Amos Chase and His Old Time Fiddle Privately Released March 1st, 1974

Amos Chase and His Old Time Fiddle Privately Released March 1st, 1974 CAT# CO 6480

First, there is so much to love about the homemade aspect of this LP. It's the definition of a private press. There is no label credited to the release. Mr. Chase likely just had them pressed at the closest plant. He bought plain white sleeves to house them and glued on his own cover. You can tell because this cover was is peeling off and the glue resin is visible. He also dated the exact date the record was either recorded or released in the top right hand corner as it states, March 1st, 1974. Finally, there was a mistake on Mr. Chase's PO BOX listed in the bottom right, his zip code should have read 66429 rather than 66249, instead of reprinting the covers, he just used a pen, crossed the print out and hand wrote the correct zip code in it's place. His address is a PO BOX in his hometown of Grantville, Kansas, which is near Topeka.

As for his music, you can tell by the cover, he was an accomplished fiddle player in his day. He's accompanied by Eldon Ray and Glenn Woolaway, who were local Kansans as well. All three players were members of the Kansas Oldtime Fiddlers Association, seeing how this was Amos' own release, I assume he was the most accomplished. The music is strictly old time bluegrass. Just Ray's fiddle and the others providing support on guitar. No vocals, no frills, just a guy showing off his fiddling skills.

Sadly, all players have since passed. Reading Mr. Chase's obituary from 2000, he passed while judging a fiddle competition in South Dakota. As sad as death can be, this guy got to go with something he enjoyed, the fiddle...there's a lot of comfort knowing that some people get to go out doing something they love.

Danny Cox Feel So Good Casablanca 1974

Danny Cox Feel So Good Casablanca 1974 CAT# NBLP 7008

Danny Cox was a KC transplant, brought to the city after teaming up with Good Karma management in KC. His early work is primarily as a folk artist with a soulful voice and a steady acoustic guitar. This LP found him on the Casablanca label, known for their over the top production of both rock and disco artists.

For what could have turned into an absolute disaster, Cox turned in a decent album of some original tunes. Reviewing his past releases, you can sense that his label tipped the tracks into the soul/disco realm, but Cox isn't completely drowned out. There is still a sense of his roots throughout the album and some of the funk elements add to the LP.

It has become is best known LP as it had some promotion behind it and fit in well with it's times. It's a dance album and has a lot of groove. It wasn't enough of a success to continue on the Casablanca label, but it was a worthy attempt at finding a larger audience.

Hot Down In Chile

The Ozark Mountain Daredevils It'll Shine When It Shines A&M 1974

The Ozark Mountain Daredevils It'll Shine When It Shines A&M 1974 CAT# SP-36

This album contains the Daredevils standout, yacht-rock hit, "Jackie Blue." It still sounds strange in the context of the band's music. They try so hard to be down-home and roots driven rock n' roll. They step heavily into country and bluegrass and keep a live sound. Then, out of nowhere, "Jackie Blue" with its smoothness and cocaine perfection. You'd guess the band was from Los Angeles and not in between Springfield, Missouri and Kansas City.

From there, the Daredevils do what they do. Play around with rock n' roll and traditional roots music. There's a  track entitled, "Kansas You Fooler," which seems to recall the bitter Kansas-Missouri rivalry, However, this appears to be a coming to terms with Kansas after leaving Colorado, seeing all the flatness of Western, Kansas is kind of peaceful. Another highlight is the track, "E.E. Lawson," which is this driving bass rhythm with truck stop vocals telling the story, it's a bit novelty, but clever. Overall, the LP is a strong effort worth repeated listens.

Jackie Blue

Bloodstone I Need Time London 1974

Bloodstone I Need Time London 1974 CAT# APS647

After discussing a surprising find featuring the daughter of Bloodstone band member, Charles Love Jr., figured why not highlight another Bloodstone release.

