Ozark Mountain Daredevils Men From Earth A&M Records 1976

Ozark Mountain Daredevils Men From Earth A&M Records 1976 CAT #SP-4601

Although they continued several more years past this release, this LP marks the end of a pretty good run for the Springfield, MO band that made a huge impression on Kansas City in their early days. This effort wasn't as consistent as their prior releases, but it's the same odd blend of old-time bluegrass, smooth pop, and country rock that sometimes goes song to song and other times within a single track.

There's a crazy story about founding member, Randle Chowning getting into a fight with his bandmates in Europe and quitting the band around the time of this LPs release. Apparently, a band sound mix pissed Chowning off, so he turned it to 11. After the show, he argued with band members and held a grudge all the way back home and ended up leaving the band. Despite that, he's listed as a sideman in the credits for 'Sideman From Earth', obviously appearing on some of the album tracks. Also interesting, the album was recorded EVERYWHERE. In Nashville, as well at the legendary Caribou Ranch in Colorado, and surprisingly at American Artist Studio in Springfield, Missouri, the same studio that drummed up business releasing a bunch of local custom and private press records in the area.

Again, 'Men from Earth' is a bit more uneven than the prior LPs, maybe due to the all the different recording locations. But, it's not a miss by any means, it has its share of enjoyable tracks, just lacking an obvious hit.

Fly Away Home

Larry Good Movin' Country Lari-Jon Records Year Unknown

Larry Good Movin' Country Lari-Jon Records Year Unknown CAT #R-1179

Larry Good looks like a bad-ass in his fancy cowboy hat and turquoise jewelry. Truth is, the Kansas City born performer was. Looking at the cover, you'd think it's just some sap from the KC area trying on his country digs, and it is, but Larry Good had a name.

Prior to starting up in rockabilly and country music, Larry Good was Kansas City born baseball player who played in the Chicago Cubs minor league system as an infielder in the early to mid-50s, but he never made the Show. Following his baseball career, he put out a slew of 45s on the Kansas City labels, some of the early rockabilly stuff he did is well-regarded. He continued his music career for over 40 year and apparently, in the 80's he founded Lari-Jon Productions/Records that coincided with a country music television program that aired throughout Nebraska.

The album suffers from dated production, but overall, Larry isn't so bad. He picks out some ass-kicking country to cover, He sticks to traditional country honky-tonk, early country sounds. He jumps into his rockabilly groove on a cover of "White Lightnin'". There's two originals that conclude the LP, they're pretty simple attempts at sing-along bar chants or possibly something he had in mind for the closing of his television program.

The Reflections My Heroes Have Always Been Cowboys American Artists

The Reflections My Heroes Have Always Been Cowboys American Artists Unknown Year CAT #AAS-1500-LP

Not sure of the year on this, but it's gotta be sometime in the 80's judging by the scorching cover of 'Fame.'

Also, not exactly sure where The Reflections are actually from, but searching the large lists of names on the back cover would indicate most players resided around Pittsburgh, Kansas. The group is made up a large group of teenagers, some with guitars, a few with keyboards, even some horns, and a single drummer keeping the Reflections in place.

It's basically a high school style music review, but with songs the kids were actually interested in. Which for the area, is country...lots of country. 'Long Haired Country Boy' by Charlie Daniels is probably the highlight as it's way too adult for the kids performing it. Other than that, the attempts at pop songs are fun, the horns are usually heavy in those tracks and the cover of Olivia Newton-John's 'Totally Hot' gets pretty dirty.

The amateurishness of these types of LPs are endearing and The Reflections are strong in that regard.

Dave Perryman Sincerely Yours Pearce Records Year Unknown

Dave Perryman Sincerely Yours Pearce Records Year Unknown CAT #7632

Dave Perryman looks like quite the honky tonker on his album cover and his LP starts out that way, although its the heartbroken kind of honky-tonk. Pretty typical of regional country that's removed from Nashville, the LP is all covers and depends on the school of Hank Williams.

However, Perryman blows the door off a traditional song, "Hookin' on Crawdad," that employs some sounds not found in country music. There's a fuzzed out blues guitar riff and a moog line that runs throughout. It's a highlight and in a sea of sappy covers, makes the album for a collector.

