The Get Up Kids Guilt Show Vagrant/Heroes & Villains/BMG 2004, 2016 Reissue

The Get Up Kids Guilt Show Vagrant/Heroes & Villains/BMG 2004, 2016 Reissue CAT #VR4397

Man, so much to say about the final Get Up Kids album. First story that I have is that years ago, when I first started thinking I should start a vinyl blog based on local music I realized there were huge holes in my Get Up Kids collection. I had everything on CD at least and some scattered vinyl, but mostly everything I had was on CD. So, I called my friend in the band and asked if he had some stuff laying around and since I'm sure EVERYONE asks him the same, I offered to give up some choice LPs in exchange. He was agreeable and got what was available to him, even a member of the band doesn't have the ultra-rare limited stuff anymore. I got most of my holes filled, but asked, "Dude, where's Guilt Show?" The answer was he didn't have anymore, but gave me a CD copy. What's funny, as I was visiting another time and looking over records, there was multiple copies of this LP mixed into the collection. Basically, I don't think certain members of the band remember this one too fondly. If any of that is true (which it's probably not) I assume most of it would be from the fact they disbanded shortly after it's release.

It is a bit Matt Pryor heavy, the LP seems pretty focused around his type of tracks, introspective Superchunk-esque indie-pop. But, they are strong songs, although the energy could have been higher throughout the whole album. They don't have the teenage heartbreak and angst that early albums had, but, the band was older, full-fledged adults by this point. When you compare it to their 2002 album, On A Wire, it's certainly more of a Get Up Kids album, they ditched the roots rock and went back to their indie-rock roots, but found a lot of room for clever harmonies, clever lyrics, and jangly rhythms. It's not an album to be ashamed of, it's very enjoyable and easier to dance and shake to than On A Wire, was.

The other question is what would have happened if this came out in 2002 instead of On A Wire? It's difficult to say, but following the success of Something to Write Home About, the band was on the verge of something big, all they had to do was make Something to Write Home About Mach II and they may have become MTV indie darlings for a year or two. I don't sense a huge hit single here, but, it may have fit into 2002 better. And, had it been made following Something to Write Home About, it probably would have been a lot snappier. Either way, it would have been better received than On A Wire, fans would have been ready for this LP in 2002.

For what it is now, the first track, 'Man of Conviction' should be considered a Get Up Kid classic, equally as good as their most cherished songs. Next to last song, 'Is There A Way Out' is a deep cut by the group highlighting that these guys had soul and ideas that could have led to something amazing had they kept it together.

Man Of Conviction
Is There a Way Out

The Anniversary Designing a Nervous Breakdown Vagrant/Heroes & Villians/BMG 2000/2016 Reissue

The Anniversary Designing a Nervous Breakdown Vagrant/Heroes & Villains/BMG 2000/2016 Reissue CAT #VR4401

Man, I remember being so excited for this record in 2000. I actually got an advance copy to promote through an indie-promotion company when I was doing "street team" work. The Anniversary was becoming a big deal, locally and nationally. They were touring with the Get Up Kids, the singles they had released up to their debut were frantic emo-pop sing-alongs.

However, when I got the album I remember being completely let down. The album starts out promising with "The Heart is a Lonely Hunter" followed by "All Things Ordinary", but after that, I remember thinking the band had run out of ideas. The Rentals formula was wearing thin and in bursts, it worked for the band, but for an entire album, it gets thin. When the album was officially released, I never bothered updating my promo copy which was just a disc in a plain white envelope with a hype-sticker across the back.

Years later, when nostalgia took over, I regretted never buying it on vinyl. When I started looking for it, I would have been lucky to find a copy for $50. Then, just recently, Vagrant started re-releasing a bunch of their back catalog for the label's 20 year anniversary and this was included. I waited too long apparently to get a standard black copy and settled for this blue colored version...and once again, I was disappointed when I first put it on. Not because I felt I bought a bad album, I can now validate the purchase for two great tracks and some solid filler, I got more money than I did in 2000. But, what I was upset about this time was slightly warped vinyl...WTF. Quality control on recent vinyl pressings leaves a lot to be desired, but that's to be expected when everyone is buying records again.

