Ozark Mountain Daredevils Men From Earth A&M Records 1976

Ozark Mountain Daredevils Men From Earth A&M Records 1976 CAT #SP-4601

Although they continued several more years past this release, this LP marks the end of a pretty good run for the Springfield, MO band that made a huge impression on Kansas City in their early days. This effort wasn't as consistent as their prior releases, but it's the same odd blend of old-time bluegrass, smooth pop, and country rock that sometimes goes song to song and other times within a single track.

There's a crazy story about founding member, Randle Chowning getting into a fight with his bandmates in Europe and quitting the band around the time of this LPs release. Apparently, a band sound mix pissed Chowning off, so he turned it to 11. After the show, he argued with band members and held a grudge all the way back home and ended up leaving the band. Despite that, he's listed as a sideman in the credits for 'Sideman From Earth', obviously appearing on some of the album tracks. Also interesting, the album was recorded EVERYWHERE. In Nashville, as well at the legendary Caribou Ranch in Colorado, and surprisingly at American Artist Studio in Springfield, Missouri, the same studio that drummed up business releasing a bunch of local custom and private press records in the area.

Again, 'Men from Earth' is a bit more uneven than the prior LPs, maybe due to the all the different recording locations. But, it's not a miss by any means, it has its share of enjoyable tracks, just lacking an obvious hit.

Fly Away Home

Dewayne Bowman and the I.R.S. and Krissi Victims of the Pretty Things in Life B/W I'm Sorry Antique 1976

Dewayne Bowman and the I.R.S. and Krissi Victims of the Pretty Things in Life B/W I'm Sorry Antique 1976 CAT# UR 4323

I had every reason to believe this would just suck. From the idiotic band name to the absurd song titles and due to the association with the producer that did THIS. So, not just suck, but be this shit-tastic garbage pile of country cliches. I had all these great, mean-spirited things to say, but that was before I listened to it.

And well, it's not terrible. It's not good, either. Overall, I could see a bunch of drunk old guys in Pittsburgh, KS bar hearing this and saying it was pretty good. Dewayne Bowman has this big, booming country voice. It's a little over the top, but again, it's not the worse thing you'll hear all day. He is covered in a honky-tonk/country backdrop which, yeah, gets a bit cliche. He doesn't write, depends on two covers for this release. It's forgettable, but again, it's not terrible.

Meh, It's pretty bad

Smoke Risin' J. Bridge Records 1976

Smoke Risin' J. Bridge Records 1976 CAT# 7544

This will likely be my top find of the year as I've been searching for this at a reasonable price for the past two years. Finding it for $1 at a Goodwill in Olathe, KS, that's perfect for my budget. I was searching through a pretty solid collection of beat up soul albums at the Goodwill flipping past some Earth, Wind & Fire I didn't need, some O'Jays had it been in better condition I wouldn't have minded owning, and some Donald Byrd LPs I did need despite a few scuffs. Then, this shows up, still in shrink and looking super-clean. There was a lady looking at the opposite side of the record bin and she looked up at me when I said out loud, "Oh man, I can't believe this is here!" I then had to explain myself somewhat embarrassed the rarity behind the record and that I've been trying to track this down for a couple years now. She didn't care much. She had a few Disney LPs and a Carperntars album in her stack, so naturally I said, "There's some really great Earth, Wind & Fire LPs in here if you need some."

This album is a throwback and when you put up to all things 1976, it's not surprising that the group didn't bust out of Kansas City. The LP is very rooted in the popular 60's and early 70's sound of Motown. It four male vocalists surrounded by lush strings, brass, and some modestly funky guitar, bass and drums. The primary songwriter was Elmer Overton (he also produced the record along with Les Mathews) and it's pretty clear Overton was heavily influenced by the likes of the Impressions and the Temptations. It's not disco enough for 1976 dance floors and wasn't funky enough to catch on to the live scenes.

