Kansas Point of Know Return Half-Speed Mastered CBS 1977/1980

Kansas Point of Know Return Half-Speed Mastered CBS 1977/1980 CAT #HZ 44929

I've discussed this LP before, it's Kansas' masterpiece, there most well thought out LP and it's got the hits.

This version differs in that it's a CBS Half-Speed Remaster that came out in 1980. In the 70's, Mobil Fidelity Sound Lab began to remaster titles at half speed and make limited runs on high quality vinyl. Better known as MoFi, the records sound great and are considered audiophile releases, sold at a premium and still command a significant amount today. They started a trend and the majors attempted to latch onto audiophile trend. Obvisouly, someone thought enough of Kansas to press up some audiophile copies.

Problem is that while an album like 'Point of Know Return' deserves an audiophile pressing, CBS' process wasn't anywhere as good as the MoFi releases. There are some Half-Speed CBS records that aren't any better, possibly worst than the original pressing. This pressing isn't terrible, but it's not great either. It's really bright and thin, which brings out a lot of keyboards well, but other areas suffer. It's generally panned as a terrible audiophile press, but I would still argue it's listenable (there's a CBS Self-Titled Boston LP that is absolute garbage and this isn't on that level of suckitude).

Surprisingly, despite that most experts will say stay away from this and most other CBS Half-Speed pressings, a copy still demands a premium over a clean original. Apparently the thought of having something marked audiophile outweighs the quality to some people.

Deryl Barnett The Gospel Soul of the Saxophone and the Evangelist Temple Inspirational Youth Choir Savoy 1977

Deryl Barnett The Gospel Soul of the Saxophone and the Evangelist Temple Inspirational Youth Choir Savoy 1977 CAT# Savy 14428

Deryl Barnett is a native Kansas City saxophone player who grew up in the church as his father was a Reverend. This album was recorded live in KC and put out by the Savoy record label. Savoy is a rather diverse label and put out numerous quality gospel LPs as well as a host of jazz releases.

This album is centered around Barnett's soulful saxophone. It flirts with jazz, but he basically runs soulful lines throughout numerous gospel songs. The Evangelist Temple Inspirational Youth Choir takes a back seat to Barnett throughout the LP, but when they're featured, it's in the best parts of the album.

Appears this is really the only thing Barnett released. Although, who knows, maybe there are some locally pressed 45s and the like, but it does appear this LP is about it. Which is odd. You'd think releasing a saxophone LP on the Savoy label would lead to some other recordings, whether it be as a front man are part of a group, but the dude just dropped this LP and must have went onto to concentrate on God's work.

Lander Ballard Hightime Free Wind Records 1977

Lander Ballard Hightime Free Wind Records 1977 CAT# LB7701

As far as I can tell, Lander Ballard is still making music, much more in the new country "Merica" tradition down in his home town of Wichita, KS. You can YouTube it and see all the macho country he's doing currently.

This LP is far better than what you can find online. He put out this LP in 1977 and a second a decade later on his own Free Wind Records label. While I haven't heard the 1987 LP, this is worth searching out and is relatively cheap. It's pretty low-key singer/songwriter stuff that takes moves from Billy Joel and other popular songwriters of the 70's as well as all that slick yacht rock that was going on. It's not as smooth or as polished as the yacht rock hits of the late-70's, it's just got the overriding influences.

If it it has to be categorized, it's hippie-folk. Ballard was into some new-age mysticism (and probably marijuana) and it shows throughout the album. The song "Ch'i (Natural Energy)" kind of speaks for itself. That song actually kind of sucks, but there are some definite highlights. The Joel influenced "Song for an Aging Minstrel" is pretty fun as is "Rock and Roll Man." The rest is uptempo, gentle melodies, that Ballard sings over the top of with a soft set of pipes. For a private LP out of Wichita, production is surprisingly good. Packaging is also top-notch, cover art is kinda cool and there's a nice little lyric book included.

