" becoming a massive success, Jon just had some tunes and everybody agreed to put down some tracks.  Can't imagine a whole lot of money exchanged hands on this project.

Harrison still plays locally, usually under the moniker, The Harrisonics.  He sometimes spins his amazing record collection at fantastic Lawrence establishments.  He no longer works full time at the Love Garden, but friends told me he sometimes works a day or two out of the week to price and grade some records.  He's actually a teacher now at Lawrence High, which makes you think, it's time for a Robert Pollard transformation, could use another guy like that and Harrison has the tunes stored up.

I Can Stay Up All Night

Langston Hughes The Dream Keeper & other poems of Langston Hughes Folkways Records 1955 CAT# FC7104

Langston Hughes is one of the most important Kansans both historically and socially.  He was born in Joplin, Missouri and at a young age after the separation of his parents, he was moved to Lawrence, Kansas to be raised by his grandmother.  Most of his childhood was spent in Lawrence, until the passing of his grandmother at which point he spent the remainder of his late-teens in various homes' of relatives.

He would travel to New York and become a crewman traveling on his ship across the globe.  He'd work various jobs thereafter and obtained a degree from Lincoln University in Pennsylvania.  In 1921, his first poem, "The Negro Speaks of Rivers" was published.  In 1926, the same poem would be published in his first book, The Weary Blues.  As an accomplished author, he took up residence in Harlem, NY.  His work would become pivotal and some of the most influential work of the Harlem Renaissance.  He would work with other artists such as Wallace Thurman, Countee Cullen, and Aaron Douglas, to push, explore, and promote African-American artists.

He was an interesting individual and it is often stated that he was homosexual.  Not that sexuality matters, what does matter is his devotion to African American culture.  While colleges teach the works of W.E.B. Dubois now-a-days (Hughes is taught in Academia as well), the Hughes' camp was criticizing Dubois for being to apologetic for white European culture.  He wanted to record black life in America, the working class, and he wanted to record the American Experience.  He accomplishe it in all his writing.  His simple, jazz poetry catches it best.  He was brought up by activist parents who fought for equality long before a popularized movement.  In Lawrence, he was given the pride of his culture.  Fitting that the seed was planted in Kansas-The Freestate.

This record was produced in 1955 by Folkways Records.  It features Langston Hughes reading poems from his book, The Dream Keeper.  The Dream Keeper is a great collection, but it's certainly fit for a spoken word album as it was intended for young adults as an introduction to his poetry.  It's a very interesting recording as Hughes introduces his poems at every interval.  He briefly explains either where the poem is from, how it came to be, where he wrote it, or who it is about.  His simple wording and rhythmic delivery let you understand the term jazz poetry, especially true on his "blues" poems.  Despite that I will rarely listen to this, since you get to hear one of the most famous and influential American poets read his poems, it's easily one of my favorite finds.

I, Too

The Vitreous Humor Self Titled E.P. crank! 1995

The Vitreous Humor Self Titled E.P. crank! 1995 CAT# crc003

Man, this came out so long ago.  In fact, nearly 20 years ago.  I wasn't even done with high school at that point.  I love this EP, everything about it.  Been listening to it since I first heard on 105.9 The Lazer nearly 20 years ago.  I know every song by heart, so much so, that if a tune pops up on my iPod it feels strange when the next track doesn't follow.

Not going to front though, the vinyl sounds like crap.  Pretty sure crank! just took CD master and put on vinyl; the high ends distort and it sounds muddy.  CD is superior, but that's usually the case with 90's vinyl.  Kind of hoping there's some sort of 20 year anniversary remaster edition in the works.  However, if you go to the band's Facebook page, it appears the band is trying to regain their masters and do something to that effect, but are having a difficult time doing so.  Apparently, crank! is reluctant to give up the rights.  I would be too, but c'mon, there's not a huge market here, let the band do something with their songs.  Or, if you're so confident the masters are worth bags of money, put something out...the band and the label both benefit.  If it ever happens, I'd really like some sort of retrospective like the Posthumous release, but done up on vinyl.

About this release and band, years ago, when I was working at a grocery store in Lawrence, KS, my co-workers and I were assigned to check out the Community Mercantile.  Oddly, the co-workers I went with were both really into music (actually, they were part of a band called the Ample Branches) and I spotted Danny Pound doing work.  Jokingly, but half-serious, I told my co-workers that "grocery bagging guitar player" (Regrets reference which went over their heads) is the best musician in Lawrence.  They questioned it, but sure enough, I had a copy of this CD in my car to prove it.  Played some tunes for them, obvious choices, "She Eats Her Esses" and "Looper".  Sadly the first response was not jaw-dropping in awe, but was, "Sounds a lot like Archers of Loaf, but better than I thought."

This incident happened approximately 5 years ago.  And, DAMN if my co-worker wasn't right about the Archers sound.  I love Archers of Loaf, but I'd never put into the context of Vitreous Humor.  For me, Vitreous Humor came first.  Groups like Vitreous Humor, Boys Life, Kill Creek, and Shiner being played locally on the radio were a gateway to your Superchunks, Archers of Loafs, and Sunny Day Real Estates of the world.  I had literally spent most my adult life thinking Vitreous Humor was the most original thing to come out of Topeka and Lawrence, Kansas...ever.  I thought the world of this band and everything Danny Pound did later.  But, in one statement I began to question it.

