Witch Jail "Slimewave, USA!" Too Much Rock 2017

Witch Jail "Slimewave, USA!" Too Much Rock 2017 CAT #TMR SS 006

Just received this 7" and the festivities are already on for the release. The single is available to listen to at the Pitch website linked below. Mills Records already hosted a show and single release party, the b-side, Alien Sex Fiend's, "My Brain is in the Cupboard (Above the Kitchen Sink)" has premiered on KKFI. But, still to come is a 2/18 show at the The Brick in KC and a Lawrence-area release show yet to be announced.

Can't discuss any of the band's history, because I don't know it, but they're a KC band that's put together an outsider retro-rock sound. Their name is great and they use stage names like Guy Slimey and Suzy Bones. Slimey's vocals owe a lot to the 80s underground as they seem to fall between Jello Biafra's snotty affliction and the white-guy soul screaming of James White or James Chance (depending on what album you have). Everything about them, though, is super cool. Again, the name is great, the original track title is fantastic, the artwork is ultra-cool.

Their sound draws from a host of forgotten scenes, there's been a garage revival, a rockabilly revival, surf revival and even a lounge revival, All of which took the respective original scenes and amplified the best aspects. Witch Jail just kind of takes that same idea and combines all the scenes to spit it out in loud, yelping, punk attitude. You can't pin them on just one thing, but, the most unyielding influence seems to be the pyschobilly scene of the 80', something I thought was long forgotten. It's nice to hear it again, especially when it's thrown in a mix of other great ideas and not dependent on a sole rockabilly formula.

The band's cover track, as selected by Too Much Rock, is an Alien Sex Fiend song previously mentioned. What's great is that if no one ever told you the song was once a track from the noisy 80's industrial scene, you'd never know. As discussed in the linked Pitch article below, Witch Jail just took the lyrics and did their own thing.

Listen to Slimewave, USA!

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

S. Frank Frazier Singing Christmas Carols Voice of Psalm Music Unknown Year

S. Frank Frazier Singing Christmas Carols Voice of Psalm Music Unknown Year CAT #D1026

I don't celebrate the Christmas holiday, but I can dig some soulful gospel renditions of holiday classics. S. Frank Frazier was a Kansas City native doing his thing at the Metropolitan Spiritual Church in KCK. By 1971, he started Voice of Psalm Music and  put out a number of Gospel LPs.

As this is a Christmas LP, I can't say I recommend it...but, there are some originals and again, the tunes here bring a lot of soul. Based on the back cover, you'd think this album is going to be amazing, but again, Christmas songs, no matter how many times you rearrange them, you gotta be one of those people that just loves the holiday to find a lot of value in it.

I have another S. Frank Frazier LP I'm hoping I can blow doors off with. Apparently in 1961, Frazier recorded a blues single that charted and sold well. So, the guy has some secular cred. Additionally, the players and his voice are top-notch on this record, So, I'm expecting big things from additional LPs.

Ozark Mountain Daredevils Men From Earth A&M Records 1976

Ozark Mountain Daredevils Men From Earth A&M Records 1976 CAT #SP-4601

Although they continued several more years past this release, this LP marks the end of a pretty good run for the Springfield, MO band that made a huge impression on Kansas City in their early days. This effort wasn't as consistent as their prior releases, but it's the same odd blend of old-time bluegrass, smooth pop, and country rock that sometimes goes song to song and other times within a single track.

There's a crazy story about founding member, Randle Chowning getting into a fight with his bandmates in Europe and quitting the band around the time of this LPs release. Apparently, a band sound mix pissed Chowning off, so he turned it to 11. After the show, he argued with band members and held a grudge all the way back home and ended up leaving the band. Despite that, he's listed as a sideman in the credits for 'Sideman From Earth', obviously appearing on some of the album tracks. Also interesting, the album was recorded EVERYWHERE. In Nashville, as well at the legendary Caribou Ranch in Colorado, and surprisingly at American Artist Studio in Springfield, Missouri, the same studio that drummed up business releasing a bunch of local custom and private press records in the area.

Again, 'Men from Earth' is a bit more uneven than the prior LPs, maybe due to the all the different recording locations. But, it's not a miss by any means, it has its share of enjoyable tracks, just lacking an obvious hit.