Tom Bark Cosmopolitan Redskin Leprechaun Records 1977

Tom Bark Cosmopolitan Redskin Leprechaun Records 1977 CAT# MON 1977 711 x 53

I can find more info about the guys Tom Bark associated than I can find about the actual composer of the album. Apparently, in the early days of rock n' roll Tom Bark was hanging out with the crowd surrounding Larry Emmett & The Sliders, which was an early rock n' roll band in the area. If you couldn't figure it out by the album cover, Tom Bark is Native American as was Larry Emmett. I believe the two formed a somewhat well-known band originally called Colt 45, but later renamed the KC Blues Band in the early 70's. That band stayed together loosely up until recent times.

Stepping away from the KC Blues Band, Tom Bark cut this album in 1977. It sounds very 1977. The production is slick and gives the LP a dated sound. The albums sound is all over the place, which doesn't give Bark much of an identity. He does some modern blues numbers, country tunes, and with KC gunslinger Terry Swope on guitars, he even borders on hard rock/heavy psych for an ending of a tune. 

Bark is best when he focuses on his country rock leanings. The sound doesn't feel forced and the production serves it better. The country waltz of "Wandering Pollyanna" is a highlight. You'd think the label, Leprechaun Records, is a private thing, but they had at least one other release in the 80's and there are possibly other releases out there. The label was located in Kansas City, MO.

Two tracks with terrible sound quality

Bill Freeman "Live Spiritbound" NIM Records 1977

Bill Freeman "Live Spiritbound" NIM Records 1977 CAT# 74-27

You'd think a 70's gospel album with a stock photo for a cover from 1977 would be awful, but Bill Freeman has soul.  The first track, "I Want to Be Ready/Everytime I Feel the Spirit" sounds like it was recorded in a basement, but man, crazy organ runs all throughout.  Just intense organ riffs with moog and synths thrown in, some of it distorted, it's an experience.  Based on the first track, Bill Freeman was filled with some sorta crazy God-love.

Then you flip to the back cover and Bill Freeman just looks crazy.  Something about his photo makes it look as if he's wearing make-up (maybe he is), it's kind of creepy.  He's also got some weird-ass fur vest, a saber-tooth necklace, and rings on his fingers.  He doesn't look scary, just crazy, but, maybe we can chalk most of it up to the late-70's.

The notes indicate the album was recorded live at the First Baptist Church of Kansas City, Kansas where Bill's father was the pastor.  It was released under the NMI lable out of Kansas City, which did release a handful of local releases, most of which are not religious but center around soul, funk and later disco.  Personally, my favorite part of the back notes is that Bill thanks the Ebony Club.  I have no idea what the Ebony Club of Kansas City was about, but it sounds awesome.

The remainder of the album (sorry, but not sorry for the pun) is a spirited affair.  While the first track features no vocals and is the "warm-up", the remainder are reworked gospel tunes.  The tracks are worth checking out for the moog running throughout along with some pretty great vocals.  I assume Freeman sings in a soulful falsetto, but there's a chorus with talented female singers and a male baritone that takes some front end work.  It's very motivated and again, the organ runs, synths and moog make it worth checking out.

Topper At Last Scott Records 1977

Topper At Last Scott Records 1977

Man, Rudy Passonno is quickly becoming a legend in my book.  As a producer, everything I he touched out of his small recording studio in Liberty, Missouri sounds professional and is worth searching out (at least, everything I've heard).  Second, his keyboard work is phenomenal.  He just swirls around tunes and jumps in at the right moments with bringing absolute absurdity and brilliance.

This album usually gets classified as prog, likely for the previously mentioned Passonno keyboard flourishes all over it.  However, it isn't like an unheard version of the band Kansas.  Topper isn't challenging the Brits, they just have moments that fit in the genre.  It's just as rooted in jazz, blues, and rock n' roll as anything else you'd hear from the same era.

Telling you though, just when you think the band is going all standard bar-band, there's some insane out of place Mellotron moment that finds it's way in and makes the track.  I mean, the lyrics are awful and again, most things with the exception of few stand alone moments are pretty typical, but the keyboards come in and just kick everyone's ass.

