Kay Dennis S/T Pearce Records 1969

Kay Dennis S/T Pearce Records 1969 CAT #H-1118

This is cute.  It's Kansas City lounge from the late 60's, so it is mixed with moments of Playboy jazz, rock, and to an extent, psych.  The cover is incredibly stylistic for Kansas City, the mod art is well done, the colors pop, it looks amazing.  It was recorded in the Cavern Studios outside of Kansas City which was an actual underground cave.  It was a large, natural, open studio so everything recorded there sounds live.  The recording is top notch, the players are capable and play well together, overall, it's a surprisingly well done package.

The LP itself has developed a collector's market around it.  It's been discovered in two scenes, beat junkies and people exploring the world of private press LPS.  There are some pretty absurd drum breaks, a goofy outro on a 7 minute rendition of the Doors' "Light My Fire," Bobby Hebb's "Sunny" has some jazzy breaks that would make a good samples, and there is a huge dance floor scorcher on Burt Bacharach's "Walk On By".  The Private Press guys are always stoked on quality and the LP does have that.  Most covers on the LP are enjoyable due to the players.  Kay Dennis' vocals are unique.  She's got a very childish tone and recalls 1950's white, female jazz vocalists, it's very endearing.  However, it should be noted that these Private Press guys might be disappointed to find out Pearce Records was a small, regional label that released other Kansas City artists.

However, despite all these attributes, it's still a lounge album and there's a reason Kay Dennis wasn't performing far outside of Kansas City.  Every song is a cover and doesn't stray far from the originals.   The rarity of the LP and it's good moments cloud the vision of collectors.  You can read the reviews of the LP online and most will praise it's attributes, but if you get past the highlights, there's no reason for a 7 minute rendition of "Light My Fire". The hit versions of songs like "What the World Needs Now," was all anybody ever needed.  And, nobody in the history of music ever needed lounge act version of the "Impossible Dream."

Sunny

Kansas Song For America Kirshner 1975

Kansas Song For America Kirshner 1975 CAT #PZ 33385

The third album from Topeka band, Kansas.  They tried extremely hard on this LP to keep up with their British prog. contemporaries.  Long, drawn out tunes; only 6 total.  Heavy on synth and orchestration.  They use odd time signatures and bob in out of movements within the songs.  It is an ambitious album and has it's moments, but it pales in comparison to other progressive bands that surrounded them.

It's strong when the band adeptly moves from synth driven interludes to boogie rock.  The 1st track, "Down the Road" is intense and to be cliche, "rocks."  Other parts of the album "rock" as well, the 1st track of side 2, "Lonely Street" deserves mention as does "The Devil's Game."  The final track also contains some insane drumming, that's cool.  However, even in those mentioned tracks most the album meanders around and can become exhausting to listen to.  Many of the bands fans will argue this is the band's crowning achievement.  The sweeping arrangements and time signatures make it their most "progressive" album and it's easy to get swept up in all the studio perfection.  But, if you look past all the smoke and mirrors, it's really just sub-par prog LP with nice moments.

Down the Road
The Devil's Game

The Joy Bells Down Home With

The Joy Bells Down Home With Self Released Unknown Year Cat #TJB 11385

I go to thrift stores a lot.  Every lunch break, I go to a thrift store and look at records.  I come across an absurd amount of strange white gospel music.  If I had to put a percentage on the stuff I look through at thrift stores I'd estimate 10% Christmas albums (regardless of the time of year), 40% absurdly popular vocal artists (Neil Diamond, Barbara Streisand, Rod McKuen, Tom Jones, etc), 25% mix of easy listening, oddball, and classical, 1% music someone actually would like to purchase, and 24% creepy white gospel.

I usually flip past the creepy white gospel, occasionally, if it looks absurd, obviously self-released, or somewhat psychedelic, I'll pick it up and look a little closer.  Some of it I glance and find out its from Kansas or Kansas City, but after looking over the track listing I usually lose interest.  Odd though, about 80% of the creepy white gospel music is from Nashville, TN.  What's the deal?  Was Nashville just pumping out religious bands and sending them to all corners of the globe to play in any church that would allow it?  When was poorly produced, badly performed gospel music a thing?  A scene?

