The Reflections My Heroes Have Always Been Cowboys American Artists

The Reflections My Heroes Have Always Been Cowboys American Artists Unknown Year CAT #AAS-1500-LP

Not sure of the year on this, but it's gotta be sometime in the 80's judging by the scorching cover of 'Fame.'

Also, not exactly sure where The Reflections are actually from, but searching the large lists of names on the back cover would indicate most players resided around Pittsburgh, Kansas. The group is made up a large group of teenagers, some with guitars, a few with keyboards, even some horns, and a single drummer keeping the Reflections in place.

It's basically a high school style music review, but with songs the kids were actually interested in. Which for the area, is country...lots of country. 'Long Haired Country Boy' by Charlie Daniels is probably the highlight as it's way too adult for the kids performing it. Other than that, the attempts at pop songs are fun, the horns are usually heavy in those tracks and the cover of Olivia Newton-John's 'Totally Hot' gets pretty dirty.

The amateurishness of these types of LPs are endearing and The Reflections are strong in that regard.

Marilyn Maye Step to the Rear RCA 1967

Marilyn Maye Step to the Rear RCA 1967 CAT# LSP 3897

Accidentally bought two copies of this LP, but to my surprise, I ended up with two different variants. One of which would appear to be an original 1967 black label RCA, the other, a later pressing on an orange RCA label. The later pressing would speak volumes to the Kansas City singers popularity, I mean, if they had to repress LPS, apparently there was once a substantial market for the singer.

The differences between these two are minimal, but as you can see in the photo, the original has a green backdrop while the other has a blueish color used in the backdrop. What's also odd is the label on the repress reads, "Make Mine Marilyn Maye" rather than the title, 'Step to the Rear.' The track listing and everything else is the same. Even the stampers in the dead wax read the same. Makes you wonder if perhaps RCA was initially going to repackage the LP as a budget title in a separate cover to capitalize on some television appearance or jump in popularity for the singer, but at the last second, just decided to use the same cover with a slight alteration.

It's not a bad album, in her show tunes style, she covers some hits of the day. "Ode to Billy Joe" is well, groovy. There's also this over-the-top, sultry, version of Bobby Hebb's "Sunny", which is kind of fun.

Step to the Rear

Lander Ballard Late Night Flight Free Wind Records 1987

Lander Ballard Late Night Flight Free Wind Records 1987 CAT# LB8703

This is the second Lander Ballard LP that came out a decade after his initial private LP, Hightime. He's from Wichita and research on the internet indicates he's still out there with his guitar playing for anybody that will listen.

The Hightime LP bordered between hippie folk and singer/songwriter influences. 10 years later, it seems the major change was cocaine. Seriously, the hippie, marijuana, mysticism from his first LP is replaced with a space ship on the cover, studio effects, maniac screams and maniac tempos...It's got to be cocaine, right?

I struggle to categorize this, due to the cocaine thing, late-era yacht rock isn't the worst bucket I could throw it in. However, it's not as slick or as smooth. It's got all the space references, but it's too buried in pop sounds to really take advantage of  space influences, it's just in the lyrics. The only thing making it worth having is that if you can compare it the hippie styles of his first LP. There's no real strong highlight on this album, but it's decent...cover is kind of cool, too.

Marilyn Maye with The Tony DiPardo Orchesta The Chiefs are on a Warpath B/W We're Number One Chief 1970

Marilyn Maye with The Tony DiPardo Orchesta The Chiefs are on a Warpath B/W We're Number One Chief 1970 CAT# ZTSC 142955

CHIEFS! How about KC right now in terms of sports? Baseball locked up, soccer always good, and the Chiefs win their first playoff game since the days of Martyball with Joe Montana as the QB. Nice.

This is a Marilyn Maye novelty 7" recorded with the official Chiefs band, the Tony DiPrado Orchestra, to help celebrate their 1969 Super Bowl win over the Minnesota Viking. A completely Kansas City record through and through.

If Marilyn Maye didn't sign your records, you weren't worth a shit

The well known song, "The Chiefs are on a Warpath," isn't something that would be recorded today and probably shouldn't have been done in 1970, but people weren't as aware back then. I wouldn't call the record racist, but the use of Native American cliches is certainly insensitive by today's standards. Nevertheless, it's a pleasant novelty track about the Kansas City team that won it all. And, it's still pretty fun to listen to, especially after an 11 game winning streak.

