Southern Fried Fiddlin' Man Fox Productions 1980

Southern Fried Fiddlin' Man Fox Productions 1980 CAT #FP-369

It appears Southern Fried is a Joplin, Missouri band, although, parts of their only album were recorded in Tulsa, Oklahoma. Either way, they look like kick-ass cowboy types from Missouri.

Their album is surprisingly good, a little bar band, but the recording sounds good, the majority of tracks are originals, and it doesn't fall into the obvious. In 1980, a Joplin, Missouri band could have gone a lot of ways, the obvious Ozark Mountain Daredevils, or perhaps the more pomp rock approach of successful acts like Kansas and Missouri. But, Southern Fried didn't let popularity concern them, they just put out an album of country rock that in parts, kicks around the shit and never concerns itself with a Nashville sound. Their tunes definitely stay in the country realm, but you can tell, these guys weren't afraid of letting the good stuff like the Allman Brothers and Skynard influence their brand of country.

Appears most of the guys in the band still get together and perform. They appear to have slowed down and become Jimmy Buffet fans, but for the most part, still look like a rowdy bunch of dudes that would tear apart a bar.

The Wizards From Kansas S/T Mercury 1970 (OG)

The Wizards From Kansas S/T Mercury 1970 (OG) CAT #SR61309

Previously discussed this here http://kclawrencevinyl.blogspot.com/search?q=wizards+of+kansas, but that copy is a cheap bootleg you can buy for $12 on eBay.

This copy isn't a bootleg, it's original. I never thought I'd see an original, let alone for the basement price of 49 cents at a local Vintage Stock. I could get into the ethics...maybe I should of told Vintage Stock about the album's value, but if they sold it for 49 cents, that means they gave someone even less to bring it into their store. So, if I should feel bad for anyone, it's the guy or girl who sold it to Vintage Stock.

Either way, I'm fine. I'm going to keep and cherish this LP. Sounds ten times better than the crummy bootleg and it's never leaving my collection.

Full Album

Tim O'Reagan S/T Lost Highway 2006

Tim O'Reagan S/T Lost Highway 2006 CAT #B0006401-01

Tim O'Reagan was part of the Lawrence-Legendary duo the Leatherwoods that was primarily known as a vehicle for Todd Newman. The two were from Topeka, went to KU and played around. To get in touch with a bigger scene, they moved to Minneapolis and created a well-received album that went relatively unnoticed nationally. After the break-up, Newman stayed active putting out his high-quality power-pop now and again. O'Reagan kept playing drums and caught the attention of Joe Henry. He did work for Henry and later, became a full-time member of the Minneapolis alt-country band, The Jayhawks. As a multi-instrumentalist, he wrote a number of songs for the Jayhawks so a solo-LP shouldn't come as surprise.

Once the Jayhawks took a hiatus in 2005, O'Reagan started working his first, and so far only, solo LP. It doesn't stray far from where O'Reagan has always been. It's a heavy dose of alternative country with numerous nods to power-pop and heavy on British Invasion influences. Much of this LP wouldn't be out of place on any of the big alt country acts, be it the Jayhawks or even Wilco, it's quality. His voice is a bit hushed and gentle making his albums feel a lot like a Josh Rouse album if you're familiar with his work.

Also interesting, the hype sticker in the top right advises you the vinyl album features two cuts that weren't featured on the CD. Which, yeah, people were doing in 2006 and may still do. Which is funny, because in the late-90's when records were being killed off, you got the bonus tracks on the CDs.

Anybody's Only

Brandon Butler Heno Private 2012

Brandon Butler Heno Private 2012 NO CAT#

Brandon Butler of Boy's Life released this on colored wax in 2012 as what appears to be a self-funded, private release. Butler had moved to the D.C. area after Boy's Life disbanded years ago and made great friends. J. Robbins of Jawbox fame helped record and produce the album along with some other D.C. area players.

However, as cool as the East Coast is, this album sounds awfully Midwest. Heno is bordering between the alt. country sounds of  and 90's No Depression scene and the American Cosmic sounds of Gene Clark. While DC is cool, perhaps an extended visit back to the Heartland could have brought a bit more space and loneliness, but regardless, it's a very good album.

