Brewer and Shipley Weeds Kama Sutra 1969

Brewer and Shipley Weeds Kama Sutra 1969 CAT# KSBS 2016

Man, if there's anything writing a blog about random ass music can teach you, it's don't sleep on anything. Outside of the one hit, I never bothered to listen to Brewer & Shipley. But, these Kansas City transplants did some solid work. Surrounded themselves with great talent and wrote some pretty great folk rock.

Weeds isn't a masterpiece, but it's probably more overlooked than it should be. Their tunes are clever and smart. The first track mentions how you get stoned and listen to Music From the Big Pink by the Band. There's a clever cover of Dylan's "All Along the Watchtower", albeit a bit too expected for the type of sound these guys were laying down. They're apparently huge stoners and it shows in their albums as they weren't afraid to experiment with their sound. It's also apparent as members of the Grateful Dead appear on the album as well as the likes of Mike Bloomfield.

Overall, it's quality stoner, country-rock. In the ballpark with Grateful Dead albums like Workingman's and American Beauty. Promise you, none of the 10 minute drum solos, those two Dead albums are pretty low-key affairs.

Lady Like You

Brewer & Shipley Tarkio Kama Sutra 1970

Brewer & Shipley Tarkio Kama Sutra 1970 CAT# KSBS 2024

Should probably be mentioned again since it's been a while since I've discussed Brewer & Shipley, but neither Brewer nor Shipley are from KC or the surrounding area.  However, they were managed by Good Karma Production out of Kansas City and like many of the acts managed by them, the act relocated to Kansas City.  So for a time, Brewer & Shipley called Kansas City their home.

And, judging by classic rock radio-play to this day, Kansas City adored the guys while they were a big deal.  Even today, you're bound to hear the hit from this album, "One Toke Over the Line" come across the airwaves at least once in a day.  As it was somewhat of a surprise hit, the band has since been regulated to "one-hit wonder" status and it'd be surprising if any other classic radio station outside of KC is still blasting the song more than once a month.  In fact, the band was so beloved in KC, that in 1989 a local radio station urged the two to reunite.  Of course, they obliged.  That was then followed by a tour and an album in 1995 that no one cared about.

As for the big hit, "One Toke Over the Line," it was actually banned by many radio stations for it's obvious reference to marijuana.  As far as hits go, it's a good representation of the band.  It's laid back, kinda country, kinda folkie, at times a bit later-era hippie, nothing over-bearing or loud, but it's got some soul to it. They are an enjoyable duo based in traditional roots based music, it makes sense they were able to sustain a career on a major label.  They kind of sound like a lite-rock version of the Band with their roots driven approach and unexpected harmonies, but I stress the "lite", the Band's sound punches Brewer & Shipley in the balls.

Outside the hit, there are some other highlights, the rootsy "the Light", the humorous "Oh Mommy",  the rollicking "Don't Want to Die in Georgia," and the title track "Tarkio Road" along with "50 States of Freedom" are pleasant enough. Also of note, the LP credits Grateful Dead front-man Jerry Garcia for some pedal guitar, making the album a part of any dead Dead Head's collections worldwide.  It also features backing vocals by another Good Karma managed artist and KC transplant, Danny Cox.

Live clip of the Boys rocking nice duds and singing their hit.
Don't Want To Die In Georgia

David M. Dawkins & Rudy Passanno Mama Mama DMD Records 1979

David M. Dawkins & Rudy Passonno Mama Mama DMD Records 1979 CAT# DMD7901

The absolute joy of dropping the needle on a private press album...just not knowing what to expect and something comes on and just grabs you, it's hard to explain, but the fact that there's such a small amount of albums in existence, the sense of enjoyment you get from it is elevated.  And granted, there's the times when the album is pure crap and didn't deserve any sort of press, but the rare times when the music is good...it's like unearthing an ancient secret.  There's also the mystery, where did this person go?  Who bought the record?  As the record eventually disappeared from the few stores that carried it, was there anyone still listening?  Did the ones that sold just get thrown away or traded in only to end up in a vinyl recycle bin at some point?  How many were pressed and how many still exist today?  All the sudden you don't just have a secret, but you have to archive it.  You have to hold onto to it, just so it won't die and disappear forever.