However, despite the album being a few years too late, it sounds fucking great now. Overton's tunes recall the greatest bits of the Motown catalog and some of these tracks could burn down a Northern Soul dance floor and probably have. That kind of sentimental, uptempo, dance number that the likes of Stevie Wonder and Smokey Robinson perfected for Motown, Overton gets close. Even the over-the-top, drenched in string ballads work for this guy, mostly because of the falsetto and the rest of the vocals in Smoke have the talent to carry it out and make it interesting.

Also, the amount of energy that went into this release is impressive. There's a complete string, horn and reed section along with your standard band backing. So 4 male vocalists and an impressive 16 member studio cast. Not to mention, a full production team. This was put out on J. Bridge Records, which only put out one other release, a single from the same band. So it's a basically a private press and the money that was put into this release is probably what killed any chance of the label continuing. But man, what a way to go out...dare I say in a blaze (get it, Smoke?).

I'm So Glad You Came Along

Granmax A Ninth Alive Pacific Records 1976

Granmax A Ninth Alive Pacific Records 1976 NO CAT#

First, a couple of interesting things on this band. It's generally held, especially here, that Granmax formed in Kansas City. Their manager and producer for this album is long time Kansas City concert promoter, Chris Fritz. He and Granmax recorded the album at Liberty Sound. However, there is some information on the web that cites the band is from Omaha, Nebraska. Maybe there are some roots there, but I think it's safe to say Granmax was a KC band.

Another interesting nugget, there is possibly two pressings of this LP or at least multiple covers.. Chris Fritz produced this LP in 1976 and released it under the label name, Pacific Records. Later, Chris Fritz would start the label, Panama Records (the same that scored a somewhat national success with the band Missouri). There appears to be some copies of this LP that get tagged a Panama Records release with the catalog number, PRS 1001. That number does not appear on this copy and it's not a super common record floating around, so it's unlikely that I'll uncover anymore info in that regard. Both the issues listed as Pacific Records and Panama Records appear the same, both white vinyl, both with the same black label on the vinyl. I assume it's two separate covers or possibly just a sticker placed on some copies Chris Fritz had lying around after Panama Records was created.

As far as the music, can't knock Chris Fritz as a talent scout, he was onto something here. A Ninth Alive is adept and intelligent hard rock. For about $20, this LP can be had and if you're a 70's metal fan, I can't imagine this would disappoint. It's not juvenile like your Aerosmiths and AC/DCs, it's got progressive rock tendencies and tries to sound important. But, it's loud power trio (although, tons keyboards sprinkled throughout with no credit given). There is tons of Jimmy Page worship and riffing, they can't get as technical as 70's prog. rock, but they're just as heavy if not more so. They released a second LP for Panama Records entitled Kiss Heaven Goodbye which is worth an absurd amount. If it's better than this LP, it's probably worth every bit of the $200 price tag it fetches.

Three Songs from the LP, A Ninth Alive

The Grand Poo-Bah Beaner Band It Must Be A Breakdown Rising Star Records 1976

The Grand Poo-Bah Beaner Band It Must Be A Breakdown Rising Star Records 1976 CAT# RS 3301/D-1027

Can't be too sure where these guys are from, but all indications support that the Grand Poo-Bah Beaner Band was from Salina, Kansas, as they seemed to be playing shows there in the late-70's per the Salina Journal. However, they may have just had a following in Salina and could just as easily be from KC or nearby. The album was recorded in Independence, Missouri, at Shapple Wood studios, a studio that would become Chapman and engineers had ties to the now legendary Cavern Studios.

Regardless of where the Grand Poo-Bah Beaner Band is from, this is a fantastic piece of local bluegrass. Fast-paced and tons of energy. It fits alongside other Missouri artists such as the Dillards and John Hartford. Unlike those artists, however, the Grand Poo-Bah Bearner Band wasn't much for original songs as only one song by the guitarist is found on the album. It appears the group was just doing this for the joy of playing, not concerned with taking outside of their locale.