Fly Away Home

Greater Corinthian Nondenominational Church of Kansas City, Missouri Close to Thee HSE of America 1980

Greater Corinthian Nondenominational Church of Kansas City, Missouri Close to Thee HSE of America 1980 CAT #HSE 1543

This LP is hot fire. The title and opening track 'Close to Thee' starts funky with a rootsy choir, the lead male takes over taking a standard approach, then, I can't tell if it's the same guy or someone pairing with him, but this insane falsetto voice starts and owns the song. The next track, 'Sanctified, Justified, Glorified' is uptempo gospel, maybe a little too fast for the church's own sake as everyone has a hard time keeping up, but it makes the song real and live. It also continues for over 10 minutes. Third and final track on the 1st side, 'Plenty Good Room', slows things down considerably, but there's still plenty of fire pouring through it's grooves.

The second side starts hot with female led track, 'By and By'. After that, the album finishes with a winding gospel jam that is followed by an exit prayer, exploding in gospel music in the last minute.

As the title states, the church was located in Kansas City. The record was put out by the Nashville, TN gospel lable, HSE of America. Don't know much about the players, but they're great. Solid LP.

Sanctified, Justified, Glorified

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

Larry Good Movin' Country Lari-Jon Records Year Unknown

Larry Good Movin' Country Lari-Jon Records Year Unknown CAT #R-1179

Larry Good looks like a bad-ass in his fancy cowboy hat and turquoise jewelry. Truth is, the Kansas City born performer was. Looking at the cover, you'd think it's just some sap from the KC area trying on his country digs, and it is, but Larry Good had a name.

Prior to starting up in rockabilly and country music, Larry Good was Kansas City born baseball player who played in the Chicago Cubs minor league system as an infielder in the early to mid-50s, but he never made the Show. Following his baseball career, he put out a slew of 45s on the Kansas City labels, some of the early rockabilly stuff he did is well-regarded. He continued his music career for over 40 year and apparently, in the 80's he founded Lari-Jon Productions/Records that coincided with a country music television program that aired throughout Nebraska.

The album suffers from dated production, but overall, Larry isn't so bad. He picks out some ass-kicking country to cover, He sticks to traditional country honky-tonk, early country sounds. He jumps into his rockabilly groove on a cover of "White Lightnin'". There's two originals that conclude the LP, they're pretty simple attempts at sing-along bar chants or possibly something he had in mind for the closing of his television program.

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

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/

Max Groove Center of Gravity Optimism Incorporated 1987

Max Groove Center of Gravity Optimism Incorporated 1987 CAT #OP-3108

Max Groove is a Kansas City jazz pianist/keyboard player, who over the years put out around dozen albums and is still active today. He has worked with a host of musicians locally and from around the US and started early on the smooth jazz scene, the claim being he is a pioneer in the genre.

Center of Gravity from 1987 is typical of what he is about. Highly polished jazz and an 80's smoothness that can sound dated today. However, back then, this was highly sophisticated production. It sounds a lot like elevator music, but some people are into that. Some of the robotic sounds are interesting, but nothing terribly off the wall. The players are all very talented and Max Groove pens much of his work, so its impressive in that regard.

Live Performance in St. Joe, MO

Sherry Jones Mike Ning Quintet Blame it on the Music Ning Dynasty 1988

Sherry Jones Mike Ning Quintet Blame it on the Music Ning Dynasty 1988 CAT # 003

This LP is more of the 80's KC jazz scene players trying to bring back a legitimate KC jazz scene instead of trying to hang onto a memory. There's a number of these LPs floating around all featuring a combination of many of the same players featured here.

Pulling this one out just recently, what struck me is that the longtime KU professor, Chuck Berg, played tenor on it. Berg just passed recently at the end of July, but he was a well known/loved film and music professor at KU. A good friend of mine took a Jazz in Cinema course from Berg. During one of the classes, Berg mentioned how he was once in a rock n' roll band to which my friend asked the name and was told Spider and the Traps. Constantly digging, my friend then asked if there were any Spider and the Traps records released, to which Berg advised him there were not. Undeterred, my buddy tracked down a 7" by Spider and the Traps (there were at least two released) and confronted him with it. Berg still held that he wasn't on it as he was unaware the band released anything. Maybe he wasn't on it, but, maybe he just didn't want to admit to recording with a juvenile frat rock band.

He never mentioned this record to my friend. He was a jazz snob, maybe he would've proudly proclaimed this LP as something he was part of. It's decent, although the Quintet's name, Sherry Jones Mike Ning Quintet, is a bit fractured. For 80's jazz, these players never sounded too 80's. It's still pretty slick, but it's not smothered by smooth jazz and quiet storm sounds, they try to keep a bit more traditional.