At one time, the album was bringing high dollars in the collectors market.  It's tapered down in the last few years, the music is out there on YouTube and traded mixes.  The people who really want the LP have it, the ones who still do can now grab it for a reasonable price.  Either way, it's worth checking out, worth buying jsut for the craziness of "Phaze 1" and "Phaze 2" on the second side...you'll also love the lifting of "Stairway to Heaven" on Topper's "Smile for the Clown"...and hey, don't crap on Topper for lifting the Zep; Page was the just as great of thief as he was a guitarist.

Smile for the Clown
HYPE THE CD!

Gene Clark Two Sides To Every Story RSO 1977

Gene Clark Two Sides To Every Story RSO 1977 CAT# RS-1-3011

Gene Clark was born in Tipton, Missouri which is about two hours East of Kansas City and near Jefferson City, Missouri.  At a young age, Gene Clark's family moved to Kansas City and by the time he was finishing high school, his family was found itself on the Kansas side.  Clark would graduate from what had to be extremely rural, Bonner Springs High School (the town, outside of a Wal-Mart and a concert venue is still fairly rural to this day, suburban, yes, but still pretty sparse).

Prior to becoming a Byrd and changing the face of American music, Clark gigged around with some high school bands, one of the groups was named Joe Meyers and the Sharks another named the Rum Runners.  He would establish a residency in Kansas City with a group called the Surf Riders at a venue named the Castaway Lounge (years later, it would become a gay bar that Melissa Ethridge frequented).  As a member of the Surf Riders, Clark was discovered by Leavonworth, Kansas native, Randy Sparks, as he was passing through with his folk band, the New Christy Minstrels.  Clark was hired by the band and he would embark on tours with the Minstrels.

The Minstrels got Clark to California and across the rest of the USA.  It is rumored that he quit the band after hearing the Beatles.  After leaving the folk scene, Clark soon met Roger McGuinn at the Troubadour in Los Angeles.  The rest obviously is history as the two would piece together the Byrds.  From 1964 to 1966, Clark would pen some of the best known Byrds original tunes.  In the early days, Clark was the dominant force behind the band as many members had yet to develop their own songwriting skills.  However, writing hits like "Eight Miles High" and "Set You Free This Time" earned Clark extra royalties which brought resentment.  Further, Clark wasn't really a fan of touring and had a long time fear of flying, by 1966 he left the group.

After leaving the Byrds, Clark returned to Kansas City for a brief time prior to going back to LA to start a solo career.  His early solo-work is thought of as highly influential in the development of country rock or alternative country sound.  Unfortunately for Clark, his replacement in the Byrds, Gram Parsons, would obtain higher praise for the same genre-bend of country and rock, especially consider Parsons is thought of as the driving force behind the Byrds' Sweetheart of the Rodeo.  For some time, Parsons and Clark almost mirrored each other, both pressing the blend of country with rock music, Parsons with the Byrds and later solo, Clark as a solo artists and a number of collaborations.

Ultimately, Clark could never reach the success he had with the Byrds.  Further, his sort-of Byrds replacement would be crowned the father of country-rock and outshine Clark critically and in popularity.  Much of this was likely owed to Clark's disdain of touring and fear of flying, however, Clark's material also became highly experimental when set next to that of his contemporaries.  While others may have had consistency, you can't say Clark wasn't trying to push boundaries.

Regardless, his solo work is filled with highlights, so much so, that even as late 1977 the guy was still putting out quality albums like this when everybody else had attempted a Rod Stewart type sell-out if they were still playing at all.  The album sounds nothing like 1977, it's a fairly low-key, country affair.  The song quality is still there with his songs, "Kansas City Southern," "Mary Lou" and the beautiful ballad, "Hear the Wind."  His cover of the traditional "In The Pines" showcased his talent as an interpreter and vocalist, further, after listening, it's pretty clear Kurt Cobain's interpretation owed a lot to Clark's on the same tune.  While it's not the top of his catalog, it's an essential for Clark fans and is certainly deserving of reassessment after years in the shadow of Clark's prior solo-work.

