Comstock Records Various Artists 10th Anniversary Album 1988

Comstock Records Various Artists 10th Anniversary Album 1988 CAT# COM-986

If you dig through 45s in the KC area, you're almost guaranteed to come across one from Comstock Records listing a Shawnee address on the label. It would appear to be a regional country label focused on local talent. However, it's not. Comstock was and still is a small independent country label focusing on national talent.

The label's founders, Frank Fara and Patty Parker, are both from out west, Arizona and Neveda. Neither seem to have any ties to the Kansas City area, yet, for some time they put their Comstock Records home in Shawnee, KS. Other than having a central location, it's not really clear why they picked Kansas (now the label calls it's home Arizona).

They did scout and sign talent in the area. This 10th Anniversary compilation features three Kansas City area artists, Debbie Martin, Alla Dee Franklin, and the O'Roark Brothers. But, outside of a few locals and an address, Comstock releases are from artists all over. In fact, the label's biggest successes seemed to be finding Canadian country artists and getting them charted up North.

21st Century Sound Movement S/T Gear Fab Records 1968/2012

21st Century Sound Movement S/T Gear Fab Records 1968/2012 CAT# GF262A

This is a bootleg of a mega-rare Kansas City garage record. The original 1968 album was put out by these Kansas City kids when they booked time with Damon Records and paid for some albums to be pressed. Damon Records was a custom label, which would mean the group likely only bought 50 to 100 copies and who knows if they got them all sleeved, they likely used many of them as demo to provide to booking agents and labels.

The label, Gear Fab Records, stated no one had a clue who these kids were, but since 2012 when this was released, they've been featured on a number of high-profile Numero Group comps. Members of the group played around in this band and others, the 21st Century Sound Movement also release a couple 45s if memory serves, one of which is tacked onto this bootleg.

The bootleg is true to the original as far as the packaging, the photo is the same, the non-descriptive backside that doesn't list members, even the label smacked on the colored vinyl is authentic to the original.

The photo is interesting, the statues are actually part of the William Volker Fountain in Kansas City that you can see in Brush Creek. They moved it in the 1990's from Theis Park, which as you can see in the photo, is in front of the Nelson Atkins. Today, the Atkins is thought of as the place with the shuttle cocks out front, but at one time, it had the Volker Fountain featured in the band's photo.

In terms of gargae rock, The 21st Century Sound Movement are pretty good. Which translates to an acquired taste in everybody's else's world. They are little weak on their pop-psych, vocals aren't great and they sound wimpy, but when they break out the guitars, it's a fuzzed out trip. Their heavy versions of "The House on of the Rising Sun" and Hendrix's "Fire" are pretty fun. There's a 7 minute cover of "In-A-Gadda-Da-Vida", which in all it's amateurishness, is another highlight. The album was all covers apparently and the only original featured here on the bootleg was on the band's 45. Overall, the rarity, as with loads of garage rock, makes the band better than they actually were. There's solid moments, but its not like we're talking about the long lost 13th Floor Elevators here, were talking about some KC kids that bashed out some interesting covers.

The Original LP

Various Artists Atlantic Jazz Kansas City Atlantic 1986

Various Artists Atlantic Jazz Kansas City Atlantic 1986 CAT# 81701-1

There are numerous KC Jazz comps out there all of which are good, but this one does a tremendous job showcasing Kansas City as a pioneering city in music. The back liner notes do a much better job than me, but it takes all the artists featured here and connects the dots. From Buster Smith showing up from Texas, Basie from Ohio, and McShann coming from Oklahoma, they all met and played together in Kansas City. They also crossed paths with Charlie Parker. And just as soon as they hit upon a Kansas City sound, they took it nationwide.

What you have hear is the Atlantic Records story of Kansas City. The swing that would transform jazz. The same artists who featured a young Charlie Parker before he revolutionized the genre. And the jump blues performed by Big Joe Turner that would eventually lead others to rock n' roll and be heard in soul records. It's not the complete story, but the selections here are all amazing and tell some of the best parts to it.

Jay McShann Jumpin' At the Woodside

Various Artists Eccentric Soul: Smart's Palace Numero Group 2009

Various Artists Eccentric Soul: Smart's Palace Numero Group 2009 CAT# 27

This is a Numero compilation highlighting Wichita Kansas' Smart Brothers along with the artists that played with them at their Wichita, KS club.

The story is pretty surprising and not very well known. Wichita, Kansas soul scene is so obscure the 7"s that are connected to Smart's Palace aren't out of reach for collectors. If found, they bring in around $20, with maybe a few of the dance floor burners edging the $50 range.

