Butterglory Wait For Me Merge 1995

Butterglory Wait For Me Merge 1995 CAT# mrg084

This is both early Merge Records and early Butterglory. It's almost hard to believe that given Merge's current roster with the likes of Arcade Fire, that Butterglory would be on the label if they came out today. The release itself is number 84 on Merge's catalog. It's so simple and a far way away from the label's current glossy looks. The sleeve is just a folded over piece of paper that's screen pressed. The two 7"s included though, they were pressed on virgin vinyl, which in 1995, might have been the only option considering record plants were becoming fewer and fewer, but, let's just call it the early-era of Merge quality.

This release lists Visalia, California as home to Butterglory, so it pre-dates their dominance on the Lawrence Lo-Fi scene (which, never really existed, but you know). The formula was still the same back then for the band. Matt Suggs and Debbie Vander Wall cutting out some clever lo-fi pop tunes with some help from whoever was willing. They sound a lot like Pavement without the unexpected blasts of guitar and feedback. There are other elements, Debbie's plaintive vocals give the tunes a Moe Tucker Velvets feel. And Suggs is a witty songwriter, just at this time, pretty enamored by the lo-fi scene. All four songs are worth owning, even if you're not a completest, the EP is worth picking up if you happen upon it.

And, maybe Merge would still take a chance on Matt and Debbie's lazy brand of pop music. The label has certainly supported Matt Suggs throughout his career. They've also championed their back catalog recently so maybe a Butterglory retrospective is in order soon. (Would also be sweet to have that White Whale LP and Suggs' solo efforts on vinyl).

STUCK

Shyboys Life is Peachy B/W Follow the Leader High Dive Records 2014

Shyboys 45 EP High/Dive Records 2014 CAT# HDR005

If I had the energy to continually get up and flip sides, I would wear this 45 out. More lo-fi, Beach Boys influenced pop from Kansas City's Shyboys.

"Life is Peachy" on side A is perfect. It may be lifted or have some borrowed chord progressions, but soaked in all this honesty and lo-fidelity, it doesn't really matter. Things are fast, the drums sound trashy, and the guitars twang. But, those sun-drenched whispered vocals and harmonies, that's the sweet spot. Just makes you want to play it again and again.

The B-Side, "Follow the Leader", isn't on the same level as "Life is Peachy," but it's a solid tune. Slow and drenched in the same type of thing that makes the A-Side great. It's just a bit too long for it's own good, but the length gives it a super-lazy Sunday vibe which is kinda nice.

Life Is Peachy

Dogs? Self-Titled Dogs? Records 1985

Dogs? Self-Titled Dogs? Records  1985 CAT# SRK 15117

This is pretty lame. 5 dudes with fancy hair and glamour shots doing some pomp-rock. Giving it a nod towards new-wave or power-pop would be generous. It's produced well and the sound quality is fantastic for a private LP, the songs are just boring and swamped in 80's trends. The fact that it's only 5 songs is the best part as you don't have to suffer through much.

As a band, they all seem pretty capable. Most of the members did other things around town. Stan Hartman the drummer is notable for being in Parlor Frogs who appeared on a Fresh Sounds Live in Lawrence comp. The link below indicates the singer, Jerry Sumner, was in the marginally cool band Clocks. But, what this appears to be is a bunch of fairly talented locals putting together a cash-in attempt. Super slick production, the handsome photos on the backside, the roller rink panty-dropper tunes... I imagine they put this together with hopes of signing onto a major, doesn't look like it worked, but good on the Dogs? for trying.

Substitute

The Casket Lottery Real Fear No Sleep Records 2012

The Casket Lottery Real Fear No Sleep Records 2012 CAT# NSR063

This was released almost decade after the previous Casket Lottery LP, so in that regard, it can be called a comeback album. Listening to it, it can certainly feel that way. It's not as angry and aggressive as the prior albums. It takes in a much wider array of influences. It's more sophisticated than the prior work. Skill sets have changed and the band explores it.

This all sounds great, but to the kids stuck in early 2000s emo-bubbles, it's just okay. Even though the fans of the band have likely grown-up, that's not what they want out of their high school heroes. At this point, the Casket Lottery are in their 30's, long gone are the teenage problems they screamed about over the course of several albums. They probably have kids now and wives (or divorces) and relationships centered around adult problems, not teenage drama. It's an age where just out of fucking nowhere, Jeff Tweedy and Wilco make all the sense in the world. Punk rock politics seem trivial and you start to realize Fugazi (despite being incredible at any age) isn't the only band that matters.

It all shows on this LP. It's great, just like everything Casket Lottery did, the quality is here. Further, it's improved. The songs are spaced out, the groove is considered and the band attempts to crossover their punk influences into new tricks and influences works to a great extent. But, unfortunately, their fans wanted Moving Mountains Mach 2. So despite never losing their sound, only maturing, this album is doomed to be lesser Casket Lottery by the band's fans. Which is fine, I just hope when they get into Wilco, they give this another chance.