Either way, the album sounds better today than it did back then. Bonus, the warp doesn't affect playback, so it's cool. I'm picking up on all the moments when the Get Up Kids association rubbed off on these guys, the pick slides, the obvious emo infliction, it's nice. But, mostly it's the nostalgia that gets me.

Designing a Nervous Breakdown

Kevin Morby Harlem River Woodsist Records 2013

Kevin Morby Harlem River Woodsist Records 2013 CAT #WOODSIST071

This is Morby's debut LP as a solo artist. Years spent with his other bands primaraly in New York brought about 8 tracks which Morby has said were influenced by the Big Apple, thus the title Harlem River.

Like New York City, Morby's debut is a big undertaking. It's easy to get around, but to get to everything is nearly impossible. Morby employs a Dylan-esque thin-mercury sound and there is are great moments, tons of highlights, and things you just don't expect. But, also like New York, there's a lot of messy bits and plenty of construction all around. He's finding his direction and building things up. The highlights of the LP make it a fantastic and outweigh Morby's sometimes lofty ambitions that weren't completely fleshed out.

Harlem River

Hipshot Killer All The Hell In The World B/W Sky Flying By Too Much Rock 2016

Hipshot Killer All The Hell In The World B/W Sky Flying By Too Much Rock 2016 CAT #No 005

Hipshot Killer is a three piece punk band drawing heavily from the dirtier side of late-70's power-pop. The band has been performing since 2009, but LONG before that band members Mike Alexander and Chris Wagner were in the The Revolvers together, In addition, Wagner and a one-time Hipshot Killer drummer were in The Breakups.  These guys are old now and probably have kids and stuff. Those bands were 20 years ago. But, to their credit, the years look good on them, they've gotten a wiser, they've grown out of simplicity of old Descendants records and stretched out musically. They still wear Chuck Taylors, though. Seriously, drop that, you'll be confused for a Kelly Clarkson fan.

Even in their Chucks, they're a bit tougher and got some power-pop hooks to go along with their punk rock chords. They've released a full length and this new 7" represents the 5th in a series of singles put out by Too Much Rock. As stated previously, Sid at Too Much Rock puts out the singles provided the band does a song of his choosing. The band gets all benefits and the records, Sid just helps out local music. For this release, Hipshot Killer was given the early 90's proto-emo song, Sky Flying By" by Samiam. For Hipshot Killer, it's an easy task and they remain true to the original track which was likely a song that influenced the Breakups way back when.

The original tune by the band, "All The Hell in the World," wins the award for best song title of the year. It's got 90's teenage angst, but finds adulthood in the end. The track builds up with guitars until it blows up into a singalong, but the lyrics have a lot more in common with a Bruce Springsteen song than the typical 'damn the man' punk-rock anthem.

The single will be released 10/21 at local record stores. The band will be performing live 10/22 at Mills Records and again on 10/25 at Davey's Uptown. A Lawrence show is in the works. If you search you can find a stream of "All The Hell in the World", but the B-side is off limits unless you happen upon on it on the radio or buy the single.

https://hipshotkiller.bandcamp.com/
Check out the A-Side

Mouthbreathers Anxiety B/W The Creeper In the Red 2010

Mouthbreathers Anxiety B/W The Creeper In the Red 2010 CAT #ITR215

Previously, I discussed this Lawrence, Kansas' 7" record that was put out on Replay Records (here). I dug that record a lot, but seeing how I was discussing multiple releases all at once, kind of glossed over the band. However, when I saw this 7" on the cheap, I snagged it and have been sitting on it for year.

