Kansas Point of Know Return Half-Speed Mastered CBS 1977/1980

Kansas Point of Know Return Half-Speed Mastered CBS 1977/1980 CAT #HZ 44929

I've discussed this LP before, it's Kansas' masterpiece, there most well thought out LP and it's got the hits.

This version differs in that it's a CBS Half-Speed Remaster that came out in 1980. In the 70's, Mobil Fidelity Sound Lab began to remaster titles at half speed and make limited runs on high quality vinyl. Better known as MoFi, the records sound great and are considered audiophile releases, sold at a premium and still command a significant amount today. They started a trend and the majors attempted to latch onto audiophile trend. Obvisouly, someone thought enough of Kansas to press up some audiophile copies.

Problem is that while an album like 'Point of Know Return' deserves an audiophile pressing, CBS' process wasn't anywhere as good as the MoFi releases. There are some Half-Speed CBS records that aren't any better, possibly worst than the original pressing. This pressing isn't terrible, but it's not great either. It's really bright and thin, which brings out a lot of keyboards well, but other areas suffer. It's generally panned as a terrible audiophile press, but I would still argue it's listenable (there's a CBS Self-Titled Boston LP that is absolute garbage and this isn't on that level of suckitude).

Surprisingly, despite that most experts will say stay away from this and most other CBS Half-Speed pressings, a copy still demands a premium over a clean original. Apparently the thought of having something marked audiophile outweighs the quality to some people.

Tim O'Reagan S/T Lost Highway 2006

Tim O'Reagan S/T Lost Highway 2006 CAT #B0006401-01

Tim O'Reagan was part of the Lawrence-Legendary duo the Leatherwoods that was primarily known as a vehicle for Todd Newman. The two were from Topeka, went to KU and played around. To get in touch with a bigger scene, they moved to Minneapolis and created a well-received album that went relatively unnoticed nationally. After the break-up, Newman stayed active putting out his high-quality power-pop now and again. O'Reagan kept playing drums and caught the attention of Joe Henry. He did work for Henry and later, became a full-time member of the Minneapolis alt-country band, The Jayhawks. As a multi-instrumentalist, he wrote a number of songs for the Jayhawks so a solo-LP shouldn't come as surprise.

Once the Jayhawks took a hiatus in 2005, O'Reagan started working his first, and so far only, solo LP. It doesn't stray far from where O'Reagan has always been. It's a heavy dose of alternative country with numerous nods to power-pop and heavy on British Invasion influences. Much of this LP wouldn't be out of place on any of the big alt country acts, be it the Jayhawks or even Wilco, it's quality. His voice is a bit hushed and gentle making his albums feel a lot like a Josh Rouse album if you're familiar with his work.

Also interesting, the hype sticker in the top right advises you the vinyl album features two cuts that weren't featured on the CD. Which, yeah, people were doing in 2006 and may still do. Which is funny, because in the late-90's when records were being killed off, you got the bonus tracks on the CDs.

Anybody's Only

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

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

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

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

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

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

Full 7", The Leatherwoods

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"

Kerry Livgren Seeds of Change Kirshner 1980

Kerry Livgren Seeds of Change Kirshner 1980 CAT# NJZ 36567

Kerry Livgren was a founder of Topeka's finest, Kansas. He was a fundamental part of the band and behind their biggest successes. So, apparently, that meant make a solo-album, in 1980, when people stopped caring about Kansas. Coincidentally, in 1980, Livgren was still an active member of the band, this LP even features the likes of Steve Walsh and Phil Ehart just to prove things were still on the up and up.

It's ambitious, but that doesn't make it good. There's all sorts of synth and prog-rock moves, but honestly, the best parts of Kansas weren't about the prog-rock. It's also got some 80's pomp-rock metal moves, but who has time for that.

It features a pretty impressive cast of fill-ins as well, Ronnie James Dio sings a couple tracks (they sound super metal, bro), there's a member of Jethro Tull, and some dudes from Ambrosia as well. So not your A-Team by any means, but for Topeka, that's pretty solid.