This album was put out on the Kansas City custom label, Pearce Records. It's was also produced by the "caveman" at Cavern studios in Independence, MO. It appears that Perryman is actually closer to Springfield, MO than he is Kansas City, though. The address to reach Perryman lists Niangua, MO which is south and in between Kansas City and St. Louis.

Comstock Records Various Artists 10th Anniversary Album 1988

Comstock Records Various Artists 10th Anniversary Album 1988 CAT# COM-986

If you dig through 45s in the KC area, you're almost guaranteed to come across one from Comstock Records listing a Shawnee address on the label. It would appear to be a regional country label focused on local talent. However, it's not. Comstock was and still is a small independent country label focusing on national talent.

The label's founders, Frank Fara and Patty Parker, are both from out west, Arizona and Neveda. Neither seem to have any ties to the Kansas City area, yet, for some time they put their Comstock Records home in Shawnee, KS. Other than having a central location, it's not really clear why they picked Kansas (now the label calls it's home Arizona).

They did scout and sign talent in the area. This 10th Anniversary compilation features three Kansas City area artists, Debbie Martin, Alla Dee Franklin, and the O'Roark Brothers. But, outside of a few locals and an address, Comstock releases are from artists all over. In fact, the label's biggest successes seemed to be finding Canadian country artists and getting them charted up North.

Gene Clark White Light A&M 1971

Gene Clark White Light A&M 1971 CAT# SP4292

The Bonner Springs graduate, Gene Clark, put out this, which is simply, one of the best American singer/songwriter efforts ever put out.

If Clark was only architect of the Byrds' sound and quit after creating highly influential country rock with Missouri natives, the Dillards, he'd have a pretty substantial legacy. But, White Light's blend of sparse country and cosmic folk put him into place. Masterwork type stuff.

The album jacket and the actual record never state that the album is called White Light, but it was released under the title. It's fitting as the album sold poorly and is rather hard to track down now, the title just kind of screams that it should be obscure. It was recorded while Clark was still trying to find himself in L.A. almost 5 years after he left the Byrds. There is an impressive list of players featured on the LP, all of which play as if they shared Clark's vision, the album should have been a bigger deal upon it's original release.

White Light

The Outpost Family Band How About You? Privately Released Unknown Year

The Outpost Family Band How About You? Privately Released 1982 CAT# OP-74

This appears to be the first LP by the Outpost Family Band as it gives a lengthy introduction to the band on the backside, written by Donna Wise, wife to founder of the band, Don Wise. Wasn't aware when listening to the other LP I have from the group, but Don Wise is paralyzed from the waist down due to an apparent diving accident

Although the year is unlisted, the follow up LP indicates the prior album (which I'm almost positive is this) was recorded in 1982. It's a pleasant mixture of religious, traditional and some bluegrass reworkings of old rock n' roll. Don Wise contributes a few of his own songs and they aren't half bad. It's sounds homespun and was put out by the band privately.

Dewayne Bowman and the I.R.S. and Krissi Victims of the Pretty Things in Life B/W I'm Sorry Antique 1976

Dewayne Bowman and the I.R.S. and Krissi Victims of the Pretty Things in Life B/W I'm Sorry Antique 1976 CAT# UR 4323

I had every reason to believe this would just suck. From the idiotic band name to the absurd song titles and due to the association with the producer that did THIS. So, not just suck, but be this shit-tastic garbage pile of country cliches. I had all these great, mean-spirited things to say, but that was before I listened to it.

And well, it's not terrible. It's not good, either. Overall, I could see a bunch of drunk old guys in Pittsburgh, KS bar hearing this and saying it was pretty good. Dewayne Bowman has this big, booming country voice. It's a little over the top, but again, it's not the worse thing you'll hear all day. He is covered in a honky-tonk/country backdrop which, yeah, gets a bit cliche. He doesn't write, depends on two covers for this release. It's forgettable, but again, it's not terrible.

Meh, It's pretty bad

The Sensational Little Shana Lynette On Her Way Up Yellow Brick Records Unknown Year

The Sensational Little Shana Lynette On Her Way Up Yellow Brick Records Unknown Year CAT YB 2001

Shana Lynette was a child performer around Pittsburgh, Kansas. Apparently, she gained some sort of notoriety or regional attention with a Christmas song entitled, "Mister Russian, Please Don't Shoot Down Santa's Sleigh," which in turn convinced people to record a full length LP.