The music here is raw. This isn't uptown soul, this isn't even roots driven Southern soul, soul sides. It's working class with tracks that range from the 60's into the 70's. The music changes with the decade and time they were recorded in, however, even the obvious 70s track never get smooth, the music stays raw. Each decade is well worth time on the comp, but if there is a winner, the basement sounds of the 60's sides are impossible to ignore.

As usual, the Numero Group compilation is complete with amazing liner notes telling the story and fantastic packaging. Highly recommended.

Smart's Palace

Various Artists The Best of Twin Lakes '72 Vermillion Enterprises 1972

Various Artists The Best of Twin Lakes '72 Vermillion Enterprises 1972 CAT #VES-4004A

There's an intro to this record, a female voice over that advises how cool the Twin Lakes Night Club as it features artists such as Anybody's Guess, Sidra and the Performers, the Chadons, and the Music Tree, it leads you to believe that the Twin Lakes Night Club in Wichita, Kansas had more to offer, but, judging by this album, that was it. Those are the only four performers on the compilation.

Lounge records from the 70's can be pretty entertaining, but this ins't offering anything that really jumps out. Occasionally the lounge bands cover a psych track that goes crazy or is just amazing in it's amateurishness. Or, you get a huge drum break that kids like to sample. This LP doesn't have either of those things.

It's still "groovy" to hit on the feel of 1972, like swinging bachelor type stuff. A vibe probably better suited for 1969, but things take a while to get to Wichita, KS. Sidra and the Performers are mildly psychedelic. The band Anybody's Guess does things rather lo-fi and is fairly groovy on their tracks, putting their version of Mel Tillis' "Ruby" on a mixtape or CD wouldn't be out of the question. The rest is mostly miss, nothing unbearable mind you, but no real standouts...The Chadons actually border on awful.

Secret Handshakes The Record Machine/Golden Sound Records 2012

Secret Handshakes The Record Machine/Golden Sound Records 2012 CAT#GSRM001

This was a local Record Store Day release met with little to no fanfare upon it's release in 2012, because let's be honest, independent labels can't do things on Record Store Day, it's for the major labels.

Nevertheless, The Record Machine teamed up with Golden Sound Records to put out this limited and colored vinyl compilation of groups from the labels' rosters. It's got a screened cover and is clever in it's simplicity. It looks and feels limited. Yet, despite the labels attempt to get on the RSD thing in 2012, you can still grab a copy with ease in 2015.

The Record Machine side is filled with the label's breezy indie-pop sounds. The La Guerre track, "23," is stellar and a huge stand out. Another definite highlight is the Akkiles track, "She's Alright," which is sparse, haunting and has addictive phrasing you can't get out of your head, The whole side is worth checking out, just to experience this tiny KC label's cohesive sound and identity.

The Golden Sound Records side isn't as cohesive, but filled with great tunes all the same. The fist track, "Hot Bright Night" by Everyday/Everynight is filled with a lot of directions, but it's grandiose and worth repeated listens. The Caves track, "Liars," has a pretty great groove and power-pop moves. It also features the Baby Teardrops, which is a Matt Dunehoo (of Proudentall) fronted band formed in New York, I mention it because that guy is dedicated and it's good to see him get a song out there now and again.

Overall, great listen and worth owning. I'm sure since it's now 2015, either label would take $10 and send you one if you asked nicely (currently selling for $12 at TRM).

Soundcloud TRM Side

James Brown Dead On Heavy Funk 74-76 Polydor 1985

James Brown Dead On Heavy Funk 74-76 Polydor 1985 CAT# 827439-1

If you haven't been reading, which, well, no one has been, I've mentioned a number of times how according to James Brown himself, he resided in KC for a year. After his childhood arrest, apparently he was shipped off to KC to live with his father who worked at possibly the AC Delco plant in North Olathe. Which, since it's James Brown, the Godfather of Funk, makes him local for the purposes of this blog.

This is a solid comp collecting 8 extended Brown funk workouts from the mid-70s. Since it's release in 1985, there's far better comps out there, but considering it's from the 80's, if you possibly find it, it might not be in terrible shape. The major highlight is "Hot (I Need to be Loved, Loved, Loved, Loved)" which features a guitar riff created by Carlos Alomar and is the same here as it was used in the song "Fame" by David Bowie.

One truth about the awesomeness of James Brown records, when you find them they are almost always beat to shit. They might have a bunch of needle marks, because people were dancing to these records, causing the needle to jump and come down hard. Or they're scratched severely because they were a favorite of DJs who were more focused about getting the next track on rather than properly putting the LP away. So, it usually got thrown into the crate, un-sleeved and then got other records stacked upon it. Or, and possibly worse, the grooves are just worn out. Groove wear fucking sucks. Distorts on highs and lows, always sounds like your needle is just running over salt...It's not surface noise, it's the grooves being worn out. This feature was usually do to a crappy record player or just playing the crap out of the record.

