Soft Reeds W/ Minden Split 7” Magic B/W Get Clean The Record Machine 2011

Soft Reeds W/ Minden Split 7” Magic B/W Get Clean The Record Machine 2011 CAT# TRM 038

I can’t get into the Soft Reeds…the song, “Magic,” is no different. It’s catchy and all, it’s just got too much flashy tricks, it sounds way too Republic Tigers, which to me, isn’t that Kansas City. But yeah, I'd spin it at a bar or something.

Minden is on the flip side and also a Kansas City band. They do, at least on this 7”, take a more lo-fi approach than the Soft Reeds, but it’s in the same vein of the atmospheric indie-rock.

Either way, it’s a nice 7” by the Record Machine, apparently limited and like anything limited, on colored vinyl.

Titan! It's All Pop! Boxset Numero Group 2011

Titan! It's All Pop! Boxset Numero Group 2011 CAT #024

The Numero Group is pretty awesome.  They put out an amazing Kansas City soul comp documenting the Forte label, but it was not all encompassing.  This Titan! boxset, though, it's everything and features additional tracks recorded for the label that were never released.

The Titan! story is fascinating.  At the height of the power pop scene, this small Kansas City label put out a number of quality singles and a compilation that no one noticed despite some rave reviews in the right zines.  And, when I say no one, that includes Kansas City.  Groups like the Embarrassment were extremely obscure, but well regarded locals,  but despite a radio-friendly sound, the Titan! artists couldn't even garner local attention, let alone national.  Most these singles set collecting dust for years until a collectors market got turned on.  It would take years for Titan! to trickle it's way into the pantheon of underground Power Pop circles.  Even today, it's rumored that the label founders have stock left including a good amount of the It's All Pop compilation album.

Eventually, the label did find it's niche (or maybe the niche found Titan!).  The Internet and constant trading of mix tapes put some of the label's singles on the map.  Now-a-days, some enthusiasts are willing to table Titan! singles next to the likes of LA's Bomp! label.  The 45s are scarce and command a fair amount world wide.  But, even with the later day appreciation, it's still a small market.  Very cool that the Numero Group decided to put this out (it's also reasonably priced, less than $50 for 4 LPS, box, and booklet).

Below is my half ass attempt at a breakdown of all that is here:

The Boys - This band is provided two full sides on the box set.  Likely because they are one of the most sought after Titan bands.  Further, probably the only band on the rooster able to fill a full two sides.  They're from Nebraska, so not local.  But, sugary power pop nonetheless, didn't ever get too rowdy.  They have their moments.

Gary Charlson- Got a pretty big soft spot for Charlson.  When I was in college I went through a huge power pop kick and was always on the hunt for Titan! 45s.  Something I had come across was a bootleg compilation CD that featured Charlson's tunes.  I had found the CD from Wascal's Wecords and Stuff when it was located inside the Olathe Gee Coffee on Sante Fe.  Wascals no longer exists, but Greg (aka Wascal) explained to me that prior to me buying the CD, Charlson had just popped in.  He was an Olathe guy, ran a heating and air conditioning business, just made some solid pop gems as a musician back in the day.  Personally, of all the Titan! artists, I think Charlson deserves the most praise.  He's not too AM and he's not over the top in a way that just screams, "We are overcompensating because we're from the Midwest."  His stuff would fit in fine in the LA scene or New York, just sounds natural and soaked in skinny tie coolness.  He's also still active today, occasionally even drops in on guitar with other locals like the Rainmakers.

The Gems - More KC power pop.  The Gems were first JP McClain and the Intruders, but that band ceased to exist despite some of the early tracks found here on the boxset.  They're on the British side of the fence with their power-pop, very much in line with Stiff Records and Elvis Costello.

The Secrets* - Seems to me that this band had the most commercial appeal locally.  They landed a track on a local radio station compilation album and their sound is a bit more commercial ready.  Bar band style, but not hung up on a specific coolness factor, just bashing out some pop tunes without a lot of muscle.

Arilis - Arlis is another Nebraska, dude the Titan! guys tracked down.  He's decent, power pop for sure, got some teeth to it.

Millionaire at Midnight - This was a Lawrence, Kansas based band who had been taking their working class pop all over the Midwest prior to an attempted release with Titan (never came out).  You hear a good bar band, tons of guitar solos, very workingman's Foreigner, had they been given the tools, they would have took it to the studio rock level in all likelihood.