Head scratcher aside, I picked up this one because it was obviously self-released and touts itself as "Bluegrass Gospel."  I like Bluegrass, I like oddball self releases, I don't mind gospel so for a dollar I was game.  Playing it, they sing about Jesus a lot.  Not too keen on that, but whatever.  Overall, it's competent, they got the right instrumentation, these old guys keep it old timey without ever straying into hillbilly territory.  They never try to flash it up or try to make it sound polished and professional.  It sounds as if they put an add in the Church Newsletter for players, then got together and laid down some traditional gospel tunes with Bluegrass as the backdrop.  They do throw in some originals, which aren't terrible, but nothing to brag about.  And, as much as I value a live production sound, they do sound a bit flat and lack energy.  But, it's cute, grandma and grandpa made a gospel Bluegrass album.

Count Basie Basie Plays Hefti Roulette 1958

Count Basie & His Orchestra Basie Plays Hefti Roulette 1958 CAT # SR-52011

Count Basie's Kansas City origins are a good story.  In 1927 he was performing as a pianist for a vaudeville style act.  The group broke up while touring in Kansas City and Basie was stranded.  His first job in KC was playing accompaniment to silent movies in a film house, however, his talent soon landed him jobs with local R&B and jazz artists, he eventually settled as a member of Bennie Moten's Swing band.  He played with Moten until his death in 1935, for a brief time, Basie played solo until forming and leading the Barons of Rhythm with many members of Moten's now defunct band.

His brand of swing is notable for it's commercial appeal.  As a bandleader from the 30's to 40's he was immensely popular. His band even appearing in numerous Hollywood movies during their peak.  He remained popular as a jazz musician even after the decline of big bands in the late 40's as a performer and leader of smaller troupe's.

Released in 1958, Basie Plays Hefti, marks a resurgence as the leader of a big band.  Arranger Neil Hefti had brought orchestration and large bands back into vogue with Basie.  Keep in mind, it's a very tame sound Hefti created and rooted in pop just as much as it is jazz, it doesn't "swing" much at all, but with Basie, it still has a soul.

Cute

Various Artists Eccentric Soul The Forte Label Numero Group 2013

Various Artists Eccentric Soul The Forte Label Numero Group 2013 Cat # 047

This is my favorite release of 2013.  The archivist label, Numero Group, has collected 28 tracks from the Kansas City soul label Forte and threw them onto a two LP set.  It's complete with an amazing and well researched booklet.

Kansas City has it's rich tradition for jazz and blues.  We even have claim to some nice indie-rock.  But as far as soul music, we never developed a famous sound.  The Forte label attempted to capture some of Kansas City's talent in terms of soul music.  Most the performers featured here were around town doing Motown style revues.  But, when the artist got the chance to do their own thing in a local studio on  a regional label, there are some amazing moments.

Now-a-days, these records are nearly impossible to locate.  They likely enjoyed forms of regional success and sold decent, the label stayed active from the mid-60's into the 70's, but the 45's seem to only be available on-line for high prices.  Collectors started gravitating to rare soul side in the 80's.  People wanted regional and unheard sides, the label's output is now blanketed into the term "Northern Soul," which is a reference to all night dance raves taking place in England, but today just means rare soul.

The most popular of these Forte artists is Kansas City, KS' Marva Whitney.  The collection features two selections from Forte output.  She sustained a fairly successful career after leaving Kansas City.  After Forte, she cut some sides for the famed Federal label.  Then, she was featured as a member of the James Brown touring show and recorded for King.  Her King singles and one studio LP are revered by funk collectors as the some of the dirtiest and raw funk recorded by a female.  In the 80's she found herself recording for number of other labels never catching on in one spot.  Her tracks on this collection are representative of her work, she belts out a song like no other, it's like you're being yelled at, and while the talent around her isn't anywhere near the level she had with King, her tunes here are still stunners.

The collection does showcase what could be termed a Kansas City soul style.  However, lots of obscure, regional soul sounds just as raw as what's featured here.  It's not as clean and crisp (and well, as white) as what Motown was doing.  It's not as earthy and blues oriented as what Stax was doing.  It's not as funky as James Brown, but tries awful hard to be.  The main purpose is to get people out to the dance floor, so it's up-tempo, sock-to-me style soul.  Shouters and screamers that would make you think of Sam & Dave or Dyke and the Blazers.  During the 70's the label did allow for more experimentation, Olathe, KS' Everyday People Life reach into prog-rock realms while trying to conjure a Sly & Family Stone feel.  There's also some Willie Mitchell/Al Green style slickness attempted, some of great, some of it only decent. Overall a highly recommended release filled with obscure, but amazing Kansas City musicians.