As far as groove wear, I'm going to go with the later. The records are just too damn good and enjoyable. People played the crap out of James Brown. If you see something minty in a used bin, it should be a guaranteed purchase.

James Brown Future Shock t-shirt ad
Hot (I Need To Be Loved, Loved, Loved, Loved)

Numbero Presents Lows In the Mid Sixties Volume 54: Kosmic City Part 2 2015

Numbero Presents Lows In the Mid Sixties Volume 54: Kosmic City Part 2 2015 Numero CAT #NBR004

This was released on Record Store Day 2015 by Numero/Numbero. It may be somewhat limited, but there wasn't a huge buzz about so it's still readily available. If you can't find it in a record store among the rest of the RSD leftovers, it can still be purchased online .

I was pretty jazzed on the disc, I was concerned I may not be able to grab a copy due to the local success of things like The Bulbous Creation LP and the Cavern Sound comp also released by Numero. Early research showed that a few local stores didn't even bother to order it. Apparently, so obscure and undocumented that even local stores weren't aware of it.

The backside has an introduction by Johnny Dolan proclaiming Kansas City as a hotbed of unheard garage and claiming the town could have been much hipper had local radio given these obscure singles a chance. And, there is some truth there, despite being covers of your basic Nuggets garage tracks, all things were recorded in the Cavern in Independence, Missouri. It's quality and the tracks could have had much more local appeal especially considering the hits of the era. Even has as solid cover of Hays' Blue Things, "La Do Da Da", as done by the Changing Times out of Platte City.

However, to say KC could have been Hipsville if radio gave this all a chance, though,. I don't know. The real punk stuff featured on numerous other garage rock comps didn't bring much excessive fame or fortune to the countless teen bands that sprang up in every home town, USA. Sure, some towns like Chicago got teen bands charted, but KC didn't have the same market, we've always been a Cowtown first, rock hotbed 2nd or maybe 5th. That said, it's a good garage rock comp featuring a solid, and surprising song selection. The 1st side goes the punk, teen rock, route. The 2nd side is still filled with fuzz, but gets a bit more soulful and folk orientated.

Basically, if someone wants an introduction to teenage punk and garage ravers form the late 60s, they should skip this for the Nuggets or Pebbles series. If garage rock is your thing, you probably already know about this, it's got the deep cuts. It's for those types and the only reason I'd recommend it is because I'm a huge KC-Homer.

Bob Brookmeyer Portriat of the Artist Atlantic 1960

Bob Brookmeyer Portriat of the Artist Atlantic 1960 CAT# 1320

Bob Brookmeyer was born in Kansas City, MO and began his career in town. He was renowned as a valve trombonist throughout his career working with many jazz greats throughout his career. However, as this compilation showcases, he was also an accomplished pianist.

As a teen, he attended the Kansas City Conservatory of Music, but began playing professional as a pianist prior to graduation. His jazz stardom came to when he concentrated on valve trombone while a part of a Stan Getz led group that featured Gerry Mulligan.

This album also showcases his skills as an arranger and it should be noted, trombone isn't the typical instrument for a bandleader, although others did do it. Again, though, Brookmeyer wasn't limited to the trombone. He arranged at the piano and let his classical music education work it's way into his jazz arrangements. He's pretty square, but can be as complex as another area jazz great, Stan Kenton.

The music featured here is almost cinematic in scope. He can swing when he wants, but he concentrates on trying to impress. The liner notes present a "Gee Shucks" kind of character, but given the amount of respect Brookmeyer had at this time-he was trying to show off. The first side is entitled, "Blues Suite" and seperated into 4 movements. The second side is more basic, but still pretty cinematic in it's approach. The best moments are when he came up with a melody that gets it's legs from guys like Ellington and Monk. Those are the moments is his work that the listener can connect with and hold on to.

Blues Suite-Fourth Movement

Just Another Pop Album The Titan Sampler Titan 1980

Just Another Pop Album The Titan Sampler Titan 1980 CAT# 8001

Years ago, when I was heavily into power pop, I had this LP and cherished it.  I had never came across any of the 45s put out by Titan and was turned onto the label by a good friend from the Love Garden.  At that time, this was pretty easy to come by as rumor had it the Titan guys had boxes of them still untouched.

Then, in a moment of complete un-clarity, I dumped a bunch of my power pop collection. This was included in that sell off. A Canadian bought it for $10, hope they enjoyed the crap out of it. At the time, I figured I could get another if needed or locate the 45s. Of course, when I wanted it back I couldn't find it as the Titan label became somewhat of a 'thing'. I still haven't ever seen one of the 45s...