It's surprising that no one cares about this release. There's still Boy's Life/Farewell Bend fans out there and all you can find on the LP is, "Is this any good?" on webboards. It's very good. The fuckers asking should just buy it already. The track "Dear Assassin" is just as perfect as anything found on the Canyon LP's. It's spread out and lonely, get's big at the end, it's an amazing song.

The only faults to the album are it's length, it's just 7 tracks, with lots of room to spare. Also, Butler's vocals do sometimes sound a little high and out of place on some of his country outings, it works well with the spread out songs, but the more uptempo tracks, the vocals need a bit more depth.

It'd be a shame if this was the last thing Butler puts out. Personally, I have this grandiose idea he should return to Kansas City with a grip of songs and just get everyone around to put out a double LP. A KC allstar outing of American Cosmic recordings, sure, like this, I bet no one would care, but it'd be the type of thing that becomes legendary years later.

Dear Assassin Live Recording
https://brandonbutler.bandcamp.com/album/heno

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.

Beth Scalet It's A Living... Wakarusa Records 1981

Beth Scalet It's A Living... Wakarusa Records 1981 CAT# WR 5181

Two things that are great about this LP that don't have much to do with the actual tunes: First, love the label, Wakarusa Records, can't be much more Lawrence, KS than that. By all indications, Wakarusa is a private label for Scalet. Second, the LP is pressed on virgin vinyl and was mastered at half-speed, nice on the audiophile aspect.

As far as the tunes, Beth Scalet is a good songwriter. There isn't anything that jumps out and screams put me on mix tape, but she's got a bluesy voice, she's a proficient musician and grabs from a wide range of influences to base her folk tunes. You hear a lot of 70's blues and country rock making their influence heard on the LP. This was her first collection of songs and would serve as a promising debut.

She played locally throughout the 70's in Kansas City and Lawrence. Her bio indicates she's originally from Ottawa, KS, but not a lot going on there if you want to get yourself heard. Her folk-based originals gathered her local attention and did allow her to open for some major artists in the area.

It is a bit surprising that all that came out of Beth's performances was this private-press release and a cassette release years later. After hearing it, you'd think a major label would have loved to a give a strong female songwriter a chance, albeit her folk based tunes were a bit out of season by 1981. Honestly, Scalet's sound is very similar to Melissa Etheridge and came out 7 years prior to Etheridge's debut. It makes you wonder if Etheridge was one of the spectators at one of Beth Scalet's early coffeehouse or big-time opening act shows.

The Dillards Roots and Branches Anthem 1972

The Dillards Roots and Branches Anthem 1972 CAT #ANS 5901

It's a bit of stretch to throw the Dillards into this blog, but the connections to Kansas City are there. The band is from Salem, Missouri which is 4 hours East of Kansas City. However, the Dillard brothers worked extensively with Bonner Springs native and Byrd, Gene Clark. The album Dillard & Clark is a tough one to track down and well worth it if you can find it. Further, mandolin player Dean Webb, was from Independence, MO. Overall, just including them for the association with Clark and the proximity, oh, and they're awesome. If I could, I'd also include John Hartford, but haven't figured out how to get him in here...he's undeniably from St. Louis.

Put out in 1972, Roots and Branches, is a bit more polished than the band's earlier work which was released by Elektra. Their early LPs focused on roots driven bluegrass with great vocal harmonies. After leaving Elektra, the band attempted a more commercial sound on this LP. The harmonies are still there, the roots feel is still there, but there are elements of the laid-back California country-rock scene that was prevalent at the time. Still, this is pretty far away from the Eagles. You'll hear similar harmonies, but you have to remember it was the Dillards who first influenced bands like the Eagles; these guys were just trying to cash in on the scene they helped start.