Reviewing the credits, the album was put together by producer Gene Strasser and songwriter Jim Iori. Can't find much on Jim Iori, but Strasser is still out in Pittsburgh, KS recording and pushing his tunes around. Back cover indicates Shana was growing up in Elk City, KS, and 9 years old when she recorded the Christmas tune, 10 years old when she sang the songs here. Mostly, she was the vessel for Iori and Strasser. Interesting though, the back cover indicates she is a distant relative of the legendary Bob Willis. Today, she also can be found on the internet still singing country tunes.

As far as quality, well, it's privately issued country music sung by a 10 year old. For a 10 year old, I guess it's okay. For a country production team in Pittsburgh, Kansas, I guess it's alright. But, being just okay or alright doesn't get you very far, especially if you're trying to get there from Nowhere, Kansas. Had they attempted something novelty like the Red, White and Blue of their Christmas song, maybe there would be something here to remember, even if it was just a bad joke, but there's not.

Despite the middle of the road-ness found on the album, it makes up for it with all it's Kansas. Shana's got the cowgirl-Western apparel. The label is Yellow Brick Records, a homage to The Wizard of Oz. The cover even has a tornado in the background.

Angel in the Snow
Daddy's Song

Chuck Cowan Phonograph Record Generic Phonograph Records Unknown Year

Chuck Cowan Phonograph Record Generic Phonograph Records Unknown Year CAT# NR12966

From what can be gathered, Chuck Cowan was a native Kansan, who toured and tried his luck out West as a musician. He is a member of the rockabilly hall of fame, likely for his work with Bob Willis and the Texas Playboys, but he stretched out much further than that. He played guitar for a number of well known artists, Sammy Davis Jr., Keely Smith, Don Ho, among others.

Currently, he resides near the KC Metro. At the time of this oddball release, which the year is unknown, but would guess early 80's, possibly the late-70s, he was in and around Emporia, KS. He's got a pretty sharp sense of humor displayed on the LP jacket. For one, no label for his private press release other than stating Generic Phonograph Records of Oceanview, KS. Obviously, there is no Oceanview, KS, because there's no Ocean anywhere to view. He provides a guarantee that, "This album Is Not a Retread." And, obviously the title, not really clever, but humorous.

The music is all over the place with Chuck Cowan's humor sprinkled throughout. It's focus is primarily country/western sounds, but there's a genuine pysch-blues track and songs too rooted in folk to be country. Heck, there's even a song sung in Spanish. The variety on the LP makes it an interesting and worthwhile listen. Cowan either challenged himself not to be stuck in a single genre or just got bored with the last song he recorded. Either way, it highlights his talents and the LP never gets old after repeated listens.

Chuck Cowan Show

Wichita Lineman Live From the Cowboy Lineman Records Unknown Year

Wichita Lineman Live From the Cowboy Lineman Records Unknown Year CAT# NR12516

This band's records are all over and typically, I walk right past. Always curious, but more of a, "I wonder how bad that is?" The group was obviously local to Wichita and based on this LP, did their two-stepping at a bar in Wichita called the The Cowboy, which may or may not still exist in some form or not.

The band just reeks of some sort of tourist trap. Like the Flying W Ranch Cowboy records from Colorado Springs, CO. I figured the way people ended up with one of these LPs is if you were stuck in Wichita, KS on business or inter-state tourism and go to some hokey cowboy place (because, it's the "wild west") and the Wichita Lineman would play you sappy country ballads and Countrypolitan hits of the day in matching suits with rhinestones. You'd be impressed, because you're the type that doesn't like good music or get out much and you'd feel the purchase of a Wichita Lineman LP was a sound investment only to let it sit on the shelf and never be touched again

Listening to the album, there's some of all of that to be found. However, it's a bit more rowdy than what I thought it'd be. The first track, a cover of "Cotton Eyed Joe", chants the word "Bullshit!" over and over. So, maybe The Cowboy was pretty rough. The Lineman don't write their own tracks, at least on this LP, but while all covers, they're not half bad. Even "Mama Don't Let Your Babies Grow Up to be Cowboys" is pretty tasteful. They also cover, "Don't it Make Ya Wanna Dance," which was made famous by Bonnie Raitt and "Louisiana Man", by Doug Kershaw, two popular country artists, but not the typical cover fodder found on a private press country LPs.