A month or so ago, a friend sent me a photo of this with a .99 cent price tag. He hooked it up and I'm glad to have it back. Apparently, the Titan guys still have some, but I haven't seen them around (stores and shows ain't my bag anymore) and once I got the box set from the Numero Group, this is almost unnecessary.

All the songs are featured on the amazing package put together by Numero Group.  But, when you have this it feels like you're archiving a piece of history. This failed Kansas City label and it's roster put a lot of hard work into this comp. Great cover, great songs, just something that is fun to have.

J.P. McClain & the Intruders Just Another Pop Song

The Original Boogie Woogie Piano Giants Original Recordings 1938-1941 Columbia 1974

The Original Boogie Woogie Piano Giants Original Recordings 1938-1941 Columbia 1974 CAT #KC 32708

This is compilation featuring Chicago pianists Albert Ammons and Meade Lux Lewis, but it's full of Kansas City's Pete Johnson.  It was released by Columbia as part of a John Hammond blues reissue series. Pretty solid to be thrown up with those names and shows that KC was a big deal. And, to have John Hammond credit Johnson is appropriate as he led the blues revival scene back in the day with his love of the blues.

The compilation has 9 tracks that feature Johnson on the piano. He dominates the LP. A number of tracks feature Big Joe Turner, but Johnson is found here working with the other mentioned names as well as solo on the defining track, "Boogie Woogie." He's clearly defined as one of the primary influences and inventors of the boogie woogie style.

The compilation took the original tracks, possibly from old 78s as you tend to hear surface noise throughout most tracks that sounds as if it was recorded in and original masters if they available. All tracks are presented in original mono and it appears the only hard work came in the transfer. There doesn't seem to be remastering job, just an attempt to get these as close to the original issues as possible. Solid pick up on the cheap due to the quality of the tracks, both Johnson's and others.

Pete Johnson Boogie Woogie

Charlie Parker The Genius of Charlie Parker #7 Jazz Perennial Verve 1982

Charlie Parker The Genius of Charlie Parker #7 Jazz Perennial Verve 1982 CAT#UMV 2617

Yet another Charlie Parker comp I couldn't resist for the price...Maybe $1.99?  Can't be for certain, but it didn't put me back much.

This one, I'm not as embarrassed about.  This was part of a Verve reissue series that began in the 80's.  Verve founder, Norman Granz, supervised the series, pressed a number of classic Clef releases (before Verve it was Clef) in Japan and made sure the mastering was done in mono to be as true to the original as possible.  I have a few and while I'd be better versed talking about varied pressing of rock records, I'm pretty happy about the sound quality on these.

Mainly due to the mono sound.  Once stereo became vogue, Verve (and countless other labels) cranked out awful remastered stereo versions of classic albums that were still in demand and needed repressing.  When the original selections found on this compilation were first mastered, they were done so in mono, because that's what everybody had: a speaker and a turntable.

Even after two speakers and a turntable became standard, mono still sounded great.  Despite that, labels had to adjust levels and create effects.  Great if a band like Led Zeppelin was behind it and using it to their advantage.  Terrible for anything originally mixed in mono, it wasn't the artists or engineers intent to have some guy adjusting volume knobs to give the perceived effect of "surround" or "large", the mono mix hits you in the face all at once, it can be great and in many ways; better.

This comp particular has some moments that punch you in the gut along with standard fare, vocal tracks and Parker with strings.  It's a solid representation of the many styles Parker covered and brought his innovation, too.

Replay Records Delivers 2012 Boxset

Replay Records Delivers 2012 Boxset

This is a boxset Replay Lounge put out in 2013 possibly that collects all four 7"s released in 2012.  I don't think the newly found label had planned this from the beginning of 2012 or anything, but rather, it was a creative way to move some product.  You get 7"s, a koozie, a sticker, a download of the Cheap Beer comp. and it's all packaged in a hand printed personal pizza box that's designed around Lawrence's best, crappy, pizza place, Pizza Shuttle.

As awesome as I think this whole package is, I'm saddened because it's leading me to believe the following: 1.) It's 2014 and these are still available for purchase, they limited the boxsets to 100.  That means, Replay Records was sitting on at least 100 records of each release.  2.) Since they got a good amount of stock on hand, the label might be in danger of disappearing.  They haven't released anything in a while.  3.)  This is a great deal.  All this cool stuff for $20 and it's still available.  Fucking, go buy this at Replay Records.