I Need Time followed the Unreal album and for the most part, marches down the same path. Unfortunately, most Bloodstone's work seems to get overlooked. For example, All Music Guide gives this album a measly two albums despite stating it contains, "Some above average funk..." It then goes onto mention the album featured drummer Steve Ferone who would go onto play for Average White Band.

Despite the low marks, All Music is right about having some "above average funk." In fact, the band's output throughout the 70's features some real killers and this album is no different. I mean, they can't compete with the craziness of George Clinton's Funkadelic or his Parilament, but hey, Bloodstone was playing their own instruments. And while Bloodstone can't get as smooth as the Chi-Lites or the O'Jays, their vocal work is on the same level. This album included, the band's catalog is filled with high points and worth exploring.

Perhaps Bloodstone's greatest challenge was not being linked to a specific scene within the soul/funk genre. There wasn't a Kansas City presence on the major labels since jump blues, by the 70's, Bloodstone is really about it. They couldn't latch on to Philly Soul, Chicago Soul, or what was going on down South. You sense the group was grabbing from all scenes in attempt to carve out their niche, which is perhaps the reason they aren't more highly regarded historically.

That's Not How It Goes

Bureman & O'Rourke Strawberry Pickin's Pearce Records 1974

Bureman & O'Rourke Strawberry Pickin's Pearce Records 1974 CAT# 42550

This is a solid LP put out by Pearce and, like most Pearce Recordings, it was done in the Cavern Studios of Independence, MO. The band's later release was discussed here, but this is the more sought after of the two. The LP has sold for hefty amounts thanks to buzz terms like "Rural Folk," "Psych Folk", and "Acid Archives" in which the album is discussed, however, it's a little more basic than all that. It's a well done country rock album, a bit more rural than something like the Eagles, and a bit more mellow than the stuff the Byrds were doing in the 70's. It's value is probably also aided by the Pearce label which collectors have seemed to latch onto.

On the top of the back cover, Bureman & O'Rourke indicate to the listener that the songs featured here are were selected by fans at Putche's Strawberry Patch (clever title now, right?) in Kansas City. It's a collection of some well thought out covers and decent original material. Like other bands that frequented the Strawberry Patch, they do play through some bluegrass at speed, but these guys keep it pretty mellow otherwise. The original song, "Genevieve", is a good example of what the two were capable of. Solid harmonies, haunting melodies, and desire to story tell with their songs.

Other highlights include the cover of "Fox and the Run" as a bluegrass number. The adapted version of "K.T.A." by the group with Kansas towns thrown in throughout is fun. The band's tune "86 Proof" is a spirited attempt at a rock song, it's amusing but falls a bit short. They get all yacth rock with a Kenny Loggins "Love Song," which isn't as bad as it should be, kind of pleasant. Their original tune, "Chanson de L'Oiseau", has some teeth to it and one of their strongest original tunes on the LP, despite the idea of the song being about the middle finger.

Genevieve

Bloodstone Riddle of the Sphinx London 1974

Bloodstone Riddle of the Sphinx London 1974 CAT# PS654

This appears to be the most ambitious effort from Kansas City's Bloodstone.  It's an attempt at a concept album.  Like most concept albums, it falls apart quickly and just becomes apparent that the concept was only carried through in artwork and the song titles, there's no unraveling or storytelling here; just a solid soul LP with a few spoken word interludes.

They band was playing their own instruments and writing all their own tunes at this time.  They run the gambit in terms of styles.  The first three songs go from silky soul, to black rock, to straight funk.  These 70's Bloodstone albums were exclusively produced by Mike Vernon, who got a crisp sound and allowed for experimentation.  In terms of the black rock movement of the 70's these guys were one of the better groups, blending the Hendrix inspired riffs of Charles Love and Willis Draffen with the vocal style of 60's Motown.  If you think Funkadelic, that's a bit too heavy, Bloodstone only experiments in the style.  It ultimately owes it's greatest due to soul music and the rock moments are few and far between.