The flip side is enjoyable, but generic, "We're Number One!". Obviously, it talks about the Chiefs being number one, it's also got the clever line, "We come from Kansas City and we haven't any pity, when we wreck they are permanently wrecked." If we win the Super Bowl, it's this song, all day.

Chiefs are on a Warpath

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.

Marilyn Maye The Lamp Is Low RCA Victor 1966

Marilyn Maye The Lamp Is Low RCA Victor 1966 CAT# LSP-3626

This was the second LP released by Kansas City vocalist Marilyn Maye in 1966. It attempted to drench her in ballads and to that extent, it doesn't work too well. Her voice is a too big for torch songs and ballads. Maye was better suited for uptempo tunes and theater.

What I love about the copy I found is the fact that it shows how proud people were of the Kansas Citian. I picked it up at a thrift store and whoever had it before kept it like a trophy; it's minty. And not because the prior owner couldn't get down with the tunes, but because Marilyn Maye signed the LP. Maye's autograph is personalized on the backside and reads the following:

"Love to you, Marion. Enjoyed spending the afternoon with you. Thank you for all your help and bless you for enjoying my kinda music. Happiness and all that's marvelous - Marilyn Maye."

I don't know who Marion was, but he or she certainly cherished this LP and whatever relationship they had with Maye. Marion even cut out a magazine review for the LP and taped it to the inner sleeve. What's sad is as much as Marion cherised the LP, years later, it was sadly discarded at a thrift store...I'm just happy I found it.

The Lamp is Low

Mates of State Mountaintops Barsuk Records 2011

Mates of State Mountaintops Barsuk Records 2011 CAT# BARK119LP

The first track, "Palomino", is quite the statement piece from Mates of State. It's huge piece of refined pop. It's cinematic and you've probably heard it in commercials or on the radio, it's that kind of thing. Then, right after that, the husband and wife duo hit you again with the track, "Maracas", which is just as perfect. Just a bouncy rhythm, catchy lyrics, and it'll give you an immediate sugar rush.

And, if you only had the album for those two songs, it wouldn't be a bad thing. However, the whole LP is filled with hits. Gone are the chaotic back and forth of their duo's first albums, this features a full band and a much more focused sound. The kids, they hate it, they still want the bashed out sounds and shouted vocals. But, there's nothing wrong with enjoying this album, it's like finally admitting you like Fleetwood Mac. Sure, some of your cool points are lost, but at least you're being honest with yourself.

Palamino Video

The Beginning Self-Titled Sound Research Production 1972

The Beginning Self-Titled Sound Research Production 1972 CAT#NR2049

This is incredible. From what can be gathered from the back liner notes, the players featured are members of the Garden City, KS High School Music program and the album was cut at some time around 1972.

While most albums of this ilk spend time covering church music, fight songs and an occasional Beatles song, this goes WAY beyond. Of course, they do a Beatles cover and other pop hits of the era (in fact, the Beginning takes their name from the Chicago track which they cover to open the album). But, there's an original here, with fuzzed out guitar solos and high school amateur charm. Despite that the teen garage scene was a memory by 1972, these kids from Garden City apparently didn't get the message.

The liners indicate also the selections found on the two LP set were arranged by some ringers. A music major from Drake University, Max Lyon. A music major at Wichita State, Cort McClaren. As well as a member of the Colorado Air Force band, John T. Lawson, Jr. However, everything is played by the students at the Garden City High School and was recorded in Liberal, Kansas at likely the only nearby studio.

The album should be worth $100's for the efforts of Bryan Larson, who the liners indicate was a Garden City High School Junior at the time of the record. His guitar cuts across all the fluff. Second, he arranged a portion of the album, which starts on Side 2 with Jimi Hendrix's "You've Got Me Floatin'," which for 1972 anywhere Kansas just had to be 'what the fuck.' He then leads the band through a garage-driven version of the James Gang's "Funk #49." And as cool as those two selections are, the orinigal tune credited to Larson is the highlight of the album. A 15 minute and 55 second track entitled "Rats Running through the Garbage" that takes up most Side 3 is amazing. First, simply because the band instructor allowed it. Second, it's 15 minutes of a kid just freaking out on his guitar. At times the track sounds straight evil. It does get lost a number of times, but it's forgiven just for the inspiration the kids are playing with on it.