Apparently, there's also a book Livgren wrote surrounding the concepts found within the album. If it's about the cover, which shows a fetus being extracted from a diamond with a razor blade... it's probably the best book in the history of the world, who doesn't want to read about that, right?

Kerry Livgren with Ronnie James Dio

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.

Kansas Monolith Kirshner 1979

Kansas Monolith Kirshner 1979 CAT #EZ 36008

The reviews on this are pretty dismissal. For the most part, they are also accurate. The album represents Kansas' transition from goofy American prog rock band to the American pomp rock band they played out in the 80's.

The band had become great players by this point, they just ran out of ideas. This evident on "How My Soul Cries Out For You," but it's so goofy, I don't think anyone is revisiting the track after a single listen. Moments border on catching onto songs like "Point of Know Return", but they fall short because they aim for radio play rather than the band's original material.

It's also got some sort of theme to it. Super-powered, futuristic Native Americans that are trying to keep the world afloat. I don't know, makes for cool album artwork, which is the best thing you can say about this album.

Also, if you can make it the second side, "Away From You", is pleasant for pomp-rock, but, yeah, not sure if it's worth it.

How My Soul Cries Out For You

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.

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 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

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

KY102 Presents Homegrown Midwest's Best Music Taft Broadcasting 1980

KY102 Presents Homegrown Midwest's Best Music Taft Broadcasting 1980 NO CAT#

KY 102 FM was a long standing AOR station in Kansas City.  When I first moved to the KC area as a teenager, they were still functioning as a local station on the dial at 102.  However, they fell victim to the hostile radio takeover, but did continue on under different call letters and new ownership.  I think, after a few years, that station finally folded and ended up going top 40 or Country.  Don't quote me on that, though, I don't pay a lot of attention to AOR radio.

When I moved to Kansas in the 90's the station was an odd mix of classic rock and newer music.  They weren't close minded to newer stuff, but if it was new it was going to sit in well next to all the Boston and Rush.  Piecing things together, it appears that back in the 80's the station may have been half-way cool.  I've picked up on local album sleeves.  The station is thanked on the first Rainmakers LP (Balls by Steve, Bob, & Rich), there's this LP, and a few other things I've seen referencing KY 102.  So, it would seem back in the day, KY 102 supported the local rock scene.  Can't imagine they were showing support for the Lawrence scene in those days, but I'm guessing the bar bands got a few spins at the station... and I bet they fucking LOVED Kansas.

Honestly, even with a nod from the Rainmakers, I've seen this album around town and never gave it much thought.  However, a a good friend offered this up and all I had to do was find a copy of Johnny Cash's Folsom Prison, easily done and he sent a sealed copy of this.  In retrospect, I shouldn't have been so pretentious about the comp.  Looking it over, it's got the Secrets* who were featured on the hyper-obscure Kansas City power pop label, Titan!.  Further, "Homegrown" comps were put out nationally, a few have some real gems (especially some of the ones from Hawaii).  KC's version can't be much different.  Below is a run down of everything the good and mostly bad.

Pedestrian - Ain't Got the Time - Some hard rockin' KC guys that use laser production effects in the recording.  Sure the lasers are really synths, but pretty cheesy all the same.

The Secrets* - Uniform - This is the reason I got excited about this release, this a solid Titan! power pop band out of KC.  Song isn't fast paced, they sent their wussy material to KY, obviously.  It is a great little power pop tune with piano and bubbly AM sounds.

The Clocks - She Looks Lot Like You - Kansas City band full of confusion.  Man, these guys don't know what they're shooting for.  All sorts of crazy prog keyboard breaks with an 80's skinny-tie chorus and power pop aspects.  It's kind of amusing, but just a bit too scatterbrained to be considered a gem.

The Moffet-Beers Band - It Could Be Raining - What a bunch of sappy crap.  It'd be tolerable if it had some some twang, but this is just teenage roller-rink, sad-bastard music.  The name of the song and the band say everything you need to know about this Lenexa band.