Had I known how this record came to be, I would've wrote about much earlier. The story is told in all it's glory here. But, to summarize, the band's demo CD was provided to a member In the Red band, Reigning Sound. In the Red has been putting out tons of noise for years and are kind of a big deal out in L.A.. They have a huge catalog and have released numerous Ty Segall records and that dude is all the rage every 3 months when he puts out 12 new songs. The CD they provided was just a blank CD with a picture of a dick on it (yeah, a penis). Eventually, the CD was lost, but, Kelly of the Love Garden was called by the former owner asking for another copy. CD was supplied and it eventually made it's way to In the Red label founder, Larry Hardy, who agreed to put out this single.

It's a solid 7", I brought up Ty Segall previously because like him, the Mouthbreathers are channeling a late-60's garage rock vibe. Mouthbreathers modernize the sound and make it their own, it's refreshing whereas most bands labeled garage punk (Ty Segall included) sound more revival to me.

Anxiety

Jorge Arana Trio & Ambulants Split 7" Bridal Horse Records 2013

Jorge Arana Trio & Ambulants Split 7" Bridal Horse Records 2013 NO CAT #

Picked this up as it had Paul Malinowski's name on it, he did the mastering. Figured it'd may have that 90's Kansas City post-hardcore sound with his name being on it. In addition to Malinowski's name on the sleeve, the packaging is well done, almost too well done. Really thick cardboard 7" sleeve, that may keep things too tight as the record was pretty scuffed coming out, but it plays and everything looks great.

Jorge Arana Trio, for this release isn't really a trio as it's credited on the back to another player or two. Their one featured song, "Dagger", is a dark, moody, instrumental post-rock experiment with a violin playing way too much of a role. The intro makes it sound a lot like an obscure emo band called Sweep the Leg, Johnny, but the aggression tones down quickly and the band flirts around with jazz structures.

Ambulants provide the b-side with two songs, "Washed Ashore" and "Dweller". These tracks definitely borrow from 90's KC bands like Boy's Life and Shiner. Very choppy start and stop dynamics, but slow moving. To the point you think the mastering was off if wasn't for the vocalist's falsetto coming out on top so clear.

Overall, solid 7" and well worth the $5 it'll put someone back.

https://ambulants.bandcamp.com/

Your Friend Gumption Domino 2016

Your Friend Gumption Domino 2016 CAT# WIGLP342

Taryn Miller, a Lawrence, KS resident originally from Winfield, Kansas, is Your Friend. Her first offering on Domino was the re-released EP Jekyll/Hyde which was filled with accessible experimentation and served as highlight for local artists. The EP's style is best summarized in a quote from a Kansas City paper Miller provided early this year at the eve of this album's release;  "I stopped overthinking it, I was like, 'Do it for your own sake. Just enjoy it'"

The quote speaks volumes to the Jekyll/Hyde release. Those songs explored soundscapes without getting pretentious. However, Gumption, her debut LP, seems to be reaching and indeed, overthinking things. It's 8 songs, with each track nearing the 5 minute mark. Its songs find space and never come back. Tracks get stuck with Miller's big voice surrounded by drowning electronic sounds and sparse drums, which is pleasant, but it doesn't always feel like a song. There's good bits to be sure and of course, she doesn't have to write songs, Miller can be as punk rock as she wants. She could be saying, fuck songs and go Glenn Branca on everyone, she'd still be cool, but it still won't mean the album is any good.

Hopefully, this release serves to calm Miller down and help her return with a more focused effort. And sure, people will like Gumption's constantly meandering song structures, the whole LP messes around as much as most a Deerhoof album does (and people love that shit). But, Deerhoof's saving grace is they give you at least a few obvious hits for every 30 minutes of noodling around.

Gumption Video

Berwanger Demonios High/Dive Records 2015

Berwanger Demonios High/Dive Records 2015 CAT# HDR016

Josh Berwanger is apparently just going with his last name now...at least according to this 6 song EP put out by High/Dive Records.