Highlights on the LP include the fuzzed out lead track, "Redbone Hound." The Shel Silverstien cover of "Last Morning," is light, airy, and rural. The rollicking feel of "Get on the Road" can sound a bit disingenuous, but, it's a nice attempt at putting some more rock into the band's countrified sound. The must-hear moment on the LP though is vocal rendition of "Man of Constant Sorrow", with all it's hillbilly harmonies.

Redbone Hound

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

Split Lip Rayfield Old No. Six B/W How Many Biscuts Can You Eat Bloodshot 2003

Split Lip Rayfield Old No. Six B/W How Many Biscuts Can You Eat Bloodshot 2003 CAT# BS 107

This Wichita band is legendary for the live shows and their constant touring, yet, if you want the tunes on vinyl, this is it.  Out of 7 full length albums none of which were pressed on vinyl, just this lone 7".

In Kansas and everywhere, it seemed as if this band was always in your town playing.  When I was in college, I'm pretty sure they packed the Bottleneck at least once a month.  And, they did that everywhere they were welcome.  If they could pack a club, they'd be there all the time with their raucous brand of bluegrass and alt. country.  Unfortunately, in 2007 one of the band's founders, Kirk Rundstrom, passed away.  So it would seem they don't gig as much as they once did, but don't be fooled, the band is still out there and playing and recording new tracks.

It's important to mention how important this band is to country/bluegrass scene in Kansas.  They've been called the founders of the "Stage 5" sound.  Stage 5 is an "unofficial" stage found at Winfield, Kansas' Walnut Bluegrass festival in which the artists that play it often have a less traditional bluegrass sound.  It was likely the only place Split Lip Rayfield fit while performing at the festival.  This band managed to blow down doors while playing traditional stringed instruments and the sound is found on this 7" just like all the band's output.  Highly recommended.

LIVE VERSION of Old No. Six

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

Steve, Bob, & Rich Balls Bat 1984

Steve, Bob, & Rich Balls Bat 1984 CAT #SBR-42484

Man, glad I finally found this.  It's been on top of the list for some time.  I know of a copy down the street from me for $50, but when this showed up for $30 I happily took advantage.  It's the Rainmakers before the addition of drummer, Pat Tomek.  At this time in the band's career, they were gaining a substantial following in the area and front man Bob Walkenhurst was doing so from behind the drums.  It's a private release the band put out to sell at shows and obviously act as a demo prior to signing with a major label.  They called their label, "Bat," but it's clearly privately done.  The catalog numbers is the initials for Steve, Bob & Rich, and the label address simultaneously acts as the address to write the band.

Since discovering that the album existed, I've been building up this LP up in my mind.  I really like the ideas Walkenhurst put down on the Rainmakers LPs, just have a tough time dealing with the uber-slick 80's production.  I figured this LP would be a very young and raw edition of the band.  Stripped down roots rock like it should be.

After listening, it wasn't the album I had envisioned.  Overall, it's still pretty slick, wetback drums galore and some really polished guitar riffs.  However, there are real bar bands moments and the music sounds more live than their later major label output.  There's also some repetition, the Rainmakers debut features re-recorded versions of "Let My People Go-Go," Nobody Knows," "Big Fat Blonde," and "Information" that first appeared on this Steve, Bob, & Rich album.

Overall, it's a fun album to have.  Some of the moments showcase the band doing their early 'bring down the house' numbers.  For big fans of the band, it's got be essential, the quality is here even at the early onset of the band.  While I wouldn't find any of the tracks not included on the debut Rainmakers to be amazing, they still showcase Walkenhurst's literate lyrics and the band's charm.  There's also some moments without Walkenhurst taking lead vocals, which is nice change of pace and something they could have easily done more of later in their career.

Steve, Bob & Rich-Let My People Go-Go

Clawhammer I Think I Heard a Sound b/w Hell Wee Rock Records 2012

Clawhammer I Think I Heard a Sound b/w Hell Wee Rock Records 2012 CAT# WRR 86

Well, this isn't really local, but I purchased it by error.  I'm not really that mad about it, it's decent. The band is from Springfield, MO which is closer to St. Louis than it is Kansas City.  The town has always had a substantial music scene centered around roots, country and bluegrass.  Much of the bluegrass coming out of Springfield is damaged by the tourist driven, Branson, Missouri.  Hillbilly garbage in which the band leaders are named "Uncle" and they sing about fishing and make cheesy family orientated jokes in between sets.  Like Hee-Haw, but even dumber.  That's a lot of what comes out of Springfield, MO.  Not all of it, there are some solid band and artists, but there is a ton of crap to sift through.

