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!

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

Todd Newman and the Leatherwoods To Win You Back Reverb 1988

Todd Newman and the Leatherwoods To Win You Back B/W Downside of an Eightball Reverb 1988 CAT# REV701

I've been hearing legends concerning Todd Newman since hosting a power-pop show on KJHK. His songs were a must have per Lawrence power-pop enthusiasts.

So, up until finding this one, the hype has been building in my mind. Legendary Lawrence, KS power-pop, so good you can't find his 7"s anywhere. Then I got it and I'm like, meh, this is pedestrian.

Not to say it isn't good, it's enjoyable. "To Win You Back" has a great harmony on the chorus, but the rest could have been a Romantics song buried away on a second side of one of their albums and people might point it out as a highlight. The amount of swearing on the B-side, "Downside of an Eightball" is impressive. All the curse words paired with a power-pop balled is kind of humorous, but I'm not sure Todd Newman was trying to be funny.

Interesting bit about the band, formed in Lawrence, presumably as Jayhawks attending school (the 7" even thanks KJHK). The drummer of the Leatherwoods was Tim O'Reagan, who would move off to Minnesota and join the influential alt-country band, The Jayhawks, Coincidentally, Newman lives in the land of 1000 Lakes as well.

FULL 7"

Morningstarr Virgin Lover B/W If I Didn't Want to See You Anymore Lion Records 1969

Morningstarr Virgin Lover B/W If I Didn't Want to See You Anymore Lion Records 1969 CAT# L-45-1003

This is the very same band that went on to become Morningstar and record two albums for Columbia in the late-70s...Well, mostly the same, give or take a few members, or all but one. Initially members were in the KC band, 19th Century Sound Affair, but broke off to to form a heavy psych cover band before coming upon the name, Morningstarr (the pic sleeve of this actually says, Morning Starr) in the late 60's. The group was spotted by former White Sox short stop, Lou Rennau, who took them in to record for his Lion Records label out of Columbia, Missouri. Rennau also had some connections with Topeka band, The Morning Dew, and was a musician himself.

"Virgin Lover" is a pretty bizarre psych nugget and an original by Morningstarr member, Greg Soto. The groove is right, feels 1969 with a bit of British influence. The lyrics and the idea of a Virgin Lover are a bit off putting, though. Like if that's what you're seeking out, you're kind of a creep, you know?

The flip side, "If I Didn't Want to See You Anymore" was actually a song intended for the prior band, 19th Century Sound Affair. It's actually co-written by Larry Sands who fronted the 19th Century. The track features the band's female singer, Melissa Mendenhall. It has a nice baroque-pop sound and not as heavy as "Virgin Lover." Both tracks are solid.

The release earned the band enough attention to open some shows for Led Zeppelin. Due to the travel associated with being in a band, Mendenhall would quit. But, the band trudged on for a decade. Legend states that it was this early stuff that brought them to Columbia records almost decade latter. The Columbia exec that signed the band had seen the band 7 years prior to signing them, which would have been a lineup similar to the one featured on this 45 versus the group that cut Columbia LPs.

Virgin Lover

David Bowie and the Pat Metheny Group This Is Not America Single EMI 1985

David Bowie and the Pat Metheny Group This Is Not America Single EMI 1985 CAT# 8251

Further proof that Pat Metheny's skills are not to be scoffed at. He collaborated with one of the most admired pop-stars of all time, David Bowie. Metheny did soundtrack work for the 1985 John Schlesinger film, The Falcon and the Snowman. I don't have the album, yet, but I do have this single featuring David Bowie on vocals.

The song is cool, it's got Bowie's signature vocals and Metheny noodling around on guitars and synths. When I finally got around to this release, I had grandiose plans to discuss how cool Kansas City can be. Here's this jazz guitarist from Lee's Summit with enough clout to get the most stylish rock star of a generation (lifetime) to work with him. Then Bowie died, and now I just want to talk about how much I love David Bowie.

I've always been really attached to music, it's something that always brought a smile to my face, it's always helped me through tough times and helped make the good times better. My earliest memories are of me sitting in the back seat of the family station wagon and notifying my parents whenever a Beatles track came on the radio. I was proud of being right, at least they always told me I was. As I got older, the love for music just became stronger, I started to notice that sometimes (often) my enthusiasm for it wasn't the same as everyone else's. To this day, my closest friends are those who share the same enthusiasm for music.