David Hale - Opus X - This Kansas City dude's song title sounds pretty sci-fi and he's credited for all instruments.  It's got a killer drum intro, for sure.  It tops it off with some prog guitar work over the top.  From there, it doesn't go much further, TONS of guitar are added.  It's instrumental with a break that takes a turn from the hard rocking prog feel to a jazz and blues feel.  It really just ends up being a guy showing off and stalls there.

Rudy Passonno - Dead Boys - Outside of the Secrets* I had my hopes up for this...Not for any other of the reason but the name of the track.  This Kansas City dude starts off all creepy, like a Halloween novelty song.  Then it becomes kind of clear, the best case scenario for the song would actually be a novelty Halloween song.  It's just gets goofy and the subject matter is an awful attempt at telling a story about child death and murder.  It's friggin' weird.

Chaser - Anyone Will Do - This band is from Raytown, MO.  They nail the bar band thing, just a rolling rhythm and hard driving guitars, a little twang for good measure.  Nothing outstanding and the production is a little too slick for the sound the band is attempting.

US Steal - Crazy Things - Kansas City band and from looking at the band name and track, I just expected more standard MOR bar band stuff.  A little harder edged than I expected.  Bordering on metal.  I imagine they toned things down for their KY 102 demo submission, but pretty similar to first wave pop-metal.

Fields - I'll Be Gone - This Parkville, MO band is trying to be blues-based rock band.  Except, their keyboards go all prog and sound out of place, I think they're set them to the fiddle setting, too.  Takes away from a song that's already pretty middle of the road.

Alchemy - Sparks - If your name is Alchemy and you're from Topeka, KS you better sound like the band Kansas' little cousin.  The band certainly tries, they have two keyboardist and make an attempt at progressive rock.  The theatrics are there, the singer is a little weak, but of all the tracks I've shit on throughout this review, this band showed the most promise even though it's nowhere near the level of Kansas, just had a sound that could have been explored further.

Big Miller Big Revelations and the Blues Columbia 1961

Big Miller Big Revelations and the Blues Columbia 1961 CS 8411

Big Miller was born Clarence Horatio Miller in Sioux City, Iowa.  He spent his formative years in Iowa and later, Topeka, Kansas.  Like many others singers in KC, he found his break as a shouter for Jay McShann's.

For the most part, his body of work is overlooked in favor of Big Joe Turner.  While Turner's work is superior, it's not fair to just dismiss Big Miller.  The dude could shout.  This album represents his first of several LPs the singer cut for Columbia in the 1960's.  Prior to this debut, Miller was in a R&B vocal group called the Five Pennies and gained Columbia's attention by performing the Newport Jazz Festival with Bob Brookmeyer in 1958, the Brookmeyer album, The Kansas City Sound, was from the festival.  Columbia picked him up and sent him to Hollywood to record.  He actually soaked in the LA life style and wound up acting in several movies in addition to his music career.

At times, this album just kills, swings hard and Miller belts out his tunes.  He's credited for most the work here and Columbia provided him a solid backing jazz band.  Where it gets discredited is the MOR of it all.  The album wasn't rock n' roll or straight blues, it's much more set in jazz.  Truthfully, jazz is probably the best route for Miller, as stated, he's no Joe Turner, so the jazzier, laid back blues is probably best for him. It still has great moments that up tempo moments that swing and Miller does have a powerful voice. The album does suffer when Miller attempts to go straight jazz, namely the first track, "About my Baby."  Overall all though, worthwhile album that shouldn't be thrown aside.

Wanna See My Baby

Redline & KJHK Present Fresh Sounds From Middle America #3 Fresh Sounds 1986

Redline & KJHK Present Fresh Sounds From Middle America #3 Fresh Sounds 1986 CAT #FS 213

Been on the hunt for this for a long time and glad to finally have it.  Used to dig this one out at KJHK all the time and play the Miconotz, the Todd Newman tracks, or whatever looked interesting.  The station copy is beat to crap and splattered with a review on how awesome it is.  I think the review urges the DJs to "Play it All!"