As for the cover selections, they aren't all mind blowing, but there are some pretty incredible covers. The cover of James Taylor's "Fire and Rain," is drug riddled, with interesting vocal harmonies and a trippy attempt at making a guitar sound like a sitar. Chicago's "25 or 6 to 4" sounds tiny compared to the original, but the amateur quality is enduring and there's a big chunky bass line and nifty guitar lines.  Not all the cover selections hit, but it makes up for it with unexpected drum breaks and fuzz guitar solos you'd expect from 1967 teens, not 1970's teens from Western Kansas.

Randle Chowning Band Hearts On Fire A&M Records 1978

Randle Chowning Band Hearts On Fire A&M Records 1978 CAT #SP-4715

Upon the first break up of the mighty Ozark Mountain Daredevils, Randle Chowning, the band's singer and likely leader branched out on his own to record this LP. Chowning stayed with his management team (or maybe his management team stayed with him), Good Karma Productions and actually appears to have relocated to Kansas City for this part of his career. The band lists their contact address as 4218 Main Street, KCMO.

He's joined by some other dudes, who I can't find much on. Assume they were friends from the Springfield area, maybe KC guys, but for all we know, could have just been L.A. session guys. He put them all together to make under-the-radar yacht rock LP. Under the radar because no one cared about it, yacht rock because to this day, no one cares about it.

It's not awful, it has moves and has pleasant moments. Unfortunately, it's not very good, either. Middle of the road pomp from 1978, it's what'd you expect from an obscure major label release no one knows exists.

Within A Dream

KSNT 27 Topeka Presents Taking Pride in Topeka Impact Broadcasting 1990

KSNT 27 Topeka Presents Taking Pride in Topeka Impact Broadcasting 1990

This is terrible. It's found in countless terrible record collections near and around Topeka, KS. Similar albums are found throughout the entire US. Impact Broadcasting was a Nashville, TN company that went all over the US peddling these albums to Chamber of Commerce leaders or whoever would listen. Odd thing, Topeka agreed to it in 1990, a time when vinyl was considered on the decline.

"Fuck yeah! That's Topeka!" - Said No One Ever

It's a very flashy package and for that, good job Impact Broadcasting. It's a glossy gatefold cover, with photos of area attractions and placed sponsorship spots throughout. Taking Pride in Topeka was sponsored by Pizza Hut, T.J. Maxx, Kansas Expocentre, Highland Park Bank & Trust, JM Bauersfeld's, Fairlawn Plaza, KTPK Country 107, and obviously TV station, KSNT 27 Topeka who agreed to present this pile of shit.

The actual record features narration by politician, Ron Harbaugh, who attempts to tell the story of Topeka. His narration embellishes; a lot. It literally makes you think of the story of Blaine, MO as told by the actors in Waiting for Guffman. Then, the music comes on. Canned production music which Nashville exceled at. The players or female singer don't even get credited as it's pretty apparent, the same tunes were just recycled (seriously, only the first track actually mentions Topeka) on other titles such as Taking Pride in Mid-Missouri, Taking Pride in San Antonio, or Taking Pride in Whatever Town, USA, that fell for the same scheme. I wonder if the town wasn't interested, the salesman then opened up his jacket and asked if anybody wanted to buy a watch.

Mates of State Team Boo Polyvinyl Records 2003

Mates of State Team Boo Polyvinyl Records 2003 CAT #PRC-065

Of the early Mates of State releases, this sits right below Bring It Back in terms of release year and quality. Mates of State's unabashedly cute brand of indie-pop was just about perfect at this point. The chaotic back and forth husband and wife vocals are thrown at you from all directions. Sung with a naivete that would rival Jonathan Richman the two go back and forth in their song-speak. The sounds blast out of the speaker, the organ riffs, keyboard lines, and steady drums are exciting on the uptempo songs. The only reason it falls short of Bring it Back is the duo had yet to perfect their slow jams on Team Boo. The love jams aren't bad, they're just not perfected like they were on the proceeding LP.

The album also features some names that made Mates of State's sound bigger. They brought along Jim Croslin of the often forgotten indie-pop great, Beulah, along with Jim Eno of Spoon (who Croslin also played with) to produce the album. The two get a big sound out while still not employing guitars. They effectively highlighted the chaotic pop and made more sense of everything. As a whole, Team Boo is a little more accessible to mainstream pop fan than the prior albums. Still, a Jennifer Lopez or Christina Aguilera fan wasn't about to touch this, but a Avril Lavigne fan, maybe.