Somewhere around 3rd or 4th Grade, I think my mom started to realize I was seeking out things that were different. Challenging myself to seek out music that wasn't on the radio, the deep cuts. I started digging through my parent's LP collection trying to find something new for me to get into. My mom pulled out a beat up copy (all my parents' albums were beat up) of David Bowie's The Rise and Fall of Ziggy Stardust and pointed out the backside liner note which stated, "TO BE PLAYED AT MAXIMUM VOLUME."

So I did. That album opened me up. Before it, the strangest tracks I was digging on were "I Am the Walrus" by the Beatles or Doors albums. Here's this album that tells a story about an interstellar rock star, an androgynous one, and the music isn't backwards, but it's from another planet when compared to the Appetite For Destruction cassette I was fond of. It opened things up for me. I had to seek out more albums like this. I bought Rykodisc reissues of Bowie's catalog. Then it was finding more of the glam rock Bowie championed in the 70's. And that sent me down the path I'm at today....this rabbit hole of continually seeking out another album, seeking out another genre or style. That's how Bowie opened me up, I mean the guy touched almost every genre throughout his catalog, how could it not.

For a long time, there was a full-fledged Bowie obsession. While it's cooled down since high school and college, I'm still very much a fan of his music. In college, I wrote a paper about Bowie's androgynous Ziggy character and how, in a way, it made gay cool. Of course, I embellished the point for the purpose of my paper (the professor pointed this out, not me), but what is important about the story is that it made gay acceptable for me. Obviously, in 4th grade, I wan't comprehending what Ziggy was about. Ziggy, to 4th grade me was asexual, which was odd, but I wasn't old enough to understand sexuality.

As a young adult reading about it, it became a bit more clear. Bowie's sexuality was up in the air, probably bisexual, but pretty clear, not a straight laced heterosexual. And, I want to be careful here, because I've never had it in me to hate, but as a heterosexual teenager, the idea of homosexuality is well, queer, for lack of a better term. Even my aunt is gay, I knew that before Bowie, but I just kind of choose to ignore it to avoid confusion. At that age, it's easier to question things that are different from you rather than accept them. And sometimes, you just don't bother to come to terms with it. But, here is this guy, this hero of mine, who was different than me, who was gay. I had to accept that. So, beyond the music, I credit Bowie for making me a better person.

Rest in peace David Bowie and thank you.

This Is Not America

Season To Risk Mine Eyes B/W Why See Straight Columbia/Red Decibel 1993

Season To Risk Mine Eyes B/W Why See Straight Columbia/Red Decibel 1993 CAT# CS7 74888

Somewhere in the late-70's 45s became terribly boring and featured songs that were available on a full-length LP. Both tracks featured here were on Season To Risk's self-titled debut. While a 45 is cool for the completest, this isn't that necessary.

Both songs sound angry and dated today. There's that Jesus Lizard megaphone singing, which in 93' was still kind of cool, now it just sounds cliche. Letting "Why See Straight" stand by itself is kind of fun, though. There's some cool moments and ideas, the band gets a little lighter on the chorus harmony, showing they weren't always so metal about everything. "Mine Eyes" was an attempt at a single, it played around here. Sure it got love in other spots, but again, sounds dated now-a-days.

Mine Eyes

Rodney Lay Coffeyville at 100 B/W The Ballad of Dalton Raid Layork Publishing 1969

Rodney Lay Coffeyville at 100 B/W The Ballad of the Dalton Raid Layork Publishing 1969 CAT# CS 196

This is an odd 7” celebrating the 100^th Anniversary of the founding of Coffeyville, KS. Which, despite Coffeyville’s near nowhere status, has a fairly substantial history…whether a souvenir 7” was needed is up for debate, but there are some interesting stories to tell.

Rodney Lay, a Coffeyville native, attempts to tell a few of those stories. Lay was Coffeyville native who became a regional hit as a DJ. That led him to a tour with the famed Wanda Jackson in the 60’s. He also landed a small role in the movie Pat Garrett and Billy the Kid which starred Kris Kristofferson. From there, he began working as the band director for country artist, Roy Clark, and fronting his own band. He did help to pen a few country tunes scattered throughout the Nashville scene and score some minor hits of his own throughout the 80s.