The Fresh Sounds From Middle America started on tape with the Fresh Sounds label.  This edition, #3, is a combined the effort of the label Fresh Sounds with Redline Productions who were putting on shows in the area and the famed college station, KJHK.  It's pretty obscure now-a-days, sure plenty of copies have been destroyed and most the people that retained their copies probably aren't willing to sell it as they were in the bands, friends with the bands, or part of the staff at KJHK or members of the Redline Production team.  It does an excellent job of encapsulating the fertile underground scene in Lawrence, KS  at the time.

The first side is a bit of a mix, pop and alternative.  The flip side is almost exclusively punk.  Highlights of the album are listed below, but everything on here is pretty solid considering:

Von Burlows – Summer Song – Lawrence based band.  Riot on the Plaza was into the song and wishes there was more out there from them, I’m kinda like, meh, girl singer is cool and all, but nothing amazing.

Homestead Grays – Rev. Cross – Lawrence, KS, based.  Chuck Mead doing country tinged power pop, great track, worth the price of admission on this comp.

Yardapes – Superstitious – Kansas City is listed as the address, thought they were a Lawernce band, nevertheless, I like the little I’ve heard of this band.  This song is no exception, on a new wave tip, but not the pop-spectrum, this band should’ve have been college radio hit makers.

Lions And Dogs – “Be My Sunshine” – This is Lawrence, KS’ famed Todd Newman, who flirted with the major labels but never was able to secure a deal.  He ended up cutting some great, obscure, pop music throughout the 80’s and 90’s.  This tune is a great, gut-wrenching bit of power pop.  He’s on the level with the Replacements’ best material, you could only mistake this tune for a sloppy version of a Replacements ballad.

Thumbs – Jericho – Talked about the Thumbs on the blog before, just kind of mentioning them on this comp as well…pretty, lame track.

Hundreds And Thousands – Girl in Little Rock – Another Todd Newman outlet.  Not sure if this was just kind of a throw away, silly country outing.  But, underneath all the country hodown, there’s a great song buried here.

Bum Kon – Steam Engine #9 – Listed in Denver, CO and falling somewhere between hardcore punk and thrash, interesting tune and band, just apparently not all that local.

Near Death Experience – Dolphin Torture – Lawerence, KS punk band doing a Dead Kennedys type thing without all the impossible political agendas.  Just a goofy anit-Dolphin torture song, I guess.

Micronotz – Gimme Some Skin – It’s a decent cover of the Stooges classic.  Not sure it was necessary, but for a comp, not a bad outing.  There are better examples of the band for sure, though.

Pedal Jets – Hide and Go Seek – I haven’t talked about the Pedal Jets on this blog, yet.  I really should, they’re a great band that was Zine famous back in the day and still making music today.  The song here rivals the best tracks found on the album.  Somewhere between Husker Du and English New Wave bands is the Pedal Jets.  Really great, roughed up pop song, great listen, a true nugget.

Again, it's a great comp and it still means a lot to people who were apart of the Lawrence scene in the 80s, which makes it tough to find.  However, if you come across it, don't walk away without trying to buy it.  Great time capsule to own.

The Vitreous Humor Self Titled E.P. crank! 1995

The Vitreous Humor Self Titled E.P. crank! 1995 CAT# crc003

Man, this came out so long ago.  In fact, nearly 20 years ago.  I wasn't even done with high school at that point.  I love this EP, everything about it.  Been listening to it since I first heard on 105.9 The Lazer nearly 20 years ago.  I know every song by heart, so much so, that if a tune pops up on my iPod it feels strange when the next track doesn't follow.