Gotta Get a Problem

Alan White I'm Stranger Here Myself Laughing Willow 1987

Alan White I'm Stranger Here Myself Laughing Willow 1987 CAT# LW 1001

Full disclosure; I'm probably never going to grab this album again. This is going to be my first and only impression of this release.

I can't find much info on Alan White, based on the LP it appears his home base was Kansas City, KS. Other than that, you can find listings on-line from sellers, most people that have tried to sell this LP try to pass it off as jazz. Which is weird, it came out in 1987. People selling records should know that there are only like 5 80's Jazz albums that people are actively searching for. That said, it does have jazz influences, on the smooth, yacht-rock, side of jazz, but the influence is there.

So yeah, yacht rock or 80's blue-eyed soul is where this lands. Lots of programmed beats and synth, but still a lot of organic stuff, horns play a prominent role and sometimes the guitar takes center stage. Alan White sings with soul, he lands on Michael McDonald spectrum, in that, yeah, he's got some soul, but I can still tell he's white.

Overall, I'm not a fan of this type of thing, but despite not having an expert opinion, I believe this is a well done LP. For a privately issued LP, it's insanely well-produced. The LP was produced by Alan White himself so it's surprising I can't find a list of other work he was involved in. This should all sound terribly corny, cheap and plastic. But, kid you not, if someone played this for me and said, "This was huge in the 80's." I'd believe them. Alan White's songs are par for course, the lyrics aren't hokey, the players are capable, the songs are well put together and thought out, and again, the production is well done. It's a little simple, but hey, that was the scene. If slick, privately produced, jazz-influenced pop-albums from the 80's ever become a collector thing, I'd say this might record might get noticed.

Edmund Denney with the Pleasant Valley Gang The Melodious Voice Meadowlark Record Co. Unknown Year

Edmund Denney with the Pleasant Valley Gang The Melodious Voice Meadowlark Record Co. Unknown Year No CAT#

Edmund Denney appears to be from Nebraska originally.  He was born blind and attended the Nebraska School for a Blind.  His first spot on the radio was also in Nebraska as part of a talent contest in 1934. This all according to the back cover of this LP. At some point, he made it to Topeka, Kansas, and performed daily on Topeka's WIBW with his Pleasant Valley Gang.

The trio would just fill airtime playing songs from the early morning and later slots throughout the day.  Per the back cover regular shows included, "The Kansas Round Up", "The Dinner Hour", and the "Pleasant Valley Gang". Years ago, this was a common practice in radio, an act would be hired on to fill the out the programming schedule with music. Apparently, Edmund was so beloved in Topeka, the station dubbed him "The Voice of Kansas". Further, the act would frequently play at State Fairs and whoever else may want to see the gang live. They were so successful regionally that they performed on the radio all the way up until the mid-1980's, a time when almost all radio stations moved on from such programs.

The music is pleasant, airy, kind of something you can kind of just hum along to and never get offended by. I wouldn't call Mr. Denney's voice "melodious", but he's got a nice tone, it's again, pleasant. The "Gang" is Denney on vocals and rhythm guitar, Bill Kirk on aaccordion and a Miss Elsa on organ. The sparse accompaniment sometimes gives the music a creepy, carnival feel.  But, mostly, it's easy listening fair with some polka's thrown in. Think Kansas' own version of the variety show done by Lawrence Welk and you're in the ballpark.

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

Marilyn Maye The Happiest Sound in Town RCA/Victor 1968

Marilyn Maye The Happiest Sound in Town RCA/Victor 1968 CAT# LSP-4054

Found this at a garage sale down the street.  Boxes of easy listening and Christmas records.  There may have been a few Beatles LPs before I got there, there probably was a few things like Gerry and the Pacemakers, but overall, there was nothing cool.  There was this, though.  Not considered a cool record to anyone, but seeing how she's local, it was my lone purchase.

Should be easy to buy a record for a dollar at a garage sale, but, no.  You have to talk about why you are purchasing the record, and field the question, "Do you still have a record player?"  Or, "What do you do with all these old records?"  Since Marilyn Maye is from KC and proud about it, this purchase took a considerable amount of time.