Anyway, I had traded in some stuff at a local record store and had about $3 or $5 left in credit.  I went to the local 45s to even out my order.  This struck me for a couple of reason, first, it was in my budget.  Second, a clawhammer is a type of banjo, I love bluegrass so I figured why not?  Well, I got it home and realized this wasn't as local as I thought it was when I discovered it was from Springfield.

However, I put it on and was cool with it; it's a keeper.  It's not bluegrass.  It's got elements and does feature a banjo and traditional bluegrass instruments, but they're borrowing from the genre.  If you research Clawhammer they've dubbed themselves something moronic like alternative, dub, influenced, bluegrass.  That's absurd.  But, they have a unique sound, the banjo plucks away and these young hipsters drop fuzz and experimentation all around it.  The female vocals fit perfectly, she's kind of gruff, certainly not too sweet.  It's a clever post-modern mixture, no one is pushing bluegrass but they should be...I mean, hipsters would totally be into artists like John Hartford if they'd get off the fucking Hall & Oates kick.

Facebook link to some Clawhammer jams

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

BR5-49 Little Ramona (Gone Hillbilly Nuts) B/W Hickory Wind Arista 1996

BR5-49 Little Ramona (Gone Hillbilly Nuts) B/W Hickory Wind Arista 1996 CAT #07822-13046

Another 7" from the Lawrence native, Chuck Mead and his band BR5-49.  Like the previously posted, it contains two tracks form the band's debut album.

Chuck Mead wrote the song, "Little Ramona (Gone Hillbilly Nuts)".  It's a solid western swing tune that tells the tale of a punk rocker who "traded in her Docs for kicker boots."  Mead is a solid story teller lyrically and this track is no exception.  The B-Side is the Byrds track "Hickory Wind" from the classic Byrds LP, 'Sweetheart of the Rodeo.'  The band doesn't stray far from the original and keep it just as much of a tear-jerker country ballad as the original.

Little Ramona (Gone Hillbilly Nuts)

BR5-49 Even If It's Wrong B/W Crazy Arms Arista 1996

BR5-49 Even If It's Wrong B/W Crazy Arms Arista 1996 CAT#07822-13061-7

You get outside of the few cities in Kansas and out into the Western portion of the state and country music dominates.  It's about all you can find on the dial in the most remote areas.  Yet, it's not like there are/were a ton of country artists from the state.  There are some, Carson Robison who helped developed the genre comes to mind but, there aren't many huge names, Martina McBride (she's big, right?) and Chely Wright is cool.  But, if you compare Kansas to a place like Oklahoma we pale in comparison.

Nevertheless, there has and will always be a substantial country scene in the state.  A large bluegrass festival takes place every year and Manhattan, Kansas hosts the Nation's largest country music festival with the Country Stampede every year.  Further, Kansas has always had a strong local scene.  However, many of these talented locals don't venture far from the state, even in the 90's accailimed artists artists like Rex Hobart & the Misery Boys and Arthur Dodge & the Horsefeathers counldn't get crack the big time in Nashville.

Yet, in the early 1990's, Lawrence native Chuck Mead just said, "Fuck it."  Instead of waiting for Nashville to come to him, he just moved.  Brought his guitar and his songs and set up camp.  What he ended up doing was forming the band BR5-49 along with a Pacific Northwesterner Gary Bennett.  Mead brought in fellow Kansan Shaw Wilson to play drums and the rest of the band was pieced together with guys from the area and a friend of Bennett's from the Northwest.

