The Embarrassment EP Cynykyl Records 1981

The Embarrassment EP Cynykyl Records 1981 NO CAT#

Of all the Embarrassment stuff I've tracked down, this is my favorite.  Have you heard "Celebrity Art Party"?  It's not just one of my favorite songs by a local group, it's one of my favorite songs by any band, ever.  It's a mastepiece.  Humerus lyrics that hold up today, a neurotic, nervy beat, the Feelies couldn't match this tune's greatness back in the day.

The other 4 tunes on this EP are winners as well, plus they're divided into a 'Happy Side' and a 'Snappy Side'.  Personally, if had to get rid of one track, it'd be "Elizabeth Montgomery's Face," but that's just as much a fan favorite as any other of the band's tunes.  It also features the song, "Wellsville," which is Small Town, Kansas and highway travel; the notion that if you blink you'll miss it and how that idea relates to life.  It's done with humor though and not as deep as I'm making it sound here.  I used to play the track once a week when I hosted Plow the Fields on KJHK, I was kind of obsessed.

Anyway, I could go on gushing about this EP more, but it gets kind of redundant.  If you've never heard this band and have the means, this is highly recommended.

Wellsville
Homemade Rock Video for Celebrity Art Party

The Gadjits Wish We Never Met Hellcat Records 1999

The Gadjits Wish We Never Met Hellcat Records 1999 CAT# 80416-1

For about two weeks I was into new ska until I realized I really only liked the Specials and the original Jamaican stuff.  Despite that two week period, I never enjoyed this band despite their local status.  So why did I buy this?  I don't know, because it's local, and I was pretty sure I'd never see another copy.  I even had a conversation about it with the owner of Zebedee's.  I was begging him to pull something from his stacks within the same price point that would blow my mind.  A hard to find local album he had buried somewhere.  Instead he recommended I pick up the new Blood Birds LP and looking back, he was 100% right.

The band does represent the ultimate in Overland Park, Kansas hip-ness, though.  And, despite their attempts to make Overland Park sound cool on the back sleeve, it's still a pretty boring town.  There was a legitimate Overland Park teen-scene at the time.  There was this band who signed to Hellcat Records which was operated by Tim Armstrong of the band Rancid.  They toured extensively as teenagers and were fairly notable in the neo-Ska scene.  There was the pre-Anniversary band Nuclear Family that toured with the likes of Goldfinger.  Then there was all the Gee Coffee bands (Gee Coffee being an all ages venue that booked teen bands) that were gigging locally and from the Blue Valley area.

Wish We Never Met is what you'd expect from privileged, suburban, white kids that play punk music.  Their anger sounds forced.  The swearing sounds disingenuous.  Their world views are sheltered and childish.  The ska is well, new ska.  There's been reviews that say the band incorporated jazz, maybe for about 30 seconds they do before they call out "Pick It Up!" and go into a ska chord.  It's not any different from the countless other bands that tried to push this genre to the mainstream after the success of the Mighty Mighty BossTones.  Rancid was the only decent one of the bunch and they were far more rooted in punk than they were ska.

The three Phillips brothers that formed the band are admittedly a talented bunch.  Musically, you can tell that ska was something they enjoyed, they had the technical ability to go beyond it, they just chose not to.  Later, they did a 180 with the band and stopped the ska thing.  They became a soul/rock/punk hybrid band similar to the Strokes.  The first stuff they did in this fashion was released as the Gadjits.  Later, they would change their name to the Architects which for a brief time featured Adrianne Verhoven of the Anniversary.  They still gig under that name and have far outgrown their teen ska days.

Oddly, the drummer of Radkey is often photoed in his Architects shirt.  Which, if I wanted to go conspiracy theory on, I'd have to say the Phillips brothers are the ones feeding Radkey the tunes in one last attempt to hit the big time.  Then again, maybe the kid from Radkey actually likes the Architects, I don't know.

Thinkin' About You
Bad Gadjit

The Get Up Kids There Are Rules Quality Hill Records 2010

The Get Up Kids There Are Rules Quality Hill Records 2010 CAT# QUAL - 003

Yeah, outside of the first 7" this band put out, this is the only thing I've ever paid for by the Get Up Kids.  Not that it matters, I just wish I had bought more because members weren't always around to give me free shit back in the day and I have some holes I'd still like to fill.

Truthfully, I bought this album, listened to it once, and shelved it.  Threw it aside as the band attempting to be something they weren't.  I listened to to the album, waiting for Jimmy Suptic to do a pick slide and Matt Pryor to yelp about a girl and it never happened.  It's filled with a lot of electronic accompaniment and finds the band going to the early DC scene that was the epitome of cool when they first started.  It felt like they were trying to be angry which doesn't suit the band.

Then, as something to throw on for a quick fix I started spinning the 10" that came out previous to this LP, Simple Science.  And, while I still scoff at the use of a William Burroughs sample every time I play it, I've started to enjoy the four tracks it offers up.  So, next logical step, give There Are Rules another try.