First the homeowner selling the record got excited and stated, "Oh, Marilyn Maye, I know her!"  That was genuinely interesting so I replied thinking there was maybe a family relation.  No, instead I got, "Well, she's local, I don't know her, but..."  Oh good, you don't know her, can I have my change, now?  "But, my brother's girlfriend used to have a brother that dated her years ago.  She's still around though, we always go see her perform at the community college."  Wow, terribly interesting, but, to her benefit, she was right, Marilyn Maye does perform at the Johnson County Community College from time to time...she should kept the record and asked her to sign at the next one she went to.

The album is enjoyable.  It does get over-the-top Hollywood at times, but the bulk of the first side and some of the second are based in a much more traditional vocal jazz approach.  Plus, she puts a ton of pzazz in her rendition of the classic tune, "Kansas City."

The Exceptions Simply Us Private Unknown Year

The Exceptions Simply Us Private Unknown Year CAT# NR5232

Guessing by the sepia toned cover this came out in the late-70's, the sounds are about right.  There's an absurd amount of similar private albums nationwide for this type of thing.  Regionally successful bar bands, that were proficient players who just never found a specific style.  Regardless, they'd put out a collection of original material for fans and hoping someone would take notice.  The Exceptions fit this bill and hailed from Topeka, Kansas.

Virtually no one noticed.  These 70's variety private albums all seem to suffer from the same thing; no focus.  Sure, there are moments of cool guitar riffs, promises of some of some drum breaks, but it's mixed throughout and moves away too quickly.  Between wishy-washy piano-laced ballads, the Exceptions occasionally find a sun-laced 70's vibe with some bottom to it, but it stays really pop-based and never gets dirty.  There's also some out-place prog-influenced keyboards throughout, but again, it's just thrown in and doesn't ever find it's place.

The band has another release which still occasionally grabs a fair amount on eBay and such.  This one, not so much.  The band apparently still plays in Topeka as a variety review band, makes sense.  They are proficient enough to tackle all genres, just couldn't find one of their own based on this LP.

A Much Older Version of the Exceptions

Marilyn Maye Meet marvelous Marilyn Maye RCA/Victor 1965

Marilyn Maye Meet marvelous Marilyn Maye RCA/Victor 1965 CAT# LPM-3997

This is Marilyn Maye's debut for RCA.  TV personality and the guy who discovered Maye pens the back cover and gushes on and on about her greatness.  The LP actually boosts some talented arrangers drawing both from Don Costa and Manny Albam, but all in all, just really pop vocal tracks with a singer that has a background more in theater than jazz.

The theatrical value of her voice and the arrangements on this LP give it a very big showbiz sound.  Highlights include the uptempo "Get Me To the Church on Time," the simple bass line vocal pairing of "Washington Square" until it gets full-blown, her rendition of "Take Five" is fun, outside of that, many ballads, nothing that stands out too much or has become the definitive version of a song.

I Love You Today

Marilyn Maye A Taste of "Sherry!" RCA 1967

Marilyn Maye A Taste of "Sherry!" RCA 1967 CAT# LPM-3778

Marilyn Maye McLaughlin was born in Wichita, KS, but would begin her singing career in Topeka as child performer in local talent shows.  After her parent's divorced, she spent some time in Des Moines, Iowa, gaining some attention as  teen on radio.  She would later move to Chicago, but quickly come back home to Kansas City.

Performing throughout the Midwest she was discovered by the first show of the Tonight Show, Steve Allen. The relationship landed her a recording contract with RCA and in her prime, she was somewhat of a regular on the Tonight Show appearing 76 times.

This album is typical of her jazz vocal style that is heavily laced with pop.  She's no June Christy or even Julie London.  Rather, she's far more routed in the theater and cabaret traditions than jazz.  She's got a clear, brassy voice, that's suited for the grandiose arrangements that usually surround her.  There's some fun moments on this LP, which represents her early work, "Java" is pretty goofy, "Sherry!" is surprisingly quirky, and her cover of "You've Lost that Lovin' Feelin" works well.