Demonios is Berwanger growing fonder of the power pop treasure trove he discovered when making his self-titled debut. These six tracks find him trying to master his own brand of the genre. In addition to late-70's skinny tie sounds, he is attempting to mix the swagger of 80's hard rock and the groove of 70's jam bands. It's a decent mix, but he can't drop the influences of his work in the Anniversary, there's still a lot of Weezer and 90's alterno-rock hiding in the corners of his songs.

As catchy as his solo debut was, you could tell it owed a lot to others. Demonios finds the songwriter finding more of himself in his new power pop hooks. He's still the goofy character with a backward baseball cap and outlandish fashion, but his version of the american teenager culture starts to grow on you, motorcycles, heartache, and suburban punks start to make a lot of sense on these tracks.

Live Radio Performance

Kevin Morby Still Life Woodsist Records 2014

Kevin Morby Still Life Woodsist Records 2014 CAT# WOODSIST075

This was Kevin Morby's 2nd solo LP and is a collection of songs he wrote as part of his band the Woods as well as some after leaving the band as the inner indicates the songs were written between 2012 and 2014.

The title of the LP isn't clear as the inner states, "Still Life A Collection of songs Written between 2012 and 2014", the cover however states, "Still Live With Rejects From the Land of Misiftoys", yet, the spine and LP state the simple title, "Still Life". The titles seem to indicate what the album is; a collection of tracks Morby couldn't fit onto his prior LP, "Harlem River" and tracks he didn't see fitting onto his next album which became "Singing Saw". This was his second LP released in 2014 and the front cover states "Misifitoys" (yeah, it's misspelled) which would indicate this is just a collection of tunes Morby didn't know what to do with other than record them.

For the most part, "Still Life" feels like a collection or a compilation. There's incredible tracks, some of Morby's best, but there's no feel to the album. He jumps from aggressive Dylan-esque rockers, to sprawling alt. country experiments. Overall, it's an amazing mix-tape presented by Kevin Morby, the highlights being when he channels Dylan's thin-mercury sound as it's a step away from his other two albums.

Full Album

Casket Lottery Survival is for Cowards Second Nature 2002

Casket Lottery Survival is for Cowards Second Nature 2002 CAT# SN031

Fantastic Casket Lottery LP, but, they're all great. So much aggression, screaming vocals, screaming guitars, and huge drums. It's strange how At The Drive-In became so popular while Casket Lottery had the same feel and in comparison, stayed only Zine-Famous.

This was the band's third album and until Real Fear showed up 10 years later, was thought to be their last. Had it remained their final LP, it would have been a good way to go. Classic emo, teenage angst turning into adult anger and frustration. One of the final golden era of emo albums, before it turned into a scene about trendy jeans, combed hair and suburban malls.

Survival Is For Cowards

Fullbloods Mild West High/Dive Records 2015

Fullbloods Mild West High/Dive Records 2015 CAT# HDR013

Millennial Dad Rock is my new favorite genre. Seriously, these Kansas City dudes are slick and weren't afraid to use the studio as an instrument. Which is nice to see in indie-rock, it's okay to layer up sounds and seek that clean Fleetwood Mac perfection, although, people got Pro Tools now, Fleetwood Mac just had tape and lots of cocaine to get things perfect. But, yeah, these kids in the Fullbloods evoke groups like Steely Dan and Fleetwood Mac, albeit, the lite version, but the clean sound is there.

And they don't go full yacht rock, the Fullbloods would rather flirt with all the smoothness, they still have their indie-rock moments. But man, the track "Anima Mundi" is so Steely Dan-ish, it's hard to think of anything else when you play this LP.

The whole album, even at Steely Dan-lite status, is great. Chill vibe, not as jazz heavy as the Dan, but the light blues rock guitar riffs and vocal gymnastics are what draw you in.

Anima Mundi

Bloodbirds Psych Surgery Private 2013

Bloodbirds Psych Surgery Private 2013 CAT# BB001

I'm not hip and if I was, I'd probably have seen this band a dozen times and have a lot more to say. Instead, I have my lame-ass story of finally tracking down a copy of this LP.