The group was unabashedly retro both in music and looks.  They dressed like honky tonkers from the 50's and excelled at Western Swing, Honky Tonk, and Country Rock, something Nashville cared little about in the 90's.  Yet, despite shunning the Garth Brooks style, these guys made a name for themselves and became critical favorites for their strong songs and unwillingness to accept the current Nashville norms.

Both songs featured here are available on the band's self titled release from 1996.  It's a bummer when 7"s place multiple tracks from the album on a 7", but considering there isn't much available on vinyl from this band, I'll take it.  Side 1 is the Bennett original, "Even if it's Wrong," which is a solid honky tonk outing.  Side 2 is the country and rock and roll classic, "Crazy Arms," which the group covers in traditional country style.

Even If It's Wrong
Chuck Mead and Gary Bennett on Jools Holland doing Crazy Arms

Homestead Grays Big Hits Fresh Sounds Inc 1988

Homestead Grays Big Hits Fresh Sounds Inc 1988 CAT #FS 219

I live in the suburb of Overland Park in a pretty normal neighborhood, filled with pretty normal people, except maybe closer to the Glenwood Theater, there seems to be a neighborhood of hipsters with children in homes near there.  Anyway, I consider my nextdoor neighbor to be a pretty normal dude.  In his 40's, he works a lot, he drives an economical Nissan, he likes to mow his lawn, and he is always willing to have a friendly conversation.  I don't know him to be hip on musical trends, one time he told me he was going to a Metallica show and I've pretty much stopped talking to him about music since then.  On one rare occasion I did discuss music with him I was feeling him out to see if he remembered any local bands from the years he attended KU.  His answer was the Homestead Grays.  He fondly recalled this band as a "big deal" in and around Lawrence back in the 80's.

This EP was put out the same year KU won a NCAA Basketball Championship with Danny & the Miracles.  Not that the basketball has anything to do with the music, but as a KU alumnus, I felt the need to point that out.  If you listen to the EP, you get why they were a popular band around town.  They were being touted as a "next big thing" right next to artists like the Rainmakers.  Both bands were steeped in roots rock, but due to the lack of production budget the Grays have aged much better.  This band wasn't drenched in bad studio effects so the recordings don't sound as dated.  Further, all four songs featured here are all solid.  You can tell for they held back in the studio, but the potential for rowdy live performances is evident.

The first two tracks border on honky-tonk and are bar room stompers.  High energy, each track would have gotten the crowd worked up.  The two tracks on the flip side are really clever pop tunes.  There's a little twang on "I'd Like to Get to Know" and even a country breakdown, but overall, it's got as much to do with the Beatles as it does Hank Williams.  The final track entitled "285 DeSoto" is diverse, it's got a conga line drum beat, a ska derived guitar line, and chanted lyrics.  Despite that, it still finds a way not to sell it's soul and keep some twang.  It's a hit song that never happened.

The group was centered around the talents of Lawrence native, Chuck Mead.  After the Grays disbanded, Mead went to Nashville were he still sustains a career in music.  Currently he is a solo artist, but was previously helped form the alt. country pioneers and heavily acclaimed band, BR 549.  He also had success in Nashville songwriter.  Other members, Guy Stephens drummed for local bands Tendoerloin, Arthur Dodge & the Horsefeathers and did work for another local legend, Todd Newman.  Gray Ginter also played in Tenderloin and a number of other local bands, as did Brock Ginther, although I don't believe Brock was ever featured in Tenderloin.

The Wizards From Kansas S/T Mercury 1970

The Wizards From Kansas S/T Mercury 1970 CAT# SR 61309 Repress

Very cool, hyper obscure LP from a Lawrence, KS, college band that headed West in the late 1960's for fame only to break up.  However, before doing so, they were able to record their sole album and despite disbanding before it came out, Mercury still released it.  Of course, with no band to promote the album it faded into hyper-obscurity only to be discovered years later and hailed as a lost psych classic.

The band first formed in Lawrence, KS as college students from the KC area.  They were first called the New West then a Californian joined the band and they became Pig Newton which was followed by Pig Newton & the Wizards from Kansas.  As Pig Newton, they gigged locally and were able to tour the East Coast landing a gig at the Fillmore East.  That show put the band in front of major labels, most of which they turned down for lack of funds and control.  Eventually, they agreed to sign with Mercury under the notion the they would have almost complete creative control.  However, Mercury was able to convince the band to drop Pig Newton from the name.