Marilyn Maye - Java

Cavern Sound Local Customs Compilation Numero Group 2014

Cavern Sound Local Customs Compilation Numero Group 2014 CAT #b054

The Numero Group, despite their location in Chicago, is quickly becoming my favorite local record abel.  First, the Eccentric Soul comp for the Forte Label, the Titan box set, several 45s (that I have yet to pick up), and now this amazing collection of fuzzed out, acid drenched, rockers from the Kansas City area all of which were recorded at the Cavern in Independence, Missouri.  Granted, not all tracks are garage rockers, but of the 24 tracks, most are.

I've discussed the Cavern before, it's an actual cave in Independence that was turned into a recording studio.  A number of regional labels used the facility to record their groups, Pearce being the main one featured here along with several other labels and few private press items.  It's a cool story, no doubt, but reading Numero Groups extensive liners you'd think the thing was on legendary status.  I think it's more of a fond memory here in KC, but, that's cool, let all the out of towners think our 60's weren't square, we were just a bunch of hippies and stoners recording shit in a cave.

It's an insanely well packaged set, an extensive booklet with notes on all the bands, heavyweight packaging with info on the Cavern on the inside, and two 180 gram discs to enjoy.  As stated, mostly covers on what is now termed garage-rock, from the pop end to the acid psych end of it, but there's a few oddballs in there that don't fit any billing.  Each selected track is worth paying attention to and I've gave my rundown below:

Pretty-Mustache in Your Face  This band is rad enough to lead the set off and also have a double 7" released by Numero.  The original 7" features a crazy label with the center hole as the mouth of a face drawn around it.  It's a legend around town, but does show up from time to time.  The group was highly psychedelic in the vein of 13th Floor Elevators, which given the vast array of teen bands in the 60's isn't surprising, but for dudes from Kansas City, pretty far out.  The song is a scorcher.

Fraight-One Girl  Hey, something from Manhattan, KS, how about that.  Thinking about it, it would have been pretty long trek from Manhattan to Independence as the K7 highway didn't even exist at the time, you had to back road the trip until you reached KC.  The band was probably hot-shit at K-State, but I would think that's like be being the best ice skater from Australia.  Not that big of deal.  Decent harmonies, but stuck in a swamp of 60s pop sounds.

American Sound Ltd.-Aunt Marie  The founder of this band was from Granby, Missouri before gigging in KC, then getting shipped off to war.  Upon his return to KC, he founded this band.  This track is pumped full of blue-eyed soul and horns.  It's a killer track, with a sweet vocal on the chorus.  It's similar to the Chicago's and Blood, Sweat, and Tears of the world but this is such an undeniable dance track, it's a killer.

The Classmen-Doin' Me Right  The drummer of this band looks like he's 12 years old in the photo, but the singer has some definite age to him.  This was a family band of brothers from Independence, MO and dad controlled the show.  It's a nice little blue-eyed, soul ballad.  The singers baritone (or attempt at it) clashes well with the boys in the back shouting out a falsetto chorus.

Jaded-Lovin' You's Blues  Folky-psych sounds from a group of Kansas City Insurance employees.  It's got some tripped out effects on a flute and a dark subject matter, surprising that these guys thought people would be into something this dark around KC.

Larry Sands & The Sound Affair-You'll Know the Words  Kansas City based band, this is a spaced out attempt at country rock, falling in the middle and leaning towards neither.  That's not a bad thing as it just kind of floats in space with light whispered vocals and guitar effects floating all over.

Sheriff-I Don't Really Love You  Cool, upbeat pop sounds.  Singer has a nice Midwestern twang he brings to his vocals.  This could have easily been a hit in any state, just a good pop song.

Tide-I Wish it Had Ended That Way  Lawrence, KS band with a gritty rock sound and a very clumsy chorus.  It's a decent track, but could have had a bigger bottom and maybe some more stoner rock tossed in.

Bulbous Creation-The End of the Page  Extremely dark, psych folk from a Prairie Village,KS Vietnam vet.  Numero Group is re-releasing the sole album by this band...it's so un-Prairie Village I'll have to save my breath and talk about it when I grab a copy.  Very interesting story as the album wasn't released until the group's creative force, Paul Parkinson, was found dead in his home.  His brother found the acetate of his Cavern recordings and was smart enough to let people hear it.

Mulligan-Think Before You Leave  This band actually is from Tennessee, story indicates they were kicked out of their studio by Elvis Presley and told to drive to Missouri for a session?  In actuality, not that far, but still, really?  This can't be true.  Not a bad rock sound soaked in Nashville country-soul.