Marva Whitney Daddy Don't Know About Sugar Bears
The Fantasticks-Cry Night and Day

The Get Up Kids/Rocket From the Crypt Split 7" Heroes & Villains/Vagrant 2000

The Get Up Kids/Rocket From the Crypt Split 7" Heroes & Villains/Vagrant 2000 Cat # VR351, HV 009

This band cracked Billboard charts as an independent recording artist from Kansas City.  They toured with big timers like Weezer and Green Day.  But, what I find the coolest, they did a release with Rocket From the Crypt.  To me, Rocket From the Crypt represents the last great Rock N' Roll band.  The last band that you could play loud and piss off your parents with.  They used nicknames, had a horn section, didn't hide behind punk agendas and alternative fashions, they just played fast and loud.  But, they're not from Kansas City, so it's probably best to stop there.

The song featured here, "Up on the Roof", was recorded on the road in Hollywood, CA.  The band utilized their sound guy and local legend, Alex Brahl, to produce the track.  It's a decent track, considering that they were splitting the time with Rocket From the Crypt, you would have thought they would opt for something a bit more up tempo.  But, in 2000, it represents the first steps the Get Up Kids took in trying to get away from themselves and the Emo Pop genre they unintentionally spawned with the release of 'Something to Write Home About'.  Albeit the song is bit sappy, it does feature a more organic sound that would find it's way onto the 'On A Wire' album.  Dewees' keyboards are set on piano rather than synth, they dump all the pick slides and woo-hooing for a subtle groove centered around the Pope brothers.  The lyrics also feel heavier and more adult than previous work.  Decent track, but still, they were following Rocket From the Crypt, the pick slides and woo-hooing probably would have been fine.

Up on the Roof

Brothers Heritage Sin-The-Tic RMS Records 1979

Brothers Heritage Sin-The-Tic RMS Records 1979 CAT# R33079

I love this type of thing for the rarity, obscurity and weirdness.  This is a private press release from some jazz nerds in Kansas City.  I stress the words nerd not just in the jazz sense, but they sing about some pretty absurd stuff.  If I had to classify this release, Jazz Fusion is a good term, Cosmic Disco/Boogie is better.  The disco elements brings a lot of synth and a ton of funk inspired moments throughout the grooves and some huge drum breaks.  There's also a lot of pop/rock influence, definitely on the art rock  side of things, whichever player is channeling that vibe is obviously a huge Queen fan.  Most tracks feature vocals and not much can be said for the singing, but that's where most the weirdness comes into play.  They use abstract harmonies and have some bizarre lyrics.

The record itself has some collector's appeal based on the jazz-funk aspect.  The initial on-line discovery saw the album selling for over $100 to collectors.  Since then the price has tapered down drastically and you can now score a copy between $20 to $40.  The folks that initially drove the value of the album up were beat jockies and sample junkies.  Hip-Hop enthusiasts looking for drum breaks and un-sampled sounds.  Once they get the stuff out there, the value went down.  It makes sense for the album.  It's inspired music with amazing ideas throughout (and again, killer drum breaks), but as far as putting together one great track, the brothers couldn't do it.  Too many ideas crammed into single tracks.  The LP was produced by one of the members and you get the sense a producer would've have focused the band on a single groove.  Some of the tracks contain sudden and abrupt changes that could have just easily been several different songs entirely.

Unfortunately, I can't find much info on these dudes.  The LP lists Kansas City as home base and notes it was recorded at Sound Recorders Studio in K.C., but for all I know, that could be the home of one of the players.  Features three brothers, Dennis, Phil, and Kevin Rogers along with a host of other players.  Dennis Rogers handles most the drum work and is fantastic.  Kevin Rogers handles guitars and Phil does a lot of synth work.  The album was engineered by Kansas Citian, Ron Ubel, who did a lot work locally and nationally as a sound engineer.