His tribute to Coffeyville is a bit amateur, though. “Coffeyville at 100,” could have talked about the town’s rich history, but rather, it’s just Lay rattling off what happened at the centennial celebration week. The flip side, “The Ballad of the Dalton Raid”, is cowboy-style, story song singing the history of how the Dalton’s were stopped in Coffeyville by the authorities. The same story is discussed in an Eagles song, “Doolin’ Dalton.” No matter what song you select, great story with legend advising it wasn't just the authorities that stopped the Daltons, but the settlers of Coffeyville took the matter into their own hands, laying 4 of the Dalton’s down, but miraculously, with  23 gunshot wounds, Emmett Dalton survived and was charged for his crimes.

Ballad of the Dalton Raid

Milo Finley Combo The Boogie Twist B/W My Guitar Boogie Milo Unknown Year

Milo Finley Combo The Boogie Twist B/W My Guitar Boogie Milo/Woodland Record Company Unknown Year CAT# ML701/702

Unable to pull up much information on this band or it's players. There is at least one other Milo Finley Trio 7" out there on with same logo and a different color label. It's also tough to gauge whether the large name "Milo" atop the label is the record label or just there for namesake as on the right, the record indicates it was put out by the Woodland Record Co. in Kansas City, MO. A search for each label brings up nothing.

What's also odd, none of the players are mentioned either. The Milo Finley Trio, per the label features all of the following, Clyde Hughart (drums), Charels Shortino (guitar), Leon Hinkle (bass), Tom McDermott (Piano stylist) Milo Finley (violin). What odd, the A-Side is a song credited to Finley and he's not listed as a player. The B-Side is song credited to Shortino and he's not listed as a player. Regardless, names searches do validate most were from the Kansas City area, there's even some evidence Milo Finley has connections to UMKC for sheet music, but there's very little about this 7".

The tunes are pretty interesting. It'd be nice to get a year on this. It's somewhere between Western Swing and Boogie-Woogie without all the piano. It sounds like it should be from the 40's, but the sound is bit too crisp for that and it's not on shellac speed at 78RPM. Neither song features vocals, just short tunes with solid musicianship and fun guitar work.

Black Calvin Postcard B/W Be With You HC 1994

Black Calvin Postcard B/W Be With You HC 1994 No CAT #

Black Calvin is another local much like Zoom, great band, but almost completely unheard of outside Kansas City and Lawrence. The was a three piece featuring Craig Comstock who is still very much active today in local music. He also started up the HC label the band released for and managed to release a Black Calvin 10", a split 7" and a local hardcore comp before giving the label up.

Black Calvin played a brand of post-hardcore that wasn't too far removed from other locals of the early to mid-90's. They were a lot more lo-fi and punk rock about it. The first track, "Postcard", is a 5 minute punk-rock, sludgefest. The B-side, "Be With You", picks things up, but stays just as noisy and discordant with crazy guitar lines and shifting tempos.

The tunes were recorded in Lawrence, KS by Ed Rose. So despite the band's lo-fi aesthetics, they still valued qaulity, so much so, the 7" was pressed onto virgin vinyl.

E.L. Overton I Am Here For You b/w Angel Neco Records 1984

E.L. Overton I Am Here For You b/w Angel Neco Records 1984 CAT# NC 1001

This little 7" has a lot going on and there's a lot to say about it.  Most of it, I'd like to save for related releases, however, those releases are so rare I might not have the chance.  This is also extremely rare.  Currently this little private press piece of Kansas City soul is bringing in $200 to $300 in top condition.  Someone is asking close to $1000 for it on discogs.com.  There's a growing disco/boogie collectors market and this fits in on the tail end of the scene, it's decent, but I think most the value stems from it's perceived rarity.  Neco Records, was just E.L. Overton's custom label, so it's likely there was only between 500-1000 copies to begin with.

It also has the benefit of being produced and co-written by Keith Montgomery.  Keith Montgomery and fellow musician, Eugene Smiley started K City Records in the late 70's in Kansas City.  A third songwriter, Albert White, was part of the K City team as well.  The small outfit wrote and produced a number of songs with Kansas City soul musicians and cut a few records on their K City label.  Those 45s are well-regarded in the modern boogie genre and sought after for their obscurity.

Further, going back to the late-70's, there was a local vocal group called Smoke in Kansas City.  The group cut two 45s and a full-length LP.  The sound was pure 70's soul, sounds vintage compared to the K City stuff.  One of the group's songwriters, Elmer Overton, is in fact the E.L. Overton featured here.  I can't say there's a lot of information out there on the web stating the same, but collectors are a crafty bunch and I think they've figured it out, likely increasing the value for this 45 even more.