With Mercury footing the bill, the band went to San Francisco to be at the epicenter of the American psych scene and record their debut album.  The album feeds off the likes of Jefferson Airplane, Quicksilver Messenger Service, A Beautiful Day and the Grateful Dead.  With the exception of Quicksilver, they album is far more country orientated than contemporaries.  The Wizards excelled at using the spatial aspect of country music, the drawn out phrasing and "high lonesome sound" are used to great affect.  Other bands took the twang only, the Wizards had plenty of twang, too, and they combined it almost effortlessly with the psychedelic sounds of the time.

It was a strong debut LP, promising original material with well thought out covers.  There are genuine highlights like "Hey Mister" and "Misty Mountainside", which are just as classic as any gems from their psych contemporaries.  There's also the hippy-dippy track, "912 1/2 Mass.", which is clearly a reference to the band's college town of Lawrence, KS.   Mass. St. being being the  main strip for both college kids and townies.  At the address named now sits a large bank building, not sure what would have been there in the 1960's, early 1970's.

912 1/2 Mass.
Hey Mister
Misty Mountainside

Canyon Empty Rooms Gern Blandsten Records 2002

Canyon Empty Rooms Gern Blandsten Records 2002 CAT# GERN064

Well, it's not completely local, actually, it's not really local at all.  Canyon is DC band with local connections.  After KC's Boys Life disbanded, Brandon Butler left to hang out in DC.  He did Farewell Bend, that didn't last long and members formed this band.  By this album, Butler brought in his former band mate, Joe Winkle, to play along.  So, half KC, half DC, but ultimately, formed in the Nation's Capitol.

It doesn't sound like either the KC or DC branded post-hardcore.  Its the inevitable outcome of an aging hipster, I mean, how long can you listen to punk before it all starts to sound the same?  Sooner or later Neil Young makes far more sense than Iggy Pop.

Another key aspect to the sound of this band is the time in which the group formed.  The first Canyon LP came out in 2001 and Empty Rooms was the following year.  The indie rock scene was a bit obsessed with the likes of Low, Bedhead, Karate and other bands that were being dubbed slo-core.  It made sense for the for these guys to slow it down--slow was the new loud.

What Canyon did perfectly on this album was dig deeper than Codeine's Frigid Stars.  They took cues from lo-fi pioneers like Smog and added country music to their blend, kept the space rock in check, and went Crazy Horse on it.  There are moments on the album that are perfect and things blend effortlessly.  However, there are just as many spots that sound forced, especially true when the dig into the country side (I blame the DC guys, they don't know about that shit).

1st Song, Sleepwalker. Near perfect.

Rainmakers 25 ON Big Dipper Records 2011

Rainmakers 25 ON Big Dipper Records 2011 CAT # BDRLP091

Pretty rad that this band is was so big in Norway and Scandinavian countries that they still can release music there.  This is an import vinyl issue that I bought locally at Vinyl Renaissance fairly cheap, they could barely give the thing away.  Which typifies the KC scene.  You can be a KC band, be huge somewhere else and everyone back home either calls you a sell out or doesn't know who the fuck you are.

There are even a couple of tunes here devoted to Kansas City, like the band is begging the hometown to embrace them.  'Missouri Girl' (pronounced Misery Girl) is exactly what you'd expect, a song about a Missouri Girl (Walkenhorst's wife).  It's no 'California Girls,' but it's a solid attempt.  'Kansas City Times' talks about the back roads of surrounding towns, also a good outing.  You can't say the band ignored their roots, they were always proud Kansas Citians; even when their audience is almost entirely foreign.

Overall, it's a decent album.  You can't expect a masterpiece from an aging, semi-retired band.  The Americana they relied on in the late-80's is now highly pronounced and well developed.  Bob Walkenhorst's lyrics are still literate and clever.   The production is far better than it was in the 80's.  Walkenhorst still sings in a style reminiscent of the 80's, but you get used to it and it's toned down over the years.  If the legend is true and these guys are huge in the Slavic countries, this isn't a bad way to represent KC.