Most these artists you can track down, especially if it's something local to you.  The guys are usually still playing somewhere for someone.  There's also the occasional eBay sale of a few that peak your interest and can also lead to some info (this one does sell between $30-$50).  But, according to this, Dawkins is somewhat of a mystery man.  Granted, the music or back story are nowhere as compelling as others, like the Lewis album from Canada, but all the same, there's nothing out there on Dawkins.  He's disappeared from any sort of scene, but here it is, this album he left behind that a few of us can still appreciate.

His partner, Rudy Passonno, was pretty busy musician/producer in KC.  A track of his has been discussed here, he also worked on a well known private press release by a band called Topper, further, he ran a studio outside of KC that had it's moment in the 70's.

Reading through the linked interview, he's also one hell of a guy.  He indicated to the blogger, Dawkins didn't have the money to record at Liberty Recordings where Passonno was recording.  The cost was $1000 for recording and a pressing of 1000 LPS, but rather than turn Dawkins away, Passonno claims he recorded the tracks at his own home for Dawkins, all that had to be paid for was the tapes and vinyl.  That's a solid dude.

I imagine some of that deal had to do with the strengths of Dawkins' tracks.  Dawkins put together a collection of originals, they are above average 70's, singer-songwriter stuff.  They're not naked or strange, there's some sadness there, but mostly basic 70's AM pop sounds filtered through a songwriter on on the folk side of things.

Where the record stands apart from the millions of other singer songwriter releases is Passonno's work on the LP.  Dawkins' pleasant, soulfoul voice and acoustic guitar are met by Passonno and his 70's electronics and keyboards.  Passonno programmed the drums on synths, same with the bass lines.  Then to give the album a full fell he dumps a Hammon C3 organ, Fender Rhodes, Wurlitzer, a bunch synths and something called a Poymoog (I'm assuming it was a Polymoog, which would mean several linked Moogs).

Again, the tunes are pretty standard, but all the unexpected keyboards add so much weight.  Not creepy or weird like it may sound, it's a really full sounding, pleasant album.  It's all just so unexpected.

Believing Is Not Easy

Melissa Etheridge Brave and Crazy Island 1989

Melissa Etheridge Brave and Crazy Island 1989 CAT# 7 91285-1

Melissa Etheridge was born and grew up in Leavenworth, Kansas.  Leavenworth is notable for a large Federal prison, but hey, after Etheridge, the town has a freakin' Grammy winner.  She attended K-12 in the town, her dad apparently still teaches at the area High School.  Further, she doesn't seem to bag on Kansas, even when the reporter tries to bait her in.  From my quick research, she's been quoted saying it was lonely in Kansas (it is) and occasionally, the reporters say things like, "Growing up gay in Kansas," not Melissa.  That's hard anywhere, it isn't easier to be a gay teen in California than it is in Kansas.  Those things are usually just a reporter trying to make something out of nothing, because from I what I can see, Etheridge describes her Kansas upbringing like anyone else would: boring.

I first heard this album shortly after she became a big deal.  My mom feel in love with it, playing it all the time and telling me constantly how much she loved Etheridge's voice.  At the time, I was growing up in Wisconsin and into heavy metal and the Dead Milkmen.  I could have cared less about Etheridge's music, never mind where she was from.

Now-a-days, I still don't care much about Melissa Etheridge's music.  For me, it's pretty MOR and I'm not impressed just because she's a girl.  She treads on some pretty well-worn territory, throws in a few blues riffs, keeps it folk-y, and occasionally even gets funky.  There's just better music out there.  She does have a good voice and a flair for dramatics, but eh, I just can't get all that wrapped up in it.

I'm a bigger fan of her being from Kansas and winning Grammy's.  That's solid.  Further, if her music and popularity lead others (this time I'm all for the girl-power) to create and appreciate music, that's awesome.