The track people are after, "I Am Here For You," is better than average production for a limited budget.  The beat, solid.  The background vocals, well done.  The feel and groove, better than average mid-80's boogie.  However, E.L. Overton's vocals just don't match.  He's bordering on a baritone and this production screams for somebody up near falsetto.  It detracts from an otherwise great track, I bet people would shit themselves to get a hold of an instrumental version of it.

The B-side, "Angel," doesn't need to exist.  Sappy, sentimental, same low-end vocals.  Just doesn't go anywhere and isn't by any means a  heart-stirring or heart-warming ballad; comes off more as a bad pick up attempt.  Production though, on point.

I Am Here For You

Split Lip Rayfield Old No. Six B/W How Many Biscuts Can You Eat Bloodshot 2003

Split Lip Rayfield Old No. Six B/W How Many Biscuts Can You Eat Bloodshot 2003 CAT# BS 107

This Wichita band is legendary for the live shows and their constant touring, yet, if you want the tunes on vinyl, this is it.  Out of 7 full length albums none of which were pressed on vinyl, just this lone 7".

In Kansas and everywhere, it seemed as if this band was always in your town playing.  When I was in college, I'm pretty sure they packed the Bottleneck at least once a month.  And, they did that everywhere they were welcome.  If they could pack a club, they'd be there all the time with their raucous brand of bluegrass and alt. country.  Unfortunately, in 2007 one of the band's founders, Kirk Rundstrom, passed away.  So it would seem they don't gig as much as they once did, but don't be fooled, the band is still out there and playing and recording new tracks.

It's important to mention how important this band is to country/bluegrass scene in Kansas.  They've been called the founders of the "Stage 5" sound.  Stage 5 is an "unofficial" stage found at Winfield, Kansas' Walnut Bluegrass festival in which the artists that play it often have a less traditional bluegrass sound.  It was likely the only place Split Lip Rayfield fit while performing at the festival.  This band managed to blow down doors while playing traditional stringed instruments and the sound is found on this 7" just like all the band's output.  Highly recommended.

LIVE VERSION of Old No. Six

James Brown Hot Pants Parts 1, 2, & 3 People 1971

James Brown Hot Pants Parts 1, 2, & 3 People 1971 CAT#42-2501

James Brown lived in Kansas City for 30 minutes, or so he said once in some obscure interview...Is it true?  I don't know, but I keep picking up the 45s because they're awesome.  If James Brown brief KC residency is true, I'm 100% positive it isn't going to show up in the upcoming movie about his life.

Anyway, have you heard the song "Hot Pants"?  It's phenomenal.  It's available on a kajillion different Brown releases.  It's funky, sweaty, soul music.  He grunts, yelps and says "Hot Pants" over and over, there's some other words thrown in, but they aren't necessary. 

Hot Pants on Soul Train

The Morning Dew No More B/W Look At Me Now Fairyland Records 1967

The Morning Dew No More B/W Look At Me Now Fairyland Records 1967 CAT# F-51567

Pretty stoked to come across this at a thrift store.  The Morning Dew were a Topeka group of teenagers caught up in the garage rock scene.  Like other Kansas bands of their time, they weren't reliant on the snappy tunes of the Beatles to fill out their sound, they wanted to be sure to keep their Midwest roots.  This band, at least on this record, focused their sound around Dylan's Highway 61 and fuzzed out guitars.  Similar to what Texas band, Mouse and the Traps, were doing down South.

The result on this 45 is decent.  Both songs were penned by band leader, Mal Robinson.  The record was pressed by a regional label in Columbia, Missouri, called Fairyland.  Apparently, despite an actual deal with Fairyland, the band footed their own bills to put it out.  The band paid for recording and 2000 of these records to pressed.  Fairyland took it to radio and attempted to distribute copies regionally, only 500 were reported to stay in the Topeka area for purchase.

The A-Side, "No More", must have caught onto some extent.  The band was able to tour the Midwest on it's airplay and open some pretty big shows locally.  It's got a crunchy rhythm, but twee in comparison to the Dylan sound they were after, it does have a stellar guitar solo drenched in fuzz and psychedelia thrown in.  The B-Side, "Look At Me Now" is decent, in fact, compared to the crap that ends up on most obscure garage rock singles, it's fantastic.  It's definitely the band's panty-dropper as it's over the top with teenage heartbreak.  It's got a nifty fuzz guitar break and draws heavily a R&B/doo-wop influence that was filtered down to the Topeka natives by the British Invasion.