Kansas City Times (Live)
Turpentine (Live)
Missouri Girl (Live)

Kill Creek Proving Winter Cruel Mammoth Records 1996

Kill Creek Proving Winter Cruel Mammoth Records 1996 CAT#MR-0135

Someday, this album is going to get its due.  It's gotten in the Lawrence scene, it's an accepted masterpiece here.  But, I'm talking nationwide, this album is going to get discovered.  For Kill Creek, it was a the nail in the coffin album.  In 1996 no one wanted to hear Scott Born's divorce album.  Sure, several years ago Matthew Sweet's Girlfriend album was a hit and it was about divorce, but it sounded happy.  This album was fucking depressing.  And, if you put it on because you were a fan of St. Valentine's Garage, well forget it, you didn't want to have anything to do with this.  I mean, it was 1996, by this point, all you had to do was do that fake gargle thing Eddie Vedder does and you could get yourself a pretty substantial modern rock hit.  You didn't even have to be from Seattle at this point or wear flannel, you just had to act like a pissed off teenager.

Kill Creek had that choice.  They could have easily sold out.  They had a major label and would have had the support if they dialed it in and served up something easy.  But, apparently that never crossed their mind.  They rallied behind the broken heart Scott Born and recorded an album no one expected, not even their fans.

And to be fair, it got some local radio play.  The song,"Unsteady" was in heavy rotation on the then "sort-of" cool 105.9 FM.  But, I'm not sure that meant much and probably had a lot more to do with the support of station programmers than it did people that listened to the station.  Outside of 105.9, I don't remember this getting much pub.  I would be willing to bet, Mammoth heard it and gave up on it shortly after putting it out.  The label was on the verge of going under and probably found it difficult to promote an album filled with references to alcoholism, pills and divorce.

Ultimately, everyone missed the mark on it.  Because years later, I'm convinced this is a masterpiece.  This is a an adult R-Rated record dealing with heavy topics.  Now, as an actual adult, the heartbreak behind it all sounds comforting and familiar.  I mean, it sounds like a Wilco album before Wilco existed, yeah, it's that good.  And someday, someone important is going to unearth this thing and convince everybody else.  I'm sure of it--someday it will be considered a lost classic.

It starts with the hit, 'Unsteady,' and the lyrics, "I'll stay sober when I come home this October, and I'll break the windows and let the chill put us to sleep."  The album keeps going from there.  In one line, you know exactly what's going on and what the rest of the album entails; cold, loveless relationship, looming divorce and alcohol abuse.  The song 'With You Around,' starts with Scott Born almost crying, "Well the cancer of the twisted word has pulled apart the confidence you've encouraged."  Holy shit!  Right?  What a bitch this woman is, that or Born's drug addiction is the source of  his twisted reality.  The song 'Role Model' about choosing sides in the divorce ends, "To the hurting kind, your some kind of role model.  It takes guts to save your pain from your friends."  And the song, 'Falsified,' man, it's absurd, hurtful and poetic all at once, "Eight years falsified by the last days.  I crushed your pride with the weight of five months crashing down in between us; three nights not one can repair.  And our cats are so playful while we fight; they're used to our years of sharpened claws."  And it ends on the tune "Punishment" which should be a nod to what Scott Born deserves after putting it all out for consumption like this.  I mean, I've seen some people deal with bad divorces, but the fact that Scott Born told ALL makes you almost want to side with his ex.  I can't imagine she deserved such vengeance.  Coincidentally, the producer of the LP, Ed Rose, once told me they called "Proving [actual ex-wife's name] Cruel" in the studio.

And that's the album, it sounds like a cold. dark, loner, folkie album.  Parts of it are, but it's beautiful.  You don't get this much reality out of music.  It's so autobiographical it's disturbing, but you can't turn away from this train wreck.

Falsified
Unsteady
Role Model