After giving it another try, it's pretty fucking good.  It doesn't sound like the Get Up Kids, though.  But, had another band produced something similar to this, it would have been met with rave reviews.  Instead, it gave another reason for Pitchfork to call Kansas City boring and blast the Kids at least one more time.  But, hey, There Are Rules review does say the hatred the band got within the indie-community was a bit over the top.  Which might be a failed attempt to apologize because anyone can  read the previous Pitchfork reviews and realize Pitchfork was the the ring leader and trendsetter for Get Up Kids bashing.

Moving along, there are some great ideas here and an amazing Side 1.  Again, I stress it sounds nothing like the Get Up Kids, but it's good.  To go in order, "Tithe" and "Regen't Court" go back to the Fuguazi/DC sound the band discovered in high school.  "Shatter Your Lungs" is a brilliant little post-modern pop song.  "Automatic" and "Pararelevant" are high energy.  "Rally Round the Fool" is probably the weakest of side 1, mid tempo, experimental-ism that uses echo effects and programmed beats because Portishead apparently is still cool.  Side 2, not quite as strong, but has it's moments as well.  "Better Lie" starts with it's Strokes-esque vocal effect to get Pryor's voice down an octave so the band can be a bit darker.  "Keith Case" is featured on the Simple Science EP and features about the only chorus that resembles something you'd find on previous work.  "The Widow Paris" feels a bit programmed, a bit 80's goth, not executed as good as it could have been.  The band throws a nod to the early British post-punk scene with "Birmingham" before things get a bit wishy-washy with the sentimental tackiness of "When It Dies."  The album ends with "Rememorable," which is a stupid ending song title but, it's got a lot of crunchy guitars so it's enjoyable.

Overall, it's an album filled with all the influences they felt they couldn't touch as Get Up Kids Mach I.  Their previous success pigeonholed them to a specific sound.  Their career took them all over the world where they discovered albums, bands, influences that were previously off limits.  I mean crap, Pyror had to create the New Amsterdams after discovering Elvis Costello, it had no room in the Get Up Kids sound.  The Pope brothers did rhythm for Koufax just to sound retro.  In the end, it doesn't sound like a band trying to reestablish a career, it sounds like a band finally allowed to get some things off their chest, a one last hurrah type event.

Shatter Your Lungs
Regent's Court

The Embarrassment God Help Us Bar None 1990

The Embarrassment God Help Us Bar None 1990 CAT #7 72635-1

When I first tracked this down, I was a disappointed with it.  The production is beefy, loud, and unforgiving. The band re-records previous classics and it just sounds forced.  It was also released in 1990, yet it seems to hearken back to 1985 for influences, which make it sound more out of place than the production.

It was a reunion album of sorts.  The band's catalog was secured by Bar None so the all encompassing Heyday 1979-1983 could be released.  Apparently, the people at Bar None were so enamored by the Embarrassment they asked them to do an album to coincide with Heyday and a post-83 compilation that was never released.  The band obliged.  Simple as that.  The fans didn't expect it and I don't even think the people at Bar None expected it, but it happened.

Listening to it again, it has it's moments.  While certainly not the band in its prime, any Embarrassment is good Embarrassment.  The first track, 'Train of Thought' is excellent and wouldn't miss a beat on anything they released previously (this goes equally for the song's reprise on the flip side "...The Train Repirse").  "Horror of the Fire" has a good roots rock vibe and likely would have been scoffed at it the band's earlier days, but gets the nod on a release like this.  "Podmen" has some great guitar work.  At the same time though, I could do without the song "Albert."  The remake of "Sex Drive" draws too much on metal and hard rock.  Finally, the remake of "Burning Love" is worthless and adds nothing to the album.

Horror of Fire
Train of Thought

The Get Up Kids On A Wire Picture Disc Vagrant/Heroes & Villians 2002

The Get Up Kids On A Wire Picture Disc Vagrant/Heroes & Villians 2002 NO CAT#

The career killer.  At least that's what a member of the band once told me.  There's an element of truth to it.  It wasn't a well received LP and afterwards, the band made one more attempt  on the Guilt Show album, but that seemed disingenuous.  The band had changed, grown up, members got married, had kids--they were too old to be Get Up Kids.

Over time, I've come to enjoy the album.  It's got some of the best songs they ever wrote as a group.  Problem I've always had with it was the production.  And, I'll address it, just a bit of a back story.

Prior to On A Wire's release, the Get Up Kids were in a position to break out of the indie-scene and become relevant as a mainstream artists.  They toured Something to Write Home About relentlessly.  They'd become fairly well known outside of their .emo confines by touring with the likes of Green Day and Weezer.  They were now outside of college music/indie rock scene and on that somewhat hip highschool/sorority girl level of popularity.  All they had to do was write Something To Write Home About part II.

Instead, they tried to grow up before their fan base did.  They wrote their most competent and adult themed songs to date and hired a big time producer to get them to the next level.  Scott Litt was put in place.  It made sense for what the Get Up Kids wanted.  They didn't just want to be popular, they wanted to be respected and have a substantial career should they reach commercial success.  If you look at Litt's work with R.E.M. the move made sense.  Litt's production put that band into the mainstream without making the band compromise their individuality.