Years ago I was at Zebedees (before it moved and became something else), I asked the owner if he was into anything local and he grabbed his last copy of this Bloodbirds' release and said, "These guys played the KC Psych Fest and blew everyone away." It did look cool, but the S/T Berwanger LP was sitting there as well and I weighed my options and thought Berwanger's release is going to disappear before this small KC psych band is.

Man, was I wrong. That was literally the only time I saw a copy of it. I did search for it, I was interested seeing if the gloating reviews from Zebedees were true. I just never saw it around town. The band did a limited run of the LPs, something to the number of 500 and I guess everyone is hanging onto theirs. Eventually, the LP showed up on Discogs from a guy in North Carolina and I grabbed it, just glad the band's popularity is still within KC because it was reasonably priced.

It's a solid LP. Psych rock isn't a bad term, garage rock would fit as well. They obviously have classic rock influences, but don't have the classic rock studios their heroes had. The Bloodbirds are three piece and to fill out their sound, guitarist Mike Tuley layers guitars throughout the recordings. It's a lot of guitar. His classic rock hooks and indie-rock production make it feel like an early Dinosaur Jr. LP. It's a solid LP and I can get why it's nowhere to be found currently.

Psychic Surgery

Kevin Morby Singing Saw Dead Oceans 2016

Kevin Morby Singing Saw Dead Oceans 2016 CAT #DOC111

Kevin Morby is this kid from Kansas who's creating his own Dylan mythology. Yeah, big words, but that's what he's done up to this point. Apparently, with very few people taking notice he grew up in Overland Park, KS and dropped out of Blue Valley Northwest High School. He obtained his GED and left for New York.

In New York worked in restaurants and being a bike courier. He helped create the experimental folk group, the Woods, as the bassist. He also created his own side project with Cassie Ramone of the Vivian Girls called the Babies, putting out two albums. By 2013, he began his career as a solo artist releasing Harlem River. He's since moved to Los Angeles.

Singing Saw is his most recent and third release. Between it and Harlem River was the album Still Life released in 2014. His first two albums are satisfying experimental folk and brought him critical attention, but both are a bit wobbly, close, but not quite realized. Singing Saw nails things down.

Morby's voice draws a lot Dylan comparisons, he mumbles and groans over his melodies. However, he's not a complete folkie, he likes to try a lot of everything. Best comparison to an area artist would be Gene Clark. Morby's music is a melting pot of American music, with heavy nods to Dylan, but stepping so far out into space that it's best called American Cosmic. Singing Saw is filled with amazing moments and no tracks you'd want to skip. It's surprising this kid has anything to do with Overland Park.

Dorothy (Video)

Appleseed Cast Peregrine Graveface 2006/2016

Appleseed Cast Peregrine Graveface 2006/2016 CAT# GRAVE115

Record Store Day happened again and it was lamer than the year before. Despite that, there was a couple of prominent local releases, this reissue of Appleseed Cast's Peregrine album and a live recording of current KC darlings, Madison Ward and Mama Bear. I picked this up. Nothing against Madison Ward & Mama Bear, it's just that group is too available. I have to wait until the band's releases are impossible to find before I show interest. That said, I probably need to pick up a Madison Ward release at some point.

Moving on, Peregrine was released by the Militia Group in 2006. It does have a vinyl pressing, but seeing how the label stopped releasing stuff in 2012, like many of Appleseed Cast's LPs it's become hard to find. Graveface, Appleseed Cast's home since 2013, has the other Militia Group LP Sagarmatha in print and available. For whatever reason, unlike Sagarmatha, Peregrine got the limited release. 2000 copies were pressed, some of which are a colored variant for Record Store Day, others are Graveface Record Club hand-poured vinyl variants, there was a Kickstarter version, and there is standard black vinyl available through Graveface mailorder.