JP McClain & the Intruders - This band barely existed, while it did it featured Gary Charlson on guitar.  Highlight is the song featured here, "Just Another Pop Song," which would later be used and paraphrased, 'It's All Pop,' for the label sampler and mantra.

Scott McCarl - Decent, sugary, bubble gum pop.  Nebraska dude, so he's regional.

Bobby Sky - Okay, this is the coolest discovery I made after purchasing the box set.  Bobby Sky was a moniker for artist, Dean Klevatt, who was a local kid.  He discovered Bowie in the 70's and ran off to England.  Even cut an obscure 7" for Decca.  The single failed, but in England, he met up with Kim Fowley and came back to the States.  Fowley used him as a studio musician, in fact, his keyboard is heard on the first Runaways.  Fowley also convinced him to take up the name Bobby Sky.  When the Titan guys heard about him they got a hold of the three tracks featured on this set.  The song, "The Water," was co-written by Kim Fowley.  Sky's pop is filled with anglophile nods to the British Invasion with a healthy dose of AM pop.  Especially enjoyed the track, "What's the Name of that Song."  Having no single on the Titan! label, Sky left town again, finally finding a gig as the keyboardist for Lene Lovich of all people.

Charlson's cover of Dwight Twilley's Shark and a few others

Cheap Beer Compilation Replay Records 2011

Cheap Beer Compilation Replay Records 2011 CAT# RR001

Sweet compilation filled with short, noisy, punk rock from Lawrence and Kansas City bands.  It came out back in late-2011 and was limited to 500 copies.  It's still around, but don't snooze if you see one and don't have a copy already.

The packaging for this thing is incredible.  Front side you get the corner of 10th & Massachusetts and a zombiefied version of the Replay Lounge.  Backside shows you the Jackpot Saloon.  Favorite part about the release is that they used a Pabst Blue Ribbon box cut out and printed the track listing on the back.  I know, you're thinking PBR is crap and hipsters just need to stop.  Seriously, though, the Replay Lounge has been serving PBR from a tap since their existence.  Long before a hipster fashion sense, there were kids at the Replay drinking PBR from a plastic cup for a dollar.  #trendsetters

This release started up the Replay Lounge as a label, since it's release the bar has put out a handful of 7"s and a Red Kate full length (which I need to pick up, it's also limited to 500).  Their approach was to just take the best tunes the bands had to offer.  Most of these tracks are available on a full length or EP or website downloads.

However, most tracks aren't available in the vinyl format.  So, in 2011, you got the best the bands had to offer on vinyl.  Solid approach, obscure compilation tracks were great fit in the late 90's, but these locals aren't sporting huge followings, better to just get the tunes out there.  Everything is worth a listen if you're into noisy, punk rock and garage sounds.

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

Ad Astra Arkestra S/T The Record Machine 2011

Ad Astra Arkestra S/T EP The Record Machine 2011 CAT # TRM-036

So, I bought this album recently (had to, it's limited to only 300 copies, I was getting worried) and no where on the record does it say play at 45 RPM.  I put it on at 33 1/3 and was pretty sure I had just dropped acid and my face was melting.  It was fucking intense, then the vocals kicked in and I realized my error.  But seriously, someone should sample some of these tunes in 33 1/3 for some dope beats.

The band was formed from idea that was Lawrence's Ad Astra Per Aspera and members of the "Arkestra" play around town in numerous other bands.  It's a cool idea, with all the members and a ton of percussion, but it does get a bit pretentious.  A group of white hipsters calling themselves an "Arkestra"?  Sun Ra should probably get off his space ship and punch the band in the face a few times.

The band dubs itself "Astra Beat" or "Drum Punk" (again, more pretentiousness) which means post-modern centered around percussion.  They use tribal rhythms and scream a lot.  They are some really good moments when the beat is steady and they place a nifty riff over the top.  Some good dance moments.  Then there are some borderline hippie moments, which I didn't need, but I get it and I figured it was going to happen just based on the cover.  Besides, one of those boder-line hippie moments, "Apostle's Fossils," is the highlight of the album.