As for the music, it's all worth the investment, you really can't go wrong.  Great artwork and cool labels to boot.  Only issue I have with Replay Records is they press their stuff on some shitty vinyl, things are off center, the center holes are too narrow, and you can just look at the grooves and see cheapness.  However, they sell cheap beer at an awesome bar and release punk rock records, I'm not sure I should expect them to sell audiophile grade vinyl releases.  As for the tunes and bands, here's a quick breakdown:

Up The Academy - Gimme Gimme B/W Pretty Bird - Loud, thunderous garage punk.  Gets the award for best artwork as the sleeve is hand pressed on a cut out from a 12 pack of cheap beer.

The Hips/Hospital Ships Split - Yoo Hoo's Binoculars B/W Come Back to Life - The Hips play some drunken stoner-groove.  It's well done, but at times I feel it drives too far down a well-worn path filled with hippies and bands from Austin, TX.  The Hospital Ships are primarily Lawrence, Kansan, Jordan Grieger, doing bedroom pop odes to the Flaming Lips (he took the name from a Lips' lyric).  At least, that's what you always hear.  I think his tune here is the best of the bunch.  Definitely a homespun, bedroom feel, in which you do hear a Wayne Coyne vocal strain, but it's so twee and great.  I really need to invest in the releases available on Graveface Records where Hospital Ships have found a home.

Rooftop Vigilantes/Mannequin Men Split -  Automatic Trash and Trouble Making Words B/W What's Yer Favorite Colour and Dark Cemetery - I already talked about this, it's still awesome.

Mouthbreathers - Die Alone B/W Validation - First, great band name.  The first tune is drawn out and dark.  It's a little too stuck in idle for metal and it's certainly too focused to be punk.  I suppose they may be going for a post-rock sound, that is until "Die Alone" turns into an all out garage-rock raver.  "Validation" on the flip side is more fuzzed out garage punk, reveling that this band was just playing around on all the previous build up.

KY102 Presents Homegrown Midwest's Best Music Taft Broadcasting 1980

KY102 Presents Homegrown Midwest's Best Music Taft Broadcasting 1980 NO CAT#

KY 102 FM was a long standing AOR station in Kansas City.  When I first moved to the KC area as a teenager, they were still functioning as a local station on the dial at 102.  However, they fell victim to the hostile radio takeover, but did continue on under different call letters and new ownership.  I think, after a few years, that station finally folded and ended up going top 40 or Country.  Don't quote me on that, though, I don't pay a lot of attention to AOR radio.

When I moved to Kansas in the 90's the station was an odd mix of classic rock and newer music.  They weren't close minded to newer stuff, but if it was new it was going to sit in well next to all the Boston and Rush.  Piecing things together, it appears that back in the 80's the station may have been half-way cool.  I've picked up on local album sleeves.  The station is thanked on the first Rainmakers LP (Balls by Steve, Bob, & Rich), there's this LP, and a few other things I've seen referencing KY 102.  So, it would seem back in the day, KY 102 supported the local rock scene.  Can't imagine they were showing support for the Lawrence scene in those days, but I'm guessing the bar bands got a few spins at the station... and I bet they fucking LOVED Kansas.

Honestly, even with a nod from the Rainmakers, I've seen this album around town and never gave it much thought.  However, a a good friend offered this up and all I had to do was find a copy of Johnny Cash's Folsom Prison, easily done and he sent a sealed copy of this.  In retrospect, I shouldn't have been so pretentious about the comp.  Looking it over, it's got the Secrets* who were featured on the hyper-obscure Kansas City power pop label, Titan!.  Further, "Homegrown" comps were put out nationally, a few have some real gems (especially some of the ones from Hawaii).  KC's version can't be much different.  Below is a run down of everything the good and mostly bad.

Pedestrian - Ain't Got the Time - Some hard rockin' KC guys that use laser production effects in the recording.  Sure the lasers are really synths, but pretty cheesy all the same.

The Secrets* - Uniform - This is the reason I got excited about this release, this a solid Titan! power pop band out of KC.  Song isn't fast paced, they sent their wussy material to KY, obviously.  It is a great little power pop tune with piano and bubbly AM sounds.

The Clocks - She Looks Lot Like You - Kansas City band full of confusion.  Man, these guys don't know what they're shooting for.  All sorts of crazy prog keyboard breaks with an 80's skinny-tie chorus and power pop aspects.  It's kind of amusing, but just a bit too scatterbrained to be considered a gem.

The Moffet-Beers Band - It Could Be Raining - What a bunch of sappy crap.  It'd be tolerable if it had some some twang, but this is just teenage roller-rink, sad-bastard music.  The name of the song and the band say everything you need to know about this Lenexa band.