The Blue Things Listen & See RCA Victor 1966

The Blue Things Listen & See RCA Victor 1966 Reissue Orignail CAT # LSP-3603 (Stereo) LMP-3603 (Mono)

Here's another Kansas band that is one of best band s in a generation no one ever heard.  Hays, Kansas' own The Blue Things.

Led by Val Stöecklein this group of Kansans was in the vein of the Byrds.  Great original tunes, clever and well picked covers, the band could have easily been a national act.  Unfortunately, the bands fan base only went as far as Texas.

The whole thing is puzzling, the group's sound is very accessible.  It's folk-rock but very in line with the British Invasion sounds of the Beatles and the Searchers.  They dipped their toes into pyschedelic sounds.  And, their folk-rock feels natural, not forced like other bands doing the same thing.

The album is lost classic.  You hear their version of Dylan's of "Girl From North Country" and have to think, this version should have been a huge hit.  You hear the original tune, "Doll House," with chiming 12 string and clever lyrics and wonder why teenage girls weren't screaming for these guys.  Their Dale Hawkins cover, "La Do Da Da" and Jimmy Reed cover "Ain't That Lovin' (You Baby)" are solid ravers.  And while there is some expected 60's type filler, the album's consistency is superior to what most bands releasing on full length LPS during this time.

The band would split when Val left to pursue solo work.  It's unfortunate, as the LP is so promising as are the singles that were released around the same time.  Really great Kansas band, folk rock with a Midwest appeal and sensibility, no radicalism attached, just good music.

Doll House
Ain't That Lovin' (You Baby)
Girl From North Country

Val Stöecklein Grey Life Dot 1968

Val Stöecklein Grey Life Dot 1968 Cat#DLP 25904

I haven't talked about the Blue Things, yet.  And, I probably should prior to talking about this release.  But, I just picked it up today in a trade and wanted to get it out there.

Val Stöecklein cut this record after leaving the Blue Things.  It was supposed to be a smash, a sure thing.  If you've heard the Blue Things, you'd understand why, Byrds-esque folk rock with that country tinge you can only find in Kansas and here's the guy from that band, the songwriter.  Despite a booked tour and money behind this LP, Val refused to promote it.  Needless to say, it flopped.  Now, it is a record of debate; compared either to Skip Spence's cult favorite album, Oar or just another MOR folk album from the 60s.

Truthfully, I tend to fall towards the MOR folk.  It's pleasant at times, but it's not drug riddled and strange like a Syd Barrett or the Skip Spence album.  The second side does contain some haunting tracks that stand apart from the rest.  It just doesn't hold together well and falls apart as an album.  It seems as if Val was being pushed to move in directions he didn't want to go.  Thus the reason he never wished to promote it--probably never felt like his.

Say It's Not Over

Brewer & Shipley Shake Off the Demon Karma Sutra 1971

Brewer & Shipley Shake Off the Demon Karma Sutra 1971 CAT# KSBS 2039

A friend of mine and I were talking and he brought up "Yacht Rock", which is basically a term to describe music similar to Loggins & Messina.  Smooth rock, pop oriented, and usually crappy.  So, that got me thinking, does Kansas or Kansas City have any Yacht Rockers?  The best I could come up with is Brewer and Shipley.  Famous for the song, "One Toke Over the Line."

These handsome devils aren't really from Kansas or Kansas City.  One is from Ohio the other is an Okie.  However, after their debut LP, they located to Kansas City, Missouri.  In doing so, they are HUGE, in this area.  Classic rock stations play "One Toke Over the Line" in heavy rotation.  Furthermore, they truly did call KC their home, so props to them, it's a nice town and central.

As for this LP and the band in general, it's a little too folk oriented to be true yacht rock, but it's the closest I could come.  The music definitely has a Crosby, Stills, Nash & Young feel (it's not nearly as good), doesn't ever try to rock too hard and doesn't ever try to be too country, just kind of walks in the middle with folk leanings.