Montaris-7 And 7 Is  This was a Plattsburg, MO band that plow through Love's 7 And 7 Is.  Considering Love wasn't a huge hit almost everywhere outside of San Francisco, CA, these dudes had to be the coolest guys in Plattsurg back in their day.

Stone Wall-Living Today  Not to be confused with the obscure garage rockers from Indiana, these kids were from Shawnee Mission and the surrounding Kansas City area.  Pretty fantastic track with huge high and lows.  Great guitar work, pretty killer mid-tempo garage rock.

Morningstar-Little By Little  Before becoming an unoriginal, major-label, pomp-rock band Morningstar could do some garage rave-ups.  Female vocals with wound up sound, it's the best thing the band ever did.  Granted, only one member from this line-up makes it to crap-Morningstar, but the band's history just got a million times cooler for me.

Baxters' Chat-Love's Other Other Side  Great name for a band from Baxter Springs, KS, eh?  The bands teenage dance garage was released on two singles by the Pearce label, this song isn't killer, but it's got a nice pop-psych sound.

Burlington Express-One Day Girl (Twenty Four)  Decent garage pop out of Topeka, Kansas.  The band photo shows some shaggy hair kids, but they were trying to go at the mod scene (they are dressed spiffy).  Of note, the band once opened for the Who and featured Greg Gucker who later performed in a band called White Clover who later gave way Kansas.  However, Gucker didn't make the cut and was never featured on a Kansas LP to my knowledge.

The Reaction-In My Grave  This is pure garage rock greatness.  Amateur-hour, stagnated guitar solos, organ riffs, and drum banging, it's perfect.  Their band photo doesn't make them look half as cool as this song, but these were Jr. High kids from Rolla, MO, what do you expect?

21st Century Sound Movement-Feelin' Down  Great band name for sure, these dudes were from the Hickman Mills area of KC.  Pretty psychedlized scorcher with some nifty fuzz guitar thrown in.

The Dantes-Any Number Can Win There's a band photo in the extended liners to this comp and these guys look young...but, the liners also indicate some of the members had graduated from KU.  The band was formed at Shawnee Mission High, so from the Kansas side and do some somewhat psychedelic raving, but nothing shocking.

Larry Sands & the Sound Affair-If I Didn't Want to See You Anymore  Pretty wimpy folk-pysch with an out of place heavy bottom that includes a dark organ and some nice vocal harmonies.

Fraight-William Jones  This is dark and moody, a bit boring, but interesting given the time period.  It's slow, but not in a ballad style, just kind of a creepy tune with drawn out lyrics and harmonies.

The Classmen-Any Old Time   It's decent enough garage pop, nothing that really jumps out on the tune.  It's pleasant enough for pop radio and has a lo-fi aesthetic to it.

Jaded-The King Was  Tons of effects and wah-wah guitar.  Heavy into the pyschedelic scene as well.  As with the other tune featured by the band, it was never released officially, only acetates were cut.

The Dantes-She's Part of Me  Yawn, 60's ballad style stuff.  The band's panty dropper and slow dance original.  Does have a nice soul inspired moment though with some blue-eyed yearning.

A.J. Rowe-Smoke My Pipe (The Sign Ain't Right)  Kind of mystery man, but this is pretty awesome.  Sparse, lo-fi, funk work out with off-the-wall lyrics and attitude.  The 7" it was featured on is out there, approximately 1000 exist and was funded and put out by Rowe himself.

Central Missouri State University 1977 Summer Music Camp Modern Choirs and Stage Bands Audio House 1977

Central Missouri State University 1977 Summer Music Camp Modern Choirs and Stage Bands Audio House 1977 CAT# AHTI 136F77 AH 137F77

Owning these things will become a problem...these custom press high school and college albums are everywhere.  This one is from the Mules of Central Missouri in Warrensburg.  In actuality, that's a little outside of the range of my "local" scope, but the double LP has been hanging in my collection for years, so why not.

There's really only one reason to own it.  It's college performances so it is not the amateurishness that's found on the high school albums (still there, though).  This album's reason to own is the CMS funk workout entitled, "Funkley 19 #2".  I'm not sure on the title, little strange, might be a typo.  Either way, composed by someone named Izzard and from what I can tell, he was a member of the band and a student.  It's some raw shit.