David Hale - Opus X - This Kansas City dude's song title sounds pretty sci-fi and he's credited for all instruments.  It's got a killer drum intro, for sure.  It tops it off with some prog guitar work over the top.  From there, it doesn't go much further, TONS of guitar are added.  It's instrumental with a break that takes a turn from the hard rocking prog feel to a jazz and blues feel.  It really just ends up being a guy showing off and stalls there.

Rudy Passonno - Dead Boys - Outside of the Secrets* I had my hopes up for this...Not for any other of the reason but the name of the track.  This Kansas City dude starts off all creepy, like a Halloween novelty song.  Then it becomes kind of clear, the best case scenario for the song would actually be a novelty Halloween song.  It's just gets goofy and the subject matter is an awful attempt at telling a story about child death and murder.  It's friggin' weird.

Chaser - Anyone Will Do - This band is from Raytown, MO.  They nail the bar band thing, just a rolling rhythm and hard driving guitars, a little twang for good measure.  Nothing outstanding and the production is a little too slick for the sound the band is attempting.

US Steal - Crazy Things - Kansas City band and from looking at the band name and track, I just expected more standard MOR bar band stuff.  A little harder edged than I expected.  Bordering on metal.  I imagine they toned things down for their KY 102 demo submission, but pretty similar to first wave pop-metal.

Fields - I'll Be Gone - This Parkville, MO band is trying to be blues-based rock band.  Except, their keyboards go all prog and sound out of place, I think they're set them to the fiddle setting, too.  Takes away from a song that's already pretty middle of the road.

Alchemy - Sparks - If your name is Alchemy and you're from Topeka, KS you better sound like the band Kansas' little cousin.  The band certainly tries, they have two keyboardist and make an attempt at progressive rock.  The theatrics are there, the singer is a little weak, but of all the tracks I've shit on throughout this review, this band showed the most promise even though it's nowhere near the level of Kansas, just had a sound that could have been explored further.

Charlie Parker The Happy "Bird" Charlie Parker Records 1961

Charlie Parker The Happy "Bird" Charlie Parker Records 1961 CAT #PLP 404 S

Kind of a neat release, the label Charlie Parker Records was initiated by Parker's widow, Doris Parker and producer, Aubrey Mayhew.  The label was founded to release the unreleased works of Charlie Parker that were being exchanged through various bootlegs.

This release is nothing spectacular and pretty easy to track down.  It'd make mores sense for a completest as the tracks here are extended jams of tunes released in better format.  That is to say, I'd be much better off concentrating on proper Parker albums rather than random compilation pick ups.

The sound quality is poor, but again, it's a trade off for the extended times of the tunes.  4 tracks, including a 15 minute rendition of "Scrapple from the Apple" (misspelled Appel) and 13 minutes of "Lullaby in Rhythm" which is mislabeled "I May Be Wrong."  The spelling errors and miss labeled tunes alone should speak to the quality of the release, but hey, it's Charlie Parker and some moments are straight jam sessions.

Charlie Parker S/T Archive of Folk Music Jazz Series (Everest) 1968

Charlie Parker S/T Archive of Folk Music Jazz Series (Everest) 1968 FS-214

Another yard sale budget Charlie Parker compilation find.  It'd be cool if I had some original issues, but I don't have that kind of money or patience.

This features a great selection of tunes, some of which were recorded live.  But, it all sounds like crap.  The company that put this out, Everest, did tons of these types of releases.  All of which nail down on some great tracks, but none of which sound that good.  They first centered around releasing folk, like Woody Guthrie and Pete Seeger, but found jazz as another quick avenue for releases.  The jazz LPs get the "Jazz Series" tag.

Again, great track selections, however, most of the releases are culled from 78 RPM discs.  Not the original tapes, but the actual beat to hell 78 RPM disc that were taped, then pressed onto vinyl.  You get the crackle found on the source along with creepy ambient noise.  As stated, some tracks used here are old live recordings.  For Charlie, they just threw on recordings you can find elsewhere in better fidelity.  Further, Everest "re-channeled" everything for Stereo, which usually doesn't help anyone.  So, if you can deal with that, purchase the crap out of all these releases for a dollar.  Another issue I have with these, nothing is said about where they got these tracks from?  Outside of a "Statement of Purpose" on the back cover that explains to you it'll sound like shit, they don't notify you who played on the tunes or the original 78 disc...that's some crap archiving if you ask me.

Biggest problem I've always had though, is not the label itself, it's if you see the comps at an antique mall or a store where vinyl is not primary, the store or dealer thinks they've got something special and throw a $10 price tag on it.  There's a Volume II for Charlie Parker I've spotted a number of times, never once have I seen it a price I'd feel comfortable with.