Ophelia's Blues

Marva Whitney It's My Thing Polydor/King 1970 (2012 Repress)

Marva Whitney It's My Thing Polydor/King 1969 (2011 Repress) CAT #PD 1062

One year ago today, Marva Whitney passed away.  She was Kansas City born and raised and started her career in KC.  She played the Kansas City scene, leading the group Tommy & the Derby's, did the Motown revue's and opened for touring artists when they passed through.  She was asked to tour with Bobby Bland and Little Richard, but turned both down opting to join the James Brown Revue as a featured vocalist as she thought it was the best move for her career.

It certainly was the best move, Brown did all he could do to make her successful as a part of his act.  During the shows, Marva Whitney would provide the audience a couple of songs while Brown rested.  He recorded her and provided her some of his best material.  There are singles cut for Federal and King while she hung with Brown.  There is also the above album, as well as live LP from the King years.  The title song of this LP, "It's My Thing (Part 1)" was released as the single, "It's My Thing (You Can't Tell Me Who To Sock It To)" and as a response to the Isley Brother's "It's Your Thing".  It represented her highest charting single.

While she never became a mainstream R&B artist, her time spent with James Brown kept her active and in front of large audiences.  The move to go with James Brown far exceeded anything she would get by backing Bobby Bland or Little Richard.  However, most say that this was among the most difficult times of her life.  When she moved back to Kansas City after her time with James Brown she told friends and family just how true the name "Hardest Working Man In Show Buisness" was.  Brown was known to work his artists relentlessly.  She had a child from her marriage to Kansas City soul singer, Harvey Whitney.  However, she was never able to spend time as a mother due to constant touring and recording.  Homesick, she left the Brown stable in 1970.

She would record some unsuccessful singles for the T-Neck label afterward.  Afterwards, she would marry Ellis Taylor, the owner and operator of Kansas City's Forte label and cut some sides.  After little success on the regional label, her recording career largely ended aside a few sporadic singles and one-off LPS.  She only briefly stopped performing and would later be a member of the J.B.'s All Stars which were a group of former Brown artists.  She didn't stop performing until 2010.

This LP represents her best work.  The material is top shelf and the players were the best in the business as they were Brown's backing band.  It is a compilation of mostly singles released for the King label, some of which we re-recorded for the LP, others that were not.  It's absurdly collectible due to it's scarcity and the fact that Whitney is one of the greatest female funk performers of all time.

The girl did not hold back, she's a screamer.  The band gets most of the attention by the collectors, the cuts have been heavily sampled throughout hip-hop, especially the track "Unwind Yourself."  But, Whitney gives these songs personality.  She's got to be the only women that could match Brown's delivery.  Further, she's got to be the only women allowed to shout out "Maceo!" when the groove needed to get deeper.  You're not going to find any ballads (well, there is "If You Love Me," but she screams that one out, too) or anything that would have played well to a white Motown crowd, this is brassy, funk, floor stompers meant for the live crowds.  There were plenty of noted soul diva's out there, but only a few funk divas like Whitney belting out tunes like this.

Unwind Yourself
It's My Thing (Live TV Performance)
You Got To Have a Job (Duet with James Brown)

Rainmakers 25 ON Big Dipper Records 2011

Rainmakers 25 ON Big Dipper Records 2011 CAT # BDRLP091

Pretty rad that this band is was so big in Norway and Scandinavian countries that they still can release music there.  This is an import vinyl issue that I bought locally at Vinyl Renaissance fairly cheap, they could barely give the thing away.  Which typifies the KC scene.  You can be a KC band, be huge somewhere else and everyone back home either calls you a sell out or doesn't know who the fuck you are.

There are even a couple of tunes here devoted to Kansas City, like the band is begging the hometown to embrace them.  'Missouri Girl' (pronounced Misery Girl) is exactly what you'd expect, a song about a Missouri Girl (Walkenhorst's wife).  It's no 'California Girls,' but it's a solid attempt.  'Kansas City Times' talks about the back roads of surrounding towns, also a good outing.  You can't say the band ignored their roots, they were always proud Kansas Citians; even when their audience is almost entirely foreign.

Overall, it's a decent album.  You can't expect a masterpiece from an aging, semi-retired band.  The Americana they relied on in the late-80's is now highly pronounced and well developed.  Bob Walkenhorst's lyrics are still literate and clever.   The production is far better than it was in the 80's.  Walkenhorst still sings in a style reminiscent of the 80's, but you get used to it and it's toned down over the years.  If the legend is true and these guys are huge in the Slavic countries, this isn't a bad way to represent KC.