Aside from all that nonsense, it's a good album and was the band's sixth release. It sounds a little more humble than their ambitious Low Level Owl albums, but the experimentation does run rampant throughout the LP, it's just not as obvious. There's a lot of groove and hooks throughout Peregrine and the band doesn't waste their time with beeps and glitches getting to those moments. It also serves as a concept album as it attempts to tell the story of a child, her name being Peregrine, who is murdered by her father and comes back to haunt him for it.

Appleseed Cast Peregrine

Butterglory Are You Building a Temple in Heaven? Merge 1996

Butterglory Are You Building a Temple in Heaven? Merge 1996 CAT# MRG098LP

Throughout Butterglory's lifespan, it was focused around the duo of Matt Suggs and Debby Vander Wall, Californians who transplanted to Lawrence, KS after this album was recorded. They've had different players, but their sloppy lo-fi pop songs are primarily due to those members.

This LP represents the California version of the band when they were at their best. Like all their work, it sounds an awful lot like Pavement, but unlike the following album, Rat Tat Tat, it's much more obvious that Butterglory's sound developed independently of Pavement, the end result just happens to be similar, but, since Pavement got more popular, Butterglory gets dubbed a sound-alike.

Pavement took a lot of cues from Sonic Youth whereas Butterglory had a lot more Velvet Underground worship and if you listen hard enough, they even had jazz moves. Listening to this album, you sense that if given the chance, Butterglory would have made a huge sounding rock record, they just didn't have the budget to do so. The big riffs on "On Button On", make it pretty obvious, this band dreamed of a bigger sound, but without the means, you get the plaintive vocals and simple production. You end up with a lot of lo-fi cuteness, but still a great album.

On Button On

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

Orange Doe-Nuts Back at the Ranch Fresh Sounds, Inc./Fresh Doughnut Records 1984

Orange Doe-Nuts Back at the Ranch Fresh Sounds, Inc./Fresh Doughnut Records 1984 CAT #O.D.-001/F.S.-208

The Orange Doe-Nuts or O.D.'s, were a hardcore band from Kansas City who likely found enough shows in Lawrence, KS for the Fresh Sounds, Inc. to put out their only release. They gigged around and as with most obscure hardcore bands from the 80's you can find old show flyers posted around the internet showing they played opening spots for some of the biggest acts in the scene, Minutemen and Husker Du, etc. And, like a lot of obscure 80's punk, this LP has become a pricey artifact to buy online. I first found a copy a copy at a local Goodwill, but upon getting it home I found the thing was warped so extensively it wouldn't play (it was on ultra-thin, ultra-cheap vinyl). This copy was found at a local record store in a dollar bin, probably worth more, but it's in nowhere near perfect shape.

The O.D.'s (can't be hardcore without an abbreviation) were able to find a distinctive sound in a scene that can become monotonous. This band didn't try to catch you with the Minor Threat speed attack of their hardcore, they slowed things down just a bit and sound a bit more Midwestern. Outside of being punk rock, they also don't appear to have a super-political, anti-Reagan agenda like many of the HC bands from 80s. That agenda was valuable in the 80s, but hasn't aged well. By keeping it just anti-establishment, the O.D.'s still sound relevant. They also weren't afraid to stray from the hardcore guidelines, as evident in the funk riffs found in the song, "Disco."

While KC and Lawrence didn't have the hardcore footprint of cities like D.C., Minneapolis, and numeroua California cities, it's nice to have quality floating around.

The Casket Lottery Moving Mountains Second Nature 2000

The Casket Lottery Moving Mountains Second Nature 2000 CAT #SN018

The pros will tell you this a typical sophomore album. They'll say it doesn't have the same energy as the debut. Or, the band started experimenting to add an edge to their sound, but hadn't fully developed into themselves. You can even read retrospective reviews that claim the follow-up is the one to own, it's the one that put all the pieces together.

Screw that, in 2000, the start/stop emo dynamic was morphing into garbage like Fall Out Boy. Yet, here's this Kansas City band smacking you in the face. Screaming and crying, even heavy metal gurgling at you that this style still had some moments to offer. The band's experimentation was the use of more progressive and metal influences that they threw into their sound. And it works. It works amazingly well. You could call it a little unbalanced compared to the later albums, but you could just as easily say it also adds an element of surprise to the album listening experience.