Move

Titan! It's All Pop! Boxset Numero Group 2011

Titan! It's All Pop! Boxset Numero Group 2011 CAT #024

The Numero Group is pretty awesome.  They put out an amazing Kansas City soul comp documenting the Forte label, but it was not all encompassing.  This Titan! boxset, though, it's everything and features additional tracks recorded for the label that were never released.

The Titan! story is fascinating.  At the height of the power pop scene, this small Kansas City label put out a number of quality singles and a compilation that no one noticed despite some rave reviews in the right zines.  And, when I say no one, that includes Kansas City.  Groups like the Embarrassment were extremely obscure, but well regarded locals,  but despite a radio-friendly sound, the Titan! artists couldn't even garner local attention, let alone national.  Most these singles set collecting dust for years until a collectors market got turned on.  It would take years for Titan! to trickle it's way into the pantheon of underground Power Pop circles.  Even today, it's rumored that the label founders have stock left including a good amount of the It's All Pop compilation album.

Eventually, the label did find it's niche (or maybe the niche found Titan!).  The Internet and constant trading of mix tapes put some of the label's singles on the map.  Now-a-days, some enthusiasts are willing to table Titan! singles next to the likes of LA's Bomp! label.  The 45s are scarce and command a fair amount world wide.  But, even with the later day appreciation, it's still a small market.  Very cool that the Numero Group decided to put this out (it's also reasonably priced, less than $50 for 4 LPS, box, and booklet).

Below is my half ass attempt at a breakdown of all that is here:

The Boys - This band is provided two full sides on the box set.  Likely because they are one of the most sought after Titan bands.  Further, probably the only band on the rooster able to fill a full two sides.  They're from Nebraska, so not local.  But, sugary power pop nonetheless, didn't ever get too rowdy.  They have their moments.

Gary Charlson- Got a pretty big soft spot for Charlson.  When I was in college I went through a huge power pop kick and was always on the hunt for Titan! 45s.  Something I had come across was a bootleg compilation CD that featured Charlson's tunes.  I had found the CD from Wascal's Wecords and Stuff when it was located inside the Olathe Gee Coffee on Sante Fe.  Wascals no longer exists, but Greg (aka Wascal) explained to me that prior to me buying the CD, Charlson had just popped in.  He was an Olathe guy, ran a heating and air conditioning business, just made some solid pop gems as a musician back in the day.  Personally, of all the Titan! artists, I think Charlson deserves the most praise.  He's not too AM and he's not over the top in a way that just screams, "We are overcompensating because we're from the Midwest."  His stuff would fit in fine in the LA scene or New York, just sounds natural and soaked in skinny tie coolness.  He's also still active today, occasionally even drops in on guitar with other locals like the Rainmakers.

The Gems - More KC power pop.  The Gems were first JP McClain and the Intruders, but that band ceased to exist despite some of the early tracks found here on the boxset.  They're on the British side of the fence with their power-pop, very much in line with Stiff Records and Elvis Costello.

The Secrets* - Seems to me that this band had the most commercial appeal locally.  They landed a track on a local radio station compilation album and their sound is a bit more commercial ready.  Bar band style, but not hung up on a specific coolness factor, just bashing out some pop tunes without a lot of muscle.

Arilis - Arlis is another Nebraska, dude the Titan! guys tracked down.  He's decent, power pop for sure, got some teeth to it.

Millionaire at Midnight - This was a Lawrence, Kansas based band who had been taking their working class pop all over the Midwest prior to an attempted release with Titan (never came out).  You hear a good bar band, tons of guitar solos, very workingman's Foreigner, had they been given the tools, they would have took it to the studio rock level in all likelihood.

JP McClain & the Intruders - This band barely existed, while it did it featured Gary Charlson on guitar.  Highlight is the song featured here, "Just Another Pop Song," which would later be used and paraphrased, 'It's All Pop,' for the label sampler and mantra.

Scott McCarl - Decent, sugary, bubble gum pop.  Nebraska dude, so he's regional.

Bobby Sky - Okay, this is the coolest discovery I made after purchasing the box set.  Bobby Sky was a moniker for artist, Dean Klevatt, who was a local kid.  He discovered Bowie in the 70's and ran off to England.  Even cut an obscure 7" for Decca.  The single failed, but in England, he met up with Kim Fowley and came back to the States.  Fowley used him as a studio musician, in fact, his keyboard is heard on the first Runaways.  Fowley also convinced him to take up the name Bobby Sky.  When the Titan guys heard about him they got a hold of the three tracks featured on this set.  The song, "The Water," was co-written by Kim Fowley.  Sky's pop is filled with anglophile nods to the British Invasion with a healthy dose of AM pop.  Especially enjoyed the track, "What's the Name of that Song."  Having no single on the Titan! label, Sky left town again, finally finding a gig as the keyboardist for Lene Lovich of all people.