Not going to front though, the vinyl sounds like crap.  Pretty sure crank! just took CD master and put on vinyl; the high ends distort and it sounds muddy.  CD is superior, but that's usually the case with 90's vinyl.  Kind of hoping there's some sort of 20 year anniversary remaster edition in the works.  However, if you go to the band's Facebook page, it appears the band is trying to regain their masters and do something to that effect, but are having a difficult time doing so.  Apparently, crank! is reluctant to give up the rights.  I would be too, but c'mon, there's not a huge market here, let the band do something with their songs.  Or, if you're so confident the masters are worth bags of money, put something out...the band and the label both benefit.  If it ever happens, I'd really like some sort of retrospective like the Posthumous release, but done up on vinyl.

About this release and band, years ago, when I was working at a grocery store in Lawrence, KS, my co-workers and I were assigned to check out the Community Mercantile.  Oddly, the co-workers I went with were both really into music (actually, they were part of a band called the Ample Branches) and I spotted Danny Pound doing work.  Jokingly, but half-serious, I told my co-workers that "grocery bagging guitar player" (Regrets reference which went over their heads) is the best musician in Lawrence.  They questioned it, but sure enough, I had a copy of this CD in my car to prove it.  Played some tunes for them, obvious choices, "She Eats Her Esses" and "Looper".  Sadly the first response was not jaw-dropping in awe, but was, "Sounds a lot like Archers of Loaf, but better than I thought."

This incident happened approximately 5 years ago.  And, DAMN if my co-worker wasn't right about the Archers sound.  I love Archers of Loaf, but I'd never put into the context of Vitreous Humor.  For me, Vitreous Humor came first.  Groups like Vitreous Humor, Boys Life, Kill Creek, and Shiner being played locally on the radio were a gateway to your Superchunks, Archers of Loafs, and Sunny Day Real Estates of the world.  I had literally spent most my adult life thinking Vitreous Humor was the most original thing to come out of Topeka and Lawrence, Kansas...ever.  I thought the world of this band and everything Danny Pound did later.  But, in one statement I began to question it.

About a day later I came to the conclusion (senses) that despite the obvious North Carolina influence, no one squawks like Danny Pound.  Archers weren't this unabashed and out of tune, they weren't as random, and never as emo as Vitreous Humor.  Vitreous Humor is amazing and I'm holding to it.

Looper

Kansas Masque Kirshner 1975

Kansas Masque Kirshner 1975 CAT# PZ 33806

Man, I've listened to more Kansas than I thought possible.  I've grown to like them...a little.  Once you get what they're doing, they're a lot easier to swallow.

This Masque album was the band's second release in 1975, following A Song for America from what I understand.  By this point, they've established who they were as a band; a little prog a little boogie and incapable of any sort of one up-man-ship on their British counterparts.  They have a flair for dramatic and love romantic melodies as much as they love bloated studio production.  In less than year, the band had went from the over-reaching of A Song for America to a sound they could excel in, that's impressive.

The sound found here would be perfected on the next two albums, Leftoverture and Point of No Return, by the far the pinnacle of the band's career.  There are some hard rocking moments on this LP, but no masterpieces.  It's a decent album, but only essential to fans of the band and prog rock enthusiasts.

Child of Innocence

Kansas Drastic Measures CBS 1983

Kansas Drastic Measures CBS 1983 CAT# QZ 38733

There are worse albums than this, but, there are now albums worse than this by the band Kansas.  This is the bottom of the barrel for the band.  So long prog. rock and hello desperate attempt at over produced 80's hard rock.

The album was so lost with itself that it marks a break-up for the band.  After this, they called it quits for a brief time.  Just listen to the song, "Mainstream," you can tell the band was having trouble keeping it fresh as the lyrics describe the pressure of staying true to the band's sound, but trying to stay in touch with the pop rock trends of the day.

The band would later re-form and do a little more than just reunions.  But, they turned back to their days of 70's progressive rock.  The ideas on this album were left alone and died in 1983.  I could be a douche-y tool and make a bunch of puns with the word "drastic" or I could make snarky remarks about how awful this album is...but, it's not really worth it.  Everyone is well aware this isn't any good.