The kids know. This is a great LP. Regardless of what the "best" Casket Lottery album is, this stands with all their work on equal footing. There's also a great blurb written by Ed Rose about the recording of the album on the inner-sleeve. It's not legendary bathroom reading like the CD liners to Kill Creek's St. Valentine's Garage (if you have the CD, you understand), but it shows, Ed got it, too.

A Dead Dear

Breakups/Sex Offenders Split 7" Wound Up Records 1995

Breakups/Sex Offenders Split 7" Wound Up Records 1995 No Cat#

This is some mid-90's teen punk from the Kansas City area put out by Wound Up Records. The bands, The Sex Offenders and the Breakups, by appearance appear virtually identical, they took a photo in the same place, they kind of look the same, and they recorded at the same place (Red House Studios).

They do manage to separate themselves from each other with their respective sound. For one, the Sex Offenders feature a female singer that can swear with the best of them. The first track on their side, "40oz", manages to drop the F-bomb over a dozen times in what must be less than a minute long track. The Sex Offenders also take a more hardcore approach to their punk rock than the Breakups. They fall somewhere between the 80's suburban punk scene and DC, they'd probably like to be more DC, but they weren't good enough players.

The Breakups take a much more traditional punk approach, almost falling back on a really early Social Distortion sound. They're certainly punk damaged, but the underlying sound is still basic rock n' roll, just speed up and simplified. They aren't trying to break down the walls like the Sex Offenders.

NH band on Wound Up, the Tunnel Rats

But, the key to both bands is that they represent an honest attempt at punk rock. There were two teenage scenes in KC; the snotty suburban kids that took their cues from popular acts like Green Day and the short lived ska-revival and on the opposite side, the suburban kids that desperately wanted to be gutter punks that found Bad Religion and went backwards in time to get to the good stuff. They waved the DIY flag and had their parents never bought them a Honda, they would've liked Crass more. These kids represented that better side. In fact, the Sex Offenders were so punk rock, they went out of their way to give some, "No Thanx To" on their side of the lyric sheet by calling out the lamest teen punk bands in the 90s KC scene, the Gadgets.

The label, Wound Up Records, attempted to make a go at it in the mid-90's releasing multiple 7"s and a
cassette comp. They even attempted to get a roster with out-of-towners (featured to the side, but not discussed, because they're not local...).

The Sex Offenders 

The Leatherwoods Happy Ain't Comin Home B/W Something Ain't Right Bus Stop Label 1992

The Leatherwoods Happy Ain't Comin Home B/W Something Ain't Right Bus Stop Label 1992 CAT# BUS015

This 7" was released 4 years after the initial Todd Newman and the Leatherwoods 7". The main track, "Happy Ain't Comin Home" is featured on the CD release, Topeka Oratorio, which was released at the same year.

It's a marked improvement over the Leatherwoods initial release. It's stripped down version of Todd Newman's vision and if Tim O'Reagan wasn't contributing to the duo, this would be called singer-songwriter. For the better, the power-pop moves are stripped away. It may be by choice, but also probably in large part to the fact the Leatherwoods were just a duo. It's a better sound for Newman and also showcases the reason O'Reagan is now a member of the Jayhawks.

The duo had officially left Topeka and Lawrence, KS behind at this point for Minneapolis, MN. The CD Topeka Oratorio, is found on Minnesota blogs as a genuine nugget of the town's sound (a lot of that because it features legendary Replacements frontman, Paul Westerberg, playing under the name, Pablo Louserama). The 7" is worth seeking out. Of note, the same label that released Jon Harrison's The What Gives.

As stated, O'Reagan keeps busy in the highly recommended and acclaimed band, The Jayhawks. Todd Newman remains constant with music. He's released a grip of CDs since this, some of which were recorded back home in Kansas with Ed Rose.

Full 7", The Leatherwoods