In the Branches

The Ozark Mountain Daredevils Self-Titled A&M 1973

The Ozark Mountain Daredevils Self-Titled A&M 1973 CAT# 0598

There's like a kajillion guys in this band, enough to keep them going long after this debut in some form or another. Pretty sure you can still see them play around town every month.

The group was formed in Springfield, MO, thus the band name, Ozark Mountain Dare Devil. Their Kansas City connection lies in their management, Good Karma Productions, the same that managed Brewer & Shipley, Danny Cox, and a few other locals. Further, they were discovered by Brewer & Shipely while playing the Cowtown Ballroom in KC. So there KC roots are legit.

The music is pretty Springfield, though. It's not bluegrass or hillbilly, but it uses the mountain influences. You'd probably be better off buying a Dillards LP if you want the real stuff. But, the Daredevils blended some old-time sounds into a modern pop format. Their sound played to everyone, they could open for anyone with their brand of stoner-country. Also, worth pointing out, this LP did have the minor-hit, "If You Wanna Get to Heaven," which is a pretty solid good-ol' boy tune.

Black Sky
Daredevils-LIVE. Look at these fuckin' hipsters

Lander Ballard Hightime Free Wind Records 1977

Lander Ballard Hightime Free Wind Records 1977 CAT# LB7701

As far as I can tell, Lander Ballard is still making music, much more in the new country "Merica" tradition down in his home town of Wichita, KS. You can YouTube it and see all the macho country he's doing currently.

This LP is far better than what you can find online. He put out this LP in 1977 and a second a decade later on his own Free Wind Records label. While I haven't heard the 1987 LP, this is worth searching out and is relatively cheap. It's pretty low-key singer/songwriter stuff that takes moves from Billy Joel and other popular songwriters of the 70's as well as all that slick yacht rock that was going on. It's not as smooth or as polished as the yacht rock hits of the late-70's, it's just got the overriding influences.

If it it has to be categorized, it's hippie-folk. Ballard was into some new-age mysticism (and probably marijuana) and it shows throughout the album. The song "Ch'i (Natural Energy)" kind of speaks for itself. That song actually kind of sucks, but there are some definite highlights. The Joel influenced "Song for an Aging Minstrel" is pretty fun as is "Rock and Roll Man." The rest is uptempo, gentle melodies, that Ballard sings over the top of with a soft set of pipes. For a private LP out of Wichita, production is surprisingly good. Packaging is also top-notch, cover art is kinda cool and there's a nice little lyric book included.

Marilyn Maye Marilyn...the Most Holly Record Co. 1961

Marilyn Maye Marilyn...the Most Holly Record Co. 1961 CAT# H04

This LP appears to be a demo album for both Marilyn Maye and songwirter, Carl Bolte Jr. It would appear Maye was using Bolte's talent to showcase her own and move onto a major label, while Bolte was using Maye's skills as a performer to help him get into the bigs as a songwriter and a producer.

Of course, that's an assumption. For Maye, if that was the goal, it worked. She went onto a very successful career as a singer, recording a number of albums, appearing in movies and in theater, and making a record number of appearances on Johnny Carson.

Mr. Bolte, not as much, but he remained a succesful musician local to Kansas City. Holly Record Co. featured a number of other releases featuring his originals, running form rock n' roll, to children's music, to jazz. He wrote a Kansas City Royals fight song in 1968, one year prior to the Royals inaugural season. He also, as an alumnus, wrote a Mizzou fight song. So, to that extent, Carl Bolte Jr. was able to carve out an impressive musical career within Kansas City and the surrounding areas.

And, maybe he was just looking to make a buck on his own Holly Record Co. Or perhaps, he saw a super-talented young Kansas City singer in Marilyn Maye and just wanted to move her along to the next stage of her career. However, if that were the case, you'd think there'd be some jazz standards thrown into the mix, not a complete album of originals because NO ONE was doing that in 1961. Whether it was his goal to move to Hollywood on the success of this album or not, it's extremely impressive he was able to craft 10 original pieces for Maye and find backing to release it on his own label.

It's a cool album, Bolte's songs are sharp and center around his keyboards and lyrics he penned. They can seem a bit hokey with a lot of call and response between the vocals and the music, but overall, they swing and the campy attitude of the tunes fit Marilyn Maye perfectly. At this point, it's a bit a collector's item. There's a surprisingly large female jazz-vocal collectors scene, primarily in Japan, that will pay a premium for hyper-obscure albums that are quality. A regional debut album from a fairly well-known singer like Marilyn Maye is a no-brainer for those types.

Marilyn...the Most More of the LP