Ron Curtis Plays the Sounds of Love Private Unknown Year

Ron Curtis Plays the Sounds of Love Private Unknown Year CAT# VAR-110

This LP looked pretty promising, the caricature of Ron Curtis looks like a man who isn't messing around. However, it's pretty unexciting gospel numbers arranged and played by Ron Curtis at his piano.

The backside will notify you that Curtis was born in Kansas City, Kansas way back in 1937. However, it makes pretty clear that he became a native Californian at some point as he became well-known in gospel music circles in the state. His bio also describes a guy who flirted around with non-secular music up until 1961, playing country music in night clubs. He then began a long career in gospel music, playing with numerous acts and as a solo pianist.

Again, nothing too exciting, just a guy running through some gospel tunes on a piano. There's a bit of accompaniment, but it's primaraly Curtis.

Shooting Star Self Titled Virgin Records 1979

Shooting Star Self Titled Virgin Records 1979 CAT #VA 13133

Been putting this one off for a while. When I started doing this blog, I was worried about all the Kansas LPs I'd be sifting through, but I've grown to like the band Kansas. What I should have been dreading is Shooting Star albums.

This is Shooting Star's first LP which was recorded in England (they were after all, the first American band to be signed by the Virgin label) by Gus Dudgeon who did more famous work with the likes of Elton John and David Bowie. The result is over the top pomp rock with heavy emphasis on good times, being awesome, and getting the girl back. I mean, they're competent players and while pomp-rock can be great (see the band Boston), Shooting Star is just too fucking happy. No matter what the circumstances are, Shooting Star is fucking winning and celebrating with guitars.

Just watch this video, these guys won 1979.

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

Dave Perryman Sincerely Yours Pearce Records Year Unknown

Dave Perryman Sincerely Yours Pearce Records Year Unknown CAT #7632

Dave Perryman looks like quite the honky tonker on his album cover and his LP starts out that way, although its the heartbroken kind of honky-tonk. Pretty typical of regional country that's removed from Nashville, the LP is all covers and depends on the school of Hank Williams.

However, Perryman blows the door off a traditional song, "Hookin' on Crawdad," that employs some sounds not found in country music. There's a fuzzed out blues guitar riff and a moog line that runs throughout. It's a highlight and in a sea of sappy covers, makes the album for a collector.

This album was put out on the Kansas City custom label, Pearce Records. It's was also produced by the "caveman" at Cavern studios in Independence, MO. It appears that Perryman is actually closer to Springfield, MO than he is Kansas City, though. The address to reach Perryman lists Niangua, MO which is south and in between Kansas City and St. Louis.

Alice Weiss By Popular Demand Edelweiss Productions 1986

Alice Weiss By Popular Demand Edelweiss Productions 1986 CAT# CR-1086

Alice Weiss is a multi-faceted soprano, at least that's what the cover reads. As far as being a good one, I have no clue, it sounds operatic, so that's something. I assumed if she was great, this wouldn't be on a private label run by her dad or some other family member. The label name, Edelweiss and the back page lists Robert Weiss as the President of Edelweiss productions.

The backside does indicate she did gigs in Europe and throughout the States. There's a big deal made about a New York City performance and quotes from her NYC teacher. But, again, if she was really great opera singer, I think she'd be recording somewhere other than Chapman Studios in Kansas City.

The backside also indicates Alice Weiss grew up in Missouri and attended the University of Kansas before traveling elsewhere to focus on her craft. She has connections to the Lyric theater, but there's nothing out there anymore on Alice Weiss. I'd like to think she's still involved in the KC opera scene or someone's opera scene, but the name Alice Weiss doesn't get many returns. Maybe she got married.

Either way, I don't know, this sounds okay, but opera isn't my hobby.

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

Pat Metheny Group First Circle ECM/Warner Brothers 1984

Pat Metheny Group First Circle ECM/Warner Brothers 1984 CAT# ECM1278


As easy as it is to get lost or bored of a Pat Metheny's Jazz Fusion (it's just an acquired taste), this album's opener, "Forward March," kind of gets you excited. It's an out of tune, abstract, march song that still sounds familiar. It gives you hope this album will give you more than the slick production and jazz fusion forays into rock and world music.

After that, it's like all most the other Metheny albums. Well done jazz fusion. Very intricate and impressive musically without being a challenging listen.

First March