I love the plaintive vocals of "Just Learned to Walk" and it's awkward rock style.  "This World is Funky" is solid piece funk with great guitar work.  The rest of the album meanders between MOR 70's funk and and great vocal soul outings.  No doubt, these dudes had a great vocal approach, one of the best at their craft in that regard, "Wasted Time" best exemplifies that aspect of the band.  There are some other definite highlights like the silky smooth, "For the First Time," and the outstanding ballad, "Young Times Old Times."

The World Is Funky
Wasted Time

The Count Basie Trio For the First Time Pablo 1974

The Count Basie Trio For the First Time Pablo 1974 CAT # SUPER 2310 712

The Pablo era Basie is interesting, it's not astounding, but it was cool that Pablo was out there still letting guys like Basie throw down in the 1970's.  The label itself was founded by Norman Granz who started it after selling his Verve label to MGM.  Apparently, Pablo Picasso had influence with the label and was also in on the project near his death, that or Granz wanted to do something to incorporate him and thus the name and symbol of the label, who knew?  Granz apparently ran the label as a hobby and took all the old jazz artists that no one cared about it anymore and let them go in the studio setting.  Very loose recordings, lots of improvisation, with some of jazz's greatest artists.  In addition to Basie, this LP has double bassist, Ray Brown, and drummer Louie Bellson.  The Pablo roster also included work by KC native, Joe Turner, Count Basie's Kansas City 7, and non-locals, Ella Fitzgeralrd, Joe Pass, and Oscar Peterson just to name a few.  The pressing and sound quality on the Pablo are superb.  In fact, most there releases have a basic (but, great sounding version) with a black cover and the "super" versions with white cover.  This obviously represents the "super" version of this particular LP.  Also, since no one really cared about these releases much in the 70's (my understanding they were high priced audiophile type albums), no one really cares about them now and you can find them relatively cheap.

There's an absurdly long  write up on the back sleeve, I haven't really taken the time to read it.  I'm sure it gives all the in and outs of the LP.  It probably doesn't tell you how the album is great background, study, or housecleaning music.  Further, it probably declares it triumphant and award winning, but it's pretty mellow and easy to lose focus while listening.  There are some moments Basie rips through some lines just to show off, but there isn't much more than old friends firing it up in the studio setting.  Basie perks ears on his song, "Blues in the Church", as he riffs on an organ.  The rendition of Gershwin's "Lady Be Good" is also worth paying attention to.  The trio's rendition of "As Long As I Live" is a gem and will quickly get lost if you're not paying attention, the track really showcases Basie as a pianist.

That would be the major take away from the album.  Throughout his career, Basie primarily did his work as a bandleader.  Choosing to focus on the other parts of his band rather than add embellishments with his own skills.  It's a rare opportunity to hear Basie as a player in a small setting.

As Long As I Live

Kansas S/T Kirshner 1974

Kansas S/T Kirshner 1974 CAT #32817

The best thing about the debut by Kansas is the cover.  This is the greatest cover on any album ever.  You don't like John Brown and the story behind Bleeding Kansas?  Fuck you, you're a racist.  Yeah dude, Kansas was on the right side; Free State.  That's how we roll, you're welcome.

Other than that, there's an absurd amount of fiddle on this LP.  I've never thought to myself, hey, these keyboards and rambling chord progressions could really use some fiddle.  But, the band Kansas did.  I guess that was going to be there calling card back in the day.  They were going to be that prog-rock outfit with a fuckin' fiddle.  Heads will explode.

Aside from that, there's a lot of boogie in the album.  It has its moments within the songs.  But, it lacks any sort of focus.  It's all the bands tricks at once.  They would get better, focusing on boogie and harmonies more so than all the prog and fiddle.  All lot of the songs show promise at the start before the band just starts lumping everything they have into them.  For one, The Pilgrimage, could have been solid had they not destroyed it with an organ break and a guitar vs. fiddle dual.  It's just that way throughout the entire thing.  The band focuses too much on trying to show you their virtuosic skills rather than their songwriting skills.

The Pilgrimage