That said, it's a solid selection of traditional songs and progressive covers. They bluegrass up "Friend of the Devil" by the Grateful Dead which may seem surprising at first, but considering Jerry Garcia was heavily involved in traditional music isn't that much of a stretch. They do a Dillard's tune and a solid cover of Dylan's "I Shall Be Released." They even cover the New Grass Revival with "Cold Sailor". They go to the roots with the Carter Family's "Foggy Mountaintop" and Bill Monroe's "Fire On the Mountain." They stay traditional with other covers like "House of the Rising Sun" and "Reuben's Ridge."

All the covers won't make this a collector's album by any means...nevermind, no one cares about bluegrass. But overall, it's worth a listen due to the quality and musicianship.

Pete Eye Trio S/T Cavern Custom Recordings 1976

Pete Eye Trio S/T Cavern Custom Recordings 1976 CAT# 41287

First, this is sought after, namely for the first track, Pete Eye's workout of "Sissy Strut."  While $50 may seem like a lot for something so obscure and unassuming, the guys forking over money for it are spot on with this this tune.  It's epic, challenges even the Meters.  Eye's work on the keyboard is funky and light, the stand up bass keeps the song rooted in jazz, and the drums are tight, no huge breaks, but tight and well done.

From that track, the album does what Pete Eye was known for.  He was a well studied piano player, showcasing most his skills surrounded by jazz arrangements.  While the rest of the LP isn't as awesome as "Sissy Strut", it does show that Eye is a great piano player. Many tracks see Eye just showing off in almost a classical sense.  Then there are more funk driven moments.  He throws down on the organ, "Good Bait," gets bluesy on "Back at the Chicken Shack."  The final three tracks "Sumthin You Got" is soulful, with vocals who I assume are Eye's.  He's not an amazing singer, but gets his point across.  The band does a workout of "Them Changes" which was made famous by Buddy Miles, the vocals lessen the tune, but still an enjoyable rendition.  The Trio dips into rock n' roll on "Pete Eye's Boogie" which sounds a bit hooky, but the organ riffs are spectacular.  Finally, all the tracks, show off the skills of his supporting artists, John Hatton on bass and Barry Gould on drums.

Eye was actually born Byron Floyd Eye in Indianapolis, Indiana.  His family would move to Kansas City and Eye graduated from Central High School in KCMO.  He served overseas in Korea as part of the US Navy, but after his service returned home to Kansas City to live and play in the historic jazz scene.  He was well known player around town, but was sought after just as much as technician and tuner of the instrument.  He sadly passed away in 2010.

Sissy Strut

The Boos Brothers Not Since I Found You Quantum Records 1976

The Boos Brothers Not Since I Found You Quantum Records 1976 CAT #LRS05002A

This is pretty awful.  The Boos Brothers are four Kansas City brothers and "their superb drummer, Paul Walter," (the blond kid on the cover).  It's amateur hour and when they take on a Don Boos original; oh, fuck!  Talk about some sappy, teenage, crap.  Judging by the cover, Don Boos is the oldest of the brothers and he had to be penning these tunes to get laid in high school.  I mean this is 1976 and he's crooning in an off key voice like a lounge version of Paul Anka (they cover his tune, "My Way").  It's like the kid only had his parents easy listening albums to draw inspiration from (I mean they do a "Glenn Miller Medley", really, what teenager was into Glenn Miller, ever?).  Either way, I hope his sad bastard music got him the girl, maybe they got married, the album would totally be worth it if that were the case.

When the Boos take on some covers, there are some inspired, but terribly off-key moments.  I can only

assume the reason for the amateur style of play is because the kids were doing it themselves.  The cover would make you think vocal act, but the backing musicians are so terrible, the only explanation is that the organ, guitar, and bass are being played by the Boos (and their superb drummer, Paul Walter).  The first song, a cover of "I Can Sing/I Can Dance," has this moment when they kick the keyboard setting from organ to space age laser sounds and it just goes off.  There's no way any hired hand, wedding band player, came up with that moment of pure insanity, that's just a kid thinking he struck gold (and in a way, he did, it's the best moment of the album).