Mainstream

Kansas Point of Know Return Kirshner 1977

Kansas Point of Know Return Kirshner 1977 CAT#34929

After the first two songs on this LP, "Point of Know Return" and "Paradox", it's abundantly clear, this is the Kansas high point.  "Point of Know Return" was a huge hit for the band, they had perfected their progressive boogie rock and by the second track even found a way to make the fiddle work.  While the first two tracks don't match the scale of "Carry On My Wayward, Son," they rock and that goes a long way.

The band get's super prog-y on the synth driven instrumental "The Spider," but it's not as aimless as the band's previous work.  It gets in and gets out.  Kansas get pretentious for only a brief minute before bringing the straight ahead rock of "Potrait (He Knew)", which also happens to be insanely Christian, but that was in vogue at the time.  The first side rounds out with "Closet Chronicles", which when compared to the rest of the side is pleasant filler.

Song by song on Side 2 is further proof that this represents Kansas' best LP despite a few soft spots.  "Lightning's Hand" is a bit silly at times, but its high tempo and guitar solos make it one of the band's heaviest outings and can be considered 70's heavy metal.  The next track, "Dust in the Wind" is a ballad and was another huge hit from this album.  "Sparks of the Tempest" is another heavy metal track and a bit over the top, obviously trying to compensate for the brief foray into sad, bastard music because another ballad, "Nobody's Here," follows.  Its surprisingly good in parts, namely the bridge, but could have done without all the prog elements.  The final track, "Hopessly Human," is based in baroque-era Bach (much of the album is), but it's made especially evident here.  It's a bit too heavy for it's own good, but a decent closer.

Portrait (He Knew)
Point of Know Return

Kansas Power MCA 1986

Kansas Power MCA 1986 CAT# 5838

Good news that if I've actually had to pay for a Kansas LP, I haven't paid over a dollar.  Bad news, this is awful.  It's what you'd expect from a band like Kansas in a year like 1986, though.  Just overproduced pomp rock.

I like Kansas for the most part, well, it's kind of a love/hate thing, but I can certainly respect them.  They have a very devoted fan base, but I can't imagine those fans call out for songs from this LP at shows.  It was a reformed band at this point, Steve Walsh who was previously out was now back in, Phil Ehart was still on drums, but Kenny Livgreen left along with John Elefante.  Instead of prog. rock, you get douchy hard rock.

Even the sole attempt at prog. on this LP, "Musicato", is filled with simple guitar licks and tons of cheesy 80's studio effects.  Such a disappointment.  Despite that, the band still managed a minor hit out of the song "Power" and a top 20 hit out of "All I Wanted".  Good for them, I guess.  The fact that people were still interested in Kansas in 1986 is a testament to their popularity and success.

All I Wanted
Power

Vitreous Humor S/T 7" Geerhed Records 1993

Vitreous Humor S/T 7" Geerhed Records 1993 No CAT#

Well, this may be the last I bring up Jeff Matlow.  However, I can't make promises, despite not being a Kansan or Kansas Citian, the guy did a ton for local scene with his record label.  His first label, Geerhed Records, was a joint effort between himself and a friend, soon after this release, the friend would bow out and Jeff Matlow would rename the label, Crank!  As such, this 7" is the inaugural Crank! release and the first from Vitreous Humor.

It came out in 1993, I wasn't anywhere near cool enough to know that a hip, underground scene was brewing in Lawrence, KS and Kansas City.  I couldn't even drive in 1993.  Wouldn't be for another year or two until I started getting in tune with this stuff.

Truth be told, I'm not even sure Vitreous Humor knew they were hip yet, either.  They sound young on this release.  Further, when Matlow discovered them he initially wanted sign them to a major label.  The songs, "Harbor" and "Stay Tuned for the Holidays" actually sound a bit more controlled than the band's later efforts.  Kind of grungy, Danny Pound sounds likes he's trying to sound professional, the guitars get some twang and don't stray too far off, it's all kind of boring.  And while, "Bu-dah" is a silly throw away, its far more representative of what the band would become.  The other tracks sound like major label try out material.

Harbor