The 45 is sought after by garage collectors, but not to the extent psych collectors hunt the band's obscure 1970 Roulette full length.  The LP will bring in excess of $500 if you can find a copy.  There's a bootleg out there, though, if it's something you got to have.

No More

Rodd Rivers and the Big Action Sound Sing a Happy Song B/W Any Way You Want It Jay Bird Records (Unknown Year)

Rodd Rivers and the Big Action Sound Sing a Happy Song B/W Any Way You Want It Jay Bird Records (Unknown Year) CAT# JB 1010

Rodd Rivers is not from Kansas, in fact, this guy's name isn't even Rodd Rivers.  His given name was Rodney Keith Eskelin who primarily performed under the name Rodd Keith.  He was born in California and spent most of his musical career recording song poems for various labels.

A few years back, PBS put out a documentary entitled, Off the Charts: The Song Poem Story, which tells the story better than I could.  But, to paraphrase, song poems were a scheme.  These small labels would place adds in the back of comic books, catalogs, and magazines, telling you to send in your songs or poems to be recorded.  The ads indicated talented song writers may earn royalties or find entry into the music business.  People sent their lyrics then the label would send a response indicating the song had been "chosen" and all the author had to do was send back some money to cover recording costs.

In the 60's and 70's the label would put out a 7" or a compilation LP and send the author back a copy of the hastily put together song or songs.  Later, and even today, tapes and CDs.  Obviously, to remain lucrative the label put out a very small amount of a physical copy.  To also save costs, the recordings were done hastily.  Sometimes using the same tracks to records several different songs, it's usually very amateurish and dull, but that is what makes these songs interesting to collectors who seek it out, occasionally, something blows minds.

That's where Rodd Rivers comes in, as a multi-instrumentalist, the label only need hire him to the cut the tracks, he'd pump out a tune and play all instruments, sing the lyrics and collect a check.  Most these song poem labels existed in Nashville and Hollywood, yet, here's this Jay Bird Records from Parsons, Kansas.  Checking the discography and listed ad, it appears many of the tunes were credited to an Al Monday, the same that's credited here.  So, I'm not sure what to make of the label or it's existence as it didn't put out a substantial amount of records.  The music here is on par with the genre, though, just slapped together and hastily recorded.  The B-Side is kind of loose and creepy, the harmonies are bizarre.  Placed it below and apologize about the sound quality, not trying to blow minds here and the record is pretty beat up.

Josh Berwanger Oh Bis! B/W Back of My Hand Too Much Rock 2014

Josh Berwanger Oh Bis! B/W Back of My Hand Too Much Rock 2014 CAT# 003

The transformation is complete.  Josh Berwanger has gone form Blue Valley teenage hipster, to emo heartthrob, to retro rocker, to a power pop craftsmen.  This is the third in Sid Sowder's Too Much Rock series and will be released on June 3rd, 2014.  There will be a party June 5th, 2014 at Mills Records in Westport.  You should go.  I'm probably not gonna go...don't want to be the weird, old, fat belly, looking awkward and shit.

So yeah, Berwanger's power pop stick is growing on me.  Moments on his solo LP are brilliant, but the LP wasn't completely drenched in big hooks and jangly guitars.  His original tune on this 7", "Oh Bis!", is nothing but power pop, clocking under 3 minutes of actual song before Berwanger goes into a short roller-hockey story about the song's title.  There's woo-hooing, oohhs and aahhs on the chorus, and it's about getting the girl.  It's so power pop it comes off a bit formulaic, but, all is forgiven since Cheap Trick stopped writing good songs in the 80's and the most great power pop groups disbanded prior to the end of the 1970's.

As with all releases in the series, Too Much Rock selects a song to cover on the flip side.  Berwanger gets the Jags "Back of My Hand", which is an obscure track to most Stateside, but was a hit in the band's home of England.  Berwanger's version is solid.  The Jags were a little too clean and sharp versus American bands of the same era like the Nerves or the Real Kids.  I had an issue with the singer's affliction and the band's slick production.  Berwanger's breathy vocals and hurried production do the song a favor.  Also, love the use of female backing vocals rather than dual tracking dude's vocals to perfection (kind of the auto-tune of it's time wasn't it?).  Further, big fan of the acoustic guitar break, it's a nice touch.