Blog Post featuring another take and some tracks, read the blog, it's great.

Bureman & O'Rourke Somebody Give Me A Smile Happiness Records 1976

Bureman & O'Rourke Somebody Give Me A Smile Happiness Records 1976 SHA-1001

Yet another private press country LP from the Kansas City area.  I got this one from a good friend in a trade and was excited to hear it.  This particular LP doesn't command much online, however, there's another album by the duo of Bureman & O'Rourke titled Strawberry Pickins that is usually labeled "rural folk" and can sell for a decent amount.

This LP is far too produced to be considered rural folk.  Very much a product of 1976.  It's borders on Eagles influences, very much a light rock affair with a lot of country affliction.  It does have it's moments of country rock or roots rock throughout, but the most of the album leans on acoustic guitar as the lead and vocal harmonies.  For the most part, the two write most their own material, with only a few cover tunes.  Lyrically, they aren't an amazing, but the tunes are worthwhile overall.

The LP lists the Happiness Records as based in Leawood, KS.  So it's apparent the band resided there.  In fact, there's some evidence that the band pal'd around with the Overland Park band, River Rock, as the Strawberry Pickins LP appears to be some sort of reference to the Strawberry Patch, which must have been some sort of local venue for these local pickers and country artists.  River Rock lists one of their albums as recorded at the venue.

Also, you can still find the duo performing locally.  Apparently, they play regularly at Wil & Jenny's in Overland Park, KS.  Further, Tim O'Rourke still releases music on a regular basis.

http://www.buremanandorourke.com/

Kansas Leftoverture Kirshner 1976

Kansas Leftoverture Kirshner 1976 CAT #34224

I don't really want to buy a bunch of Kansas (band) records for the sake of this blog that no one reads.  So, I suppose it's a good thing I got this one free from my old man.  If there's a Kansas album you have to own, I assume this is the one, right?  It's got the hit, "Carry On Wayward Son," made famous by the 1970's, AOR Radio, and later the video game Guitar Hero and the cartoon Southpark.

There are some things I love about the band Kansas.

1.  They are legitimately Kansas dudes, form Topeka.

2.  The song, "Carry On My Wayward Son" is pretty f'n good.

3.  They are about a 100 times better than the band called Missouri.

4.  They are virtually the only American Prog Band worth a shit.  Boston, maybe?  They had prog tendencies, right?  Journey sucks and can hardly be considered anything but overproduced.  Who else is there?  The great prog bands were British with the exception of Rush who is Canadian.  I'm sure there is some sort of hyper-obscure American prog-outfit out there.  However, in terms of going toe to toe with the Brits, these guys from Topeka are America's answer.

5.  Continuing on the prog-theme, Kansas made their version American.  Nothing about Kansas' music sounds plastic or over thought.  The songs have a groove--prog-rock you can dance to and girls actually like.  I love that this band had the balls to do it.  That's being a Jayhawker, man.  It's not always about what's par for the course, sometimes it's about finding your own thing, and Kansas certainly did that.

What I don't like about Kansas; it's that they are a prog-rock band.  I mean, I have a guilty pleasure in Rush, The band Yes is good.  And, you might catch me raising my fist to an Emerson, Lake & Palmer song.  But yeah, I wouldn't consider myself a fan.  However, what becomes apparent after listening to Kansas is that they are nowhere near the talent level those other bands are.  Thus the reason they probably throw in a bunch of boogie rock, it's to hide their inadequacy as a prog-band.  Again, cool they had the balls to do it.  They took beatings in the world of rock journalism because of it, but still made out like bandits.

Randy Marsh does Kansas