Charlson's cover of Dwight Twilley's Shark and a few others

Charlie Parker The Charlie Parker Story Volume 1 Verve 1957

Charlie Parker The Charlie Parker Story Volume 1 Verve 1957 CAT# V6-8000

Another yard sale find, another cheap Charlie Parker compilation album.  Actually, these Verve volumes are fairly well regarded, however, this version is a repress of the original that's been "electronically re-recorded to simulate stereo" and collectors know, that's a bad thing.  So, it likely holds true that the original owner purchased it at a bargain price long after the original release.  Further, while the Verve volumes do seem to garner respect, they are at times, very commercially selective.  This is your introduction to Parker, with some good cuts, but not the deep cuts.

Like any other genre changing musician, there is a legend about Parker.  He was a KC jazz musician, just an everyday player that no one paid much attention to.  In interviews, he stated to get where he wanted to be, he took himself out for a while, claimed he was "woodsheding" in a family members Kansas City home/shed for months on end.  He just locked himself up and practiced.  Developed his rapid pace and progressions over the course of months.  He knew how to play before, but what he came up with in a small Kansas City shed was about to surprise everybody.

The players that witnessed his new style where obviously floored.  For them, here was a guy that months ago was decent at best, all the sudden he comes up on them just laying down impossible progressions.  That started the legend, similar to Robert Johnson's story, that Parker struck a deal...because there's no way someone can be that good.

Charlie Parker Apex of Bebop Volume 2 Sarabandas 1986

Charlie Parker Apex of Bebop Volume 2 Sarabandas 1986 CAT# LPJT 41

I've got way too many Charlie Parker compilation LPs.  Most of them are budget comps, at the time of thier original purchase, these were likely several dollars cheaper than reissues of Bird & Diz or April in Paris that surrounded it.  I find these LPs almost every summer at garage sales in the greater Kansas City metro area.

While I can't brag or say I'm proud about my Charlie Parker compilation collection, I would say finding this type of album is one of my favorite parts of Parker's legacy in Kansas City.  I like the fact that years ago, when everybody had a stereo system in their living with at least a modest collection of LPs, the people of Kansas City, Overland Park, Shawnee, Lees Summit, etc, felt the need to have a Charlie Parker album.

I enjoy the idea that something they read or heard about Charlie Parker struck them or gave them some sense of pride.  They realized that this guy from Kansas City reinvented jazz and it made them think, "I should own some of his music."  So, they went to the record store, Montgomery Ward or Sears and found themselves in the Jazz section sifting through Charlie Parker albums.  Not having a clue about jazz or bebop, they opted for a safe purchase, a cheap, likely marked down compilation of his claimed best works.

When they got the LP home, they likely spun it and hoped to understand it.  I'm a sure a few did.  However, as evidenced by the amount of these of these compilations found all by their lonesome sitting next to a collection of easy listening and pop albums, most people didn't.  Still, they kept it.  They thought enough of Charlie Parker and their city to hold onto it...at least until they sold all their albums at a yard sale.

Cheap Beer Compilation Replay Records 2011

Cheap Beer Compilation Replay Records 2011 CAT# RR001

Sweet compilation filled with short, noisy, punk rock from Lawrence and Kansas City bands.  It came out back in late-2011 and was limited to 500 copies.  It's still around, but don't snooze if you see one and don't have a copy already.

The packaging for this thing is incredible.  Front side you get the corner of 10th & Massachusetts and a zombiefied version of the Replay Lounge.  Backside shows you the Jackpot Saloon.  Favorite part about the release is that they used a Pabst Blue Ribbon box cut out and printed the track listing on the back.  I know, you're thinking PBR is crap and hipsters just need to stop.  Seriously, though, the Replay Lounge has been serving PBR from a tap since their existence.  Long before a hipster fashion sense, there were kids at the Replay drinking PBR from a plastic cup for a dollar.  #trendsetters

This release started up the Replay Lounge as a label, since it's release the bar has put out a handful of 7"s and a Red Kate full length (which I need to pick up, it's also limited to 500).  Their approach was to just take the best tunes the bands had to offer.  Most of these tracks are available on a full length or EP or website downloads.

However, most tracks aren't available in the vinyl format.  So, in 2011, you got the best the bands had to offer on vinyl.  Solid approach, obscure compilation tracks were great fit in the late 90's, but these locals aren't sporting huge followings, better to just get the tunes out there.  Everything is worth a listen if you're into noisy, punk rock and garage sounds.