Oh, and I'm not going to talk about the cover...I don't get it, but whatever, I guess it's supposed to be funny?

UPDATE: Apparently there is a limited run of color variants that will be available for this release, my guess would be at Mills Records show.  109 colored 7"s in blue, green, purple and what appears to be a Coke Bottle clear.  Also, the cover I don't get...  It's done by Jay Shaw, an artist who does alternate movie posters...I get it now.

Check out the Tune, Too Much Rock.com

Rev Gusto S/T Single Too Much Rock 2014

Rev Gusto S/T Single Too Much Rock 2014 CAT#002

*****

Sid Sowder's absolutely selfless Too Much Rock singles series continues!  This edition features Kansas City's Rev Gusto.  I just got a copy of this and wanted to share the news...It will be available tomorrow (4/19/2014) for purchase at Vinyl Renaissance, Mills Records and Love Garden as part of the Record Store Day celebration.  After that, you'll probably be able to find it for a little while depending on what the band does with their singles.  Just saying, if you're out at any of those stores, pick up a copy, support local, it's rad.  Actual blog post to follow.

*****

Again, I'd like to express how truly selfless and awesome this singles series is.  Too Much Rock selects an artist to release a single, the first side is the band's and the flip side is a cover selected by Too Much Rock for the band to do.  Too Much Rock then puts the single together and without making back a dime gives the release to the band.  The local scene wins because a local band gets a release and some cash, fans of vinyl win because they get a rare disc and something by a great band.  The only one that losses is Sid Sowder of Too Much Rock...Selfless.  This release will be sold at three area record stores on Record Store Day, I imagine to get the word out on the series locally (this is only #2, #1 was this), but I'm going to bet all proceeds from Record Store Day are going right back to Rev Gusto.  I mean I even tried to pay Sid for this release and got no response.  Then, when he said he'd send a copy for review to a few local music sites, I even asked to pay shipping (I mean, who in their right mind is willing to take such a big hit, I'm all about helping, y'know?) and again was met with no response, just a package in the mail containing the single.

As for the music, this is Rev Gusto's first physical release.  They will likely hold onto many of their copies for sale at shows, so after RSD, may have to pay cover to find a copy.  My understanding is that 500 copies of the 7" are put out, so it's pretty rare.  The band formed in high school and most them are fresh out, not yet old enough to partake in alcohol served at the bars they perform at.  They're being labeled somewhere between power-pop and garage rock, truthfully, they're a bit too proficient to be garage rockers, but their sound is pretty raw.  They've been performing a lot locally, did a show for Middle of the Map Fest and even did a big-timer show at South by Southwest.  Overall, the kids seem to like the band's lazy power-pop.

The band's song on this release, "Still There," is drenched in feedback and choppy guitars.  The vocals strain and come off a bit forced at time, just trying to sound a little cooler than they need to.  You definitely hear where the power pop tag is coming from, but again, the tune is so drenched in guitar and distortion, it's hard for me to make that kind of leap.  

For the B-side the song "Local Girls" by Graham Parker was selected for the band.  What they did

with it is fucking brilliant.  I used to host a power-pop show on KJHK and spun both US acts and the British pub rock.  Fans of the pub rock scene swear by Parker's "Squeezing out Sparks" album, but outside the song "Local Girls," I found the album pretty boring (the rest of his catalog even more so) and even before I'd spin this track, I'd opt for Costello, Nick Lowe, Squeeze or even Joe Jackson.  It's not as if the band does anything radical to Parker's tune, in fact, it's true to form and they're able to keep the jitters and nervous energy.  The thing I like about Rev Gusto's version is that the attributes of the song fit a bunch of 19 year old kids better than they did Parker.  I always felt Parker was kind of a hack, just an old talented dude copping on the new sound.  Rev Gusto put their fuzz on top of the track and the lazy power pop sound they've developed as a band and it works; solid cover.

Rev Gusto Website

Big Timers on the News

Clawhammer I Think I Heard a Sound b/w Hell Wee Rock Records 2012

Clawhammer I Think I Heard a Sound b/w Hell Wee Rock Records 2012 CAT# WRR 86

Well, this isn't really local, but I purchased it by error.  I'm not really that mad about it, it's decent. The band is from Springfield, MO which is closer to St. Louis than it is Kansas City.  The town has always had a substantial music scene centered around roots, country and bluegrass.  Much of the bluegrass coming out of Springfield is damaged by the tourist driven, Branson, Missouri.  Hillbilly garbage in which the band leaders are named "Uncle" and they sing about fishing and make cheesy family orientated jokes in between sets.  Like Hee-Haw, but even dumber.  That's a lot of what comes out of Springfield, MO.  Not all of it, there are some solid band and artists, but there is a ton of crap to sift through.