For whatever reason, Litt sucked out any energy of these songs.  It sounds as if the band is shooting for adult contemporary radio, not modern rock.  I heard the songs live, when they were new, still had energy and a groove.  Litt didn't allow it.  The production mirrors the placid early Matthew Sweet stuff he did, or the bore-a-thon that was the first Indigo Girls album.  It bears no resemblance  to All Shook Down by the Replacements, which he should have referenced.  And there is some blame on the Get Up Kids, the songs distance themselves from their previous work.  But, listen to "Grunge Pig" (terrible title), "Stay Gone", or "Wish You Were Here", there's a rock song trying to escape, there's a groove that was ignored, shelved for the notion that housewives in Middle America like things subdued and boring.

It's an album that should have been great, but offers disappointment.  Again, I stress, great songwriting, great ideas, just poor execution.  To it's benefit, it's not the fucking travesty Jimmy Eat World carried out during the same time.  I mean, that band sold out.  They went from relevant Emo band to writing songs for 14 year old girls.  And, it does sound grown up.  Better than the band's long time nemsis, the Promise Ring, who tried to stay young well into their mid-30's before giving up.  And, despite trying to go big time, they stayed local.  They utilized long time friends and producers Ed Rose and Alex Brahl on some tracks.  They hired Olathe, Kansas native, Travis Millard, to do the artwork and even create a video.  Most local band ever.

Overdue Video with Travis Millard's amazing artwork

John Biggs The Roads We Travel Blue Valley Records 1979

John Biggs The Roads We Travel Blue Valley Records 1979 CAT# 001

Private press LP from Manhattan, Kansas.  I got this by posting records on Instagram.  There's an absurd amount of people that post, brag about, and talk about records on Instagram.  I got into it just recently, started following @soundtracksunday.  He posts a lot of soundtracks and his thing is he started the soundtracksunday hash-tag in which you listen, post, and hash tag a soundtrack on Sundays (obviously).  I posted a copy of the Rockers soundtrack and mentioned I had a double, @soundtracksunday asked if I wanted to trade.  I replied, sure, but sent it to him without committing to any sort of trade at the time.  A few months later I got this out of it, cool right?

It is decent.  John Biggs is a picker and falls a bit more on the country side of things than he does the bluegrass side.  I wish there was a larger scene for stuff like this in Kansas.  Many, many, years ago there was Big K Records out of Kansas City that did a lot of root driven country music.  There's also the Walnut Valley Festival in Winfield, Kansas.  It's a large acoustic music festival catering to pickers, bluegrass and old time music.  There's also an absurdly large scene that goes from Springfield to St. Louis, Missouri.  Some of it incredibly good.  Most of it a little too influenced by Jesus, the Ozarks, and Branson, Missouri.  But, the good stuff is really good.  Since the furthest I'm going to get away from Kansas is St. Joseph, Missouri, I wish there was more stuff like this available from Kansans.

Biggs is good when he keeps it on the country side.  His originals aren't too bad.  The traditional songs that make up the bulk of the album are the best moments.  My biggest complaint is that his voice is in the higher registers.  The arrangements are crisp and it tends to make his voice sound like a minstrel Renaissance fair singer.  That, and he's from Manhattan, Kansas, but that goes without saying.

Rooftop Vigilantes & Mannequin Men Split 7" Replay Records 2012

Rooftop Vigilantes & Mannequin Men Split 7" Replay Records 2012 CAT# RR004

Man, the Replay Lounge in Lawrence, KS puts out records now.  That's freaking rad.  My favorite year in college was spent living at 1001 Rhode Island, a block down the street from the Replay.  Walking to a place to get drunk is the best way to get drunk.  And, I was still cool.  I remember when I was 24 and done with school; all the sudden I found myself saying, "When did all these fucking kids turn 21," at the Replay.  It's a hip place.  So hip, that the KU Greek community thinks it's a gay bar.  That's insanely stylish.  Now, they put out records to boot, again, that's freaking rad.

Before I go into this 7" though, just a few more notes on the Replay. I sneaked into see the last Regrets show (under age).  And, I saw Elliott Smith perform there with like 5 other people in attendance.  I love that place.

This 7" came to me by chance, but it's still readily available at the Love Garden and I assume the Replay.  I wouldn't know about the Replay, I'm too old and square.  The 7" features Lawrence band, Rooftop Vigilantes, along with Chicago punks, Mannequin Men.  The Mannequin Men I know, they're kind of a Chicago garage-punk fixture now-a-days.  Not local, but shows the Replay means business with their record label.  They probably couldn't have paired them with a better band.  I don't know anything about the Rooftop Vigilantes other than these songs are great.

The tunes 'Automatic Trash' and 'Trouble Making Words' are relentless.  The band is literally everything I've wanted pop punk band to sound like.  I've never wanted to hear suburbanite kids play crisp, clean chords and sing with a fake British accent about boogers and farts.  Pop punk should sound like this.  Literally, punks attempting pop tunes while screaming and leaving all the mistakes in.  The garage sounds you get from these tracks--the winding organs, the broken scream along harmonies, the loud guitars--it's perfect.  Highly recommended garage rock.

Bandcamp Site
Live at the Replay
Replay Record