Kansas City Times (Live)
Turpentine (Live)
Missouri Girl (Live)

BE/NON Moi Ou Toi B/W Not Tonight Curve Groove 2011

BE/NON Moi Ou Toi B/W Not Tonight Curve Groove 2011 CAT # CG-001

I'm not a huge BE/NON fan, but both things I have came to me brand new and incredibly cheap.  This was put out by a recently out of business record store in Gladstone, MO called Earwaxx Records and More. It was a solid store, I loved it.  The owner was generally behind the shelf and gave great deals on trade.  He also put out VG - stuff and sold it to you at a super fair price.  I love getting nice, playable, copies of stuff and paying less because the cover has some issues.

Anyway, from what I understand, the owner of Earwaxx purchased a large collection of LPS for $6000.00.  He immediatly sold some high end items off and recouped his investment plus.  Opened Earwaxx and gave great deals, apparently made a good business out of it, and even attempted a record label.  For whatever reason, he closed shop.  I asked in the last days, he really didn't say anything other than it was a solid money maker for him, he just had other problems that needed to be dealt with.

His label only released 100 of these.  This is copy 64 out of 100 and it's on gold wax, I'm assuming all the rest were gold as well.  It's more of Brodie Rush's experimental psych rock.  The first side, 'Mon Ou Toi,' is a bit of a drag.  Repetitive synth rock with tribal beats.  Reminds me of the first Fun Boy Three album (who people don't give a chance due to it's 80's looks), but a little angrier.  That, or it sounds surprisingly like Rex Manning's chorus to 'Say No More Mon Amour!' from the movie Empire Records, which isn't anything you want to sound like...maybe it's just the similarity in phrasing, but seriously, I really hear that.

However, 'Not Tonight' is fucking brilliant.  Newbies are going to hear the Elephant 6 collective in it, but it's heavily rooted in 60's psych complete with a chiming 12 string guitar.  Great sounds, it's centered around a simple drum loop and the band just keeps adding to it.  Vocal effects come in, more stuff added.  It's really a great track.  Makes up for 'Moi Ou Toi' by leaps and bounds.

BE/NON Live at Earwaxx-Not Tonight

The Embarrassment Sex Drive B/W Patio Set Last Laugh Records Reissue 2011

The Embarrassment Sex Drive B/W Patio Set Last Laugh Records Reissue 2011 NO CAT #

Even in underground rock circles, there are songs that just completely ignored rules and did their own thing.  In garage rock the song 'Blackout of Greetly' by Gonn comes to mind.  All the rockers around them doing 2 1/2 minutes tracks and they released a 5 minute behemoth of fuzz and acid.  More popular example, the Velvets releasing a 7 minute character study around 'Heroin'.

After the 70's had ended and England claimed punk, there were tons of rules.  You couldn't be slow, you couldn't be long winded, and you had two choices, political with an agenda or total gutter sleaze.

In comes the Embarrassment, living in the middle of the country probably caring very little about the punks to the East and West.  They crafted a 5 minute epic called 'Sex Drive.'  Just driving drums and whirling guitars, lyrics about a highschool jock type character with sweet wheels getting the chicks into his car and showing no respect.  It's amazing.  It didn't subscribe to any rules to stand apart.  The isolation of Kansas allowed these guys to be more punk rock than they probably wanted to be.  Because, that's what the genre was supposed to be about, not following rules and creating something yourself.

'Patio Set' is seriously got to be the most labeled "The B-Side is good, too" song ever.  It's literally about a patio set at first, but it turns into some sort of metaphor for a girl.  It was his favorite patio set, then it gets old, I guess.  I don't know.  It better showcases what the band would later become, jangly, 80's indie rockers.  But, when compared to 'Sex Drive' everyone is right when they just state, "The B-Side is good, too."

Two years after its initial release in 1980, Flipper would release a song titled "Sex Bomb," a 7 minute repeating rant.  Everyone gives those Northwesterners a ton of credit for being a game changer, truthfully, I think they heard 'Sex Drive' first.  There was really nothing that sounded like either tune in the genre.  Black Flag would later perfect sludge rock, but this masterpiece from Wichita, KS came first.

To score an original 'Sex Drive' 7" is near impossible.  If you spot one and it's not over $100, buy it.  This is a near perfect reissue with everything you need.  And, last I check they are still available from Last Laugh Records.

Sex Drive