About a day later I came to the conclusion (senses) that despite the obvious North Carolina influence, no one squawks like Danny Pound.  Archers weren't this unabashed and out of tune, they weren't as random, and never as emo as Vitreous Humor.  Vitreous Humor is amazing and I'm holding to it.

Looper

Boys Life/Christie Front Drive Split 10" Crank! 1995

Boys Life/Christie Front Drive Split 10" Crank! 1995 CAT# CRC005

Another KC Crank! release, this one featuring emo sweethearts, Christie Front Drive, who are from Denver...and great, but makes little or no sense to discuss their tunes here.

The B-Side to this EP features early works by Kansas City's Boys Life.  Both Christie Front Drive and Boys Life went to Omaha for the tracks to be recorded and were produced by AJ and Mike Moogis.  Midwestern emo scene in it's early days as the Moogis brothers would go onto to do things with their hometown label, Saddle Creek, namely, Cursive and Bright Eyes.  Boys Life would set influence, Christie Front Drive's work would go onto to help define the scene (see the song "Valentine" on this EP).

This early stuff by Boys Life is a bit more melodic than the stuff they'd later do on their full length.  Still chaotic, just not as outright DC as the debut became.  "Sight Unseen" is incredible.  The song "Homecoming" shows the band noodling around with out of tune guitars and time shifts, it's not perfected here like it would be later and it loses the listener in the end.  "Two Wheeled Train" is a bit slow and spends too much time figuring out what it should do.  The band's ideas are here, they just needed Mark Trombino to focus them on their best attributes which he was able to do on the debut LP.

Another KC tidbit, the sleeve is screen printed and designed as a fold able jacket.  It was done by Hammer Press in Kansas City, which was a former college roommate of the guys from Giants Chair.

Sight Unseen

Get Up Kids Red Letter Day Doghouse 1999

Get Up Kids Red Letter Day Doghouse 1999 DOG 063

Pretty sure this was a contractual thing the Get Up Kids had to do to move onto Vagrant Records from Doghouse.  It features the track "Red Letter Day" which was featured on the full length LP, Something to Write Home About.  If you look closely enough at the back cover, the song "Forgive and Forget" was to be featured on the Write Home album, but was scraped by the band at a later date.

Initially it was 10" only release, but, later a CD came out that combined this and the Woodson EP.  Overall, it's a satisfying 5 song set.  At the time, it was a great way to hear all these tunes.  Now, every tune has been repackaged in some way, shape or form.  All tracks are easy to locate.  This EP doesn't hold the "special" appeal it once had.

The thing I love about it most; the cover.  It's simple and poignant, a wheat stalk.  Because, the band is from the Wheat State, Kansas.  For years, everyone always assumed the Get Up Kids were somehow embarrassed of their Kansas/Missouri background.  And for years, the Get Up Kids paid homage to home by doing clever things like this.  They never hated on Kansas in anyway, they were always proud of it (or accepting), just slightly confused by the occasional local backlash they sometimes received.

Mass Pike

The Wilders Sittin' On A Jury Free Dirt 2007

The Wilders Sittin' On A Jury Free Dirt 2007 CAT #DIRT 005

The Wilders are a country group from Kansas City that focuses on amping up old time music.  Filled with banjo, dobro and fiddle, the group plays country at break neck speeds.  So much so, they call themselves "Hillbilly Riot Music," which is okay, except no one likes hillbilly music, that's for the morons playing second fiddle at the Ozarks.

The EP itself is interesting, the first side consists of an original, a Hank Williams cover, and a traditional song.  The B-Side is the title track of the EP.  One song in 5 parts entitled "Sittin' On a Jury."  It's an ambitious attempt and while I wouldn't call it clever, it's entertaining no doubt.  Like an expansion on the song "Long Black Veil," with movements.

Either way, the band is great.  Especially when you take their reliance on country legends like Johnny Cash and Hank Williams and mirror it to the Ozarks.  Kansas City looks about a million times cooler.  It's also just a breath of fresh air when you hear any country band that refuses to dumb down their sound for an audience, no rock n' roll for dumb people here, just solid country tunes.

Bringing in the Georgia Mail

Get Up Kids Simple Science SimplePsyence Recordings/CR Japan 2010

Get Up Kids Simple Science SimplePsyence Recordings/CR Japan 2010 CAT #

Because I was late on the Get Up Kids reunion, I had to beg for one of these and this is a Japanese press that was limited to 500, my copy came on green vinyl.  Very glad I did swallow my pride and beg for it, though.  As stated previously, the 4 songs here are the reason I gave the full length There Are Rules another chance.

The four tunes are solid.  Despite that the looped spoken word William Burroughs intro makes me want to puke every time I hear it, "Your Petty Pretty Things" is a solid tune.  Feels dark and hurtful, like the guys were sick of their image (they probably were).  "Keith Case" was previously talked about as it appears on the There Are Rules album.  The flip side is "Tommy Gentle" and "How You're Bound".  They're both solid pop tunes.  I'm willing to call "Tommy Gentle" vintage Get Up Kids even, similar feel to the tunes found on Something to Write Home About.  "How You're Bound" is sparse, feels like it'll break and it almost does when they drop a chunky moog riff on top of programmed beats and atmospheric sounds.

As a whole, the release is a little schizophrenic, but it shows the band were still great songwriters.  I'm glad I started spinning it as a quick fix, because it led me to a solid album in There Are Rules.

How You're Bound
Acoustic Your Petty Pretty Things