In the Pines
Hear the Wind

Central Missouri State University 1977 Summer Music Camp Modern Choirs and Stage Bands Audio House 1977

Central Missouri State University 1977 Summer Music Camp Modern Choirs and Stage Bands Audio House 1977 CAT# AHTI 136F77 AH 137F77

Owning these things will become a problem...these custom press high school and college albums are everywhere.  This one is from the Mules of Central Missouri in Warrensburg.  In actuality, that's a little outside of the range of my "local" scope, but the double LP has been hanging in my collection for years, so why not.

There's really only one reason to own it.  It's college performances so it is not the amateurishness that's found on the high school albums (still there, though).  This album's reason to own is the CMS funk workout entitled, "Funkley 19 #2".  I'm not sure on the title, little strange, might be a typo.  Either way, composed by someone named Izzard and from what I can tell, he was a member of the band and a student.  It's some raw shit.

Kansas Point of Know Return Kirshner 1977

Kansas Point of Know Return Kirshner 1977 CAT#34929

After the first two songs on this LP, "Point of Know Return" and "Paradox", it's abundantly clear, this is the Kansas high point.  "Point of Know Return" was a huge hit for the band, they had perfected their progressive boogie rock and by the second track even found a way to make the fiddle work.  While the first two tracks don't match the scale of "Carry On My Wayward, Son," they rock and that goes a long way.

The band get's super prog-y on the synth driven instrumental "The Spider," but it's not as aimless as the band's previous work.  It gets in and gets out.  Kansas get pretentious for only a brief minute before bringing the straight ahead rock of "Potrait (He Knew)", which also happens to be insanely Christian, but that was in vogue at the time.  The first side rounds out with "Closet Chronicles", which when compared to the rest of the side is pleasant filler.

Song by song on Side 2 is further proof that this represents Kansas' best LP despite a few soft spots.  "Lightning's Hand" is a bit silly at times, but its high tempo and guitar solos make it one of the band's heaviest outings and can be considered 70's heavy metal.  The next track, "Dust in the Wind" is a ballad and was another huge hit from this album.  "Sparks of the Tempest" is another heavy metal track and a bit over the top, obviously trying to compensate for the brief foray into sad, bastard music because another ballad, "Nobody's Here," follows.  Its surprisingly good in parts, namely the bridge, but could have done without all the prog elements.  The final track, "Hopessly Human," is based in baroque-era Bach (much of the album is), but it's made especially evident here.  It's a bit too heavy for it's own good, but a decent closer.

Portrait (He Knew)
Point of Know Return

Missouri S/T Panama Records 1977

Missouri S/T Panama Records 1977 CAT # PRS-1022

Missouri was a Kansas City band led by Ron West. In the late 60's, West fronted a fairly cool garage band called the Chessman.  He and his brothers played the local scene relying on British Invasion covers and a few originals.  After the garage scene ended, Ron couldn't quite the music business.  Like many former garage rockers, when AOR gained favor, West went in the same direction.  His brother, Gary West, actually did the same helping to form the band Shooting Star.

The album Ron West created is a nice little success story.  It was put out by Panama Records in Kansas City.  It doesn't appear Panama Records did much outside a handful of local releases, however, despite being independent in a time where major labels dominated, the song "Movin' On" became a modest hit on AOR stations in the late 70's.  While most the success was regionally based, it got the band onto Polydor records for the second album and on national tours as a supporting artist.

Another thing the lack of major label money did was create an enjoyable album from start to finish.  In an era of progressive rock and overly produced studio rock, Missouri sounds like roots rockers.  The recording sounds organic and live.  Gives the LP a timeless feel and wins over the likes of other KC bands like Shooting Star and Morningstar.  The band would get a slicker sound on their major label LP, however, the didn't completely lose touch with the sound on this album.

What I can't stand about the album is the cover.  I get that the Arch is a Missouri landmark, but the Kansans and Missourians in Kansas City can usually agree on two things and two things only; Kansas City is great and St. Louis sucks.  Missouri is a Kansas City band, not cool to try to sell yourself as a St. Louis act.  And, where the hell are those mountains from?  Oh wait, they're from fucking Arizona.  I suppose, I could make the connection as the last in the lower 48 to become a state, Arizona represents Manifest Destiny better than any other state, but that's a lot of explaining for an album cover and probably isn't right.

Movin' On
I'm Still Tryin'