Anyway, I had traded in some stuff at a local record store and had about $3 or $5 left in credit.  I went to the local 45s to even out my order.  This struck me for a couple of reason, first, it was in my budget.  Second, a clawhammer is a type of banjo, I love bluegrass so I figured why not?  Well, I got it home and realized this wasn't as local as I thought it was when I discovered it was from Springfield.

However, I put it on and was cool with it; it's a keeper.  It's not bluegrass.  It's got elements and does feature a banjo and traditional bluegrass instruments, but they're borrowing from the genre.  If you research Clawhammer they've dubbed themselves something moronic like alternative, dub, influenced, bluegrass.  That's absurd.  But, they have a unique sound, the banjo plucks away and these young hipsters drop fuzz and experimentation all around it.  The female vocals fit perfectly, she's kind of gruff, certainly not too sweet.  It's a clever post-modern mixture, no one is pushing bluegrass but they should be...I mean, hipsters would totally be into artists like John Hartford if they'd get off the fucking Hall & Oates kick.

Facebook link to some Clawhammer jams

The Republic Tigers Merrymake It With Me Atlantic/Chop Shop 2011

The Republic Tigers Merrymake It With B/W Whale Fight Me Atlantic/Chop Shop 2011 CAT# 7-527379

Man, I think I've been a total dick about this band.  I could of swore they formed in KC as the Golden Republic and dropped the scene for Austin, TX to become the Republic Tigers and get noticed (although, getting noticed in that town is probably harder than it is here).  But, I'm checking things now that I've came across this ($2 sealed in Atlanta, GA...nice) and they claim Kansas City like no other.  But, seriously, been a total dick if that's the case.  When I heard NPR refer to the group as "majestic pop", and that this KC band was featured on soundtracks in TV, commercials, and movies, and when I heard the local alterno-rock station claim they were playing local when they spun a hit by the band, I cringed, wouldn't let myself believe they were local, they left, sold us out for the uber-hip city of Austin, TX.

But, like I said, I think I'm wrong on that.  I mean crap, the song "Merrymake It With Me" was mixed by Shiner/Season to Risk player, Paul Malinowski; that's pretty KC.  Pretty sure I just got suckered into some hipsters misinformed opinion of the band and let it became my own (looks like I'm the sell-out, here).  Either way, I'm still not impressed by the group's sound.  "Majestic Pop" isn't a bad term, it's very girl-friendly, indie-lite, pop music.  The songs are pleasant, they get you to hum along and it makes sense the band would be featured on the soundtracks of teen drama TV, it's all very clever background music.  Like Death Cab for Cutie or even Jimmy Eat World, catchy melodies and a lot going on in the background.  In fact, the band is so unoffensive my mom asked me why I didn't review them on this blog (thanks for reading, mom).  She likes them and that should tell you everything you need to know: Mom Rock.

Whale Fight @ the Bottleneck in Lawrence, KS

Cole Hunter Capone B/W New Frontier Read Badge Music 2009

Cole Hunter Capone B/W New Frontier Read Badge Music 2009 NO CAT#

Don't know who this guy is, what he represents, or even who his friends are.  I do know you can buy his 7" for $3.00 at an Olathe antique mall and there's a sign indicating he's local.

When I got it home, I looked all over and only found the dudes self-produced rock video.  He plays a Flying V, pretty hard rock right there, if not metal.  The website for Real Badge Music is pretty awful.  I mean, 1992 AOL Welcomes You to the Internet- bad.  There's pages, with no actual information, just a bunch of cryptic filler. It's strange.

After listening to Cole Hunter's 7", one thing is clear, Cole Hunter loves him some guitar.  The first side, "Capone", is surprisingly adept and kind of enjoyable.  Albeit a bunch of guitar masturbation and it's trapped in 60's and 70's hard rock.  But, considering the website and the lack of any information, I braced myself for the worse but, found it to be a pleasant surprise.  "New Frontier" is the B-Side, it's acoustic and obvious...gotta have a panty-dropper if you rock a Flying-V.

Capone
Website (or lack thereof)