All in all, the Lineman are more honky-tonk than they are Nashville Country. They do get corny, they do wear matching suits, but they swear and don't take their tracks lightly. It's more Western than the Country Southern I expected.

The Dillards Tribute to the American Duck Poppy 1973

The Dillards Tribute to the American Duck Poppy 1973 CAT# PP-LA175-F

Looking at the back of this LP, the first thing you'll notice is that there is really only one Dilllard in the Dillards on this LP. However, Independence, Missouri native, Dean Webb was still going strong with the band.

It's not a very strong LP, but, it's not terrible. The band was continuing to try come up with a nice mixture of pop/rock and bluegrass, like a more homespun version of the country-rock genre. They win some, they lose some, but their harmonies remained great.

In addition to the band minus a Dillard, there are quite a few guest spots throughout the album, most noticeably, John Hartford on fiddle. Outside of some decent players, the band goes down some odd paths here in there, the experimentation can be interesting.

Music is Music (ignore the incorrect album cover)

Rodney Lay Coffeyville at 100 B/W The Ballad of Dalton Raid Layork Publishing 1969

Rodney Lay Coffeyville at 100 B/W The Ballad of the Dalton Raid Layork Publishing 1969 CAT# CS 196

This is an odd 7” celebrating the 100^th Anniversary of the founding of Coffeyville, KS. Which, despite Coffeyville’s near nowhere status, has a fairly substantial history…whether a souvenir 7” was needed is up for debate, but there are some interesting stories to tell.

Rodney Lay, a Coffeyville native, attempts to tell a few of those stories. Lay was Coffeyville native who became a regional hit as a DJ. That led him to a tour with the famed Wanda Jackson in the 60’s. He also landed a small role in the movie Pat Garrett and Billy the Kid which starred Kris Kristofferson. From there, he began working as the band director for country artist, Roy Clark, and fronting his own band. He did help to pen a few country tunes scattered throughout the Nashville scene and score some minor hits of his own throughout the 80s.

His tribute to Coffeyville is a bit amateur, though. “Coffeyville at 100,” could have talked about the town’s rich history, but rather, it’s just Lay rattling off what happened at the centennial celebration week. The flip side, “The Ballad of the Dalton Raid”, is cowboy-style, story song singing the history of how the Dalton’s were stopped in Coffeyville by the authorities. The same story is discussed in an Eagles song, “Doolin’ Dalton.” No matter what song you select, great story with legend advising it wasn't just the authorities that stopped the Daltons, but the settlers of Coffeyville took the matter into their own hands, laying 4 of the Dalton’s down, but miraculously, with  23 gunshot wounds, Emmett Dalton survived and was charged for his crimes.

Ballad of the Dalton Raid

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.

The Dilliards Copperfields Elektra 1970

The Dilliards Copperfields Elektra 1970 CAT# EKS-74054

Pretty clever LP by the Dillards and the last thing they released on Elektra. It follows the formula of the highly regarded LP, Wheatstraw Suite. Copperfields find the band effortlessly combining traditional bluegrass with pop and rock tendencies. The harmonies are great, the cover tunes are well selected for the most part (I could do without another version of "Yesterday", although pure vocal version is kind of cool) and the originals are solid.

Personally, I think bands like the Dillards get overlooked. The problem seems to be these guys were country first and then added rock influences. However, if you're the Byrds and take your folk-rock sound and add country, people lose their shit. People swear by Sweetheart of the Rodeo. And, they should, it's an excellent album, pretty sure it has a the Dillard brothers signing on it. Point is, there's a wealth of material out there that coincides with Sweetheart that's worth checking out, including this band and this album with their Kansas City connection and bluegrass roots.

Close the Door Lightly

Tim Peterson We Pass It Down Rite Records Unknown Year

Tim Peterson We Pass It Down Rite Records Unknown Year Cat #37437

Don't know when this came out, but it's pretty clear it's from the late 70's. Some people may say, it's early 70's, but I'd remind them Tim's from Hiawatha, Kansas which is in the Northeastern part of the state by the Nebraska border. Trends were slow to get there, so going to say late 70's based on the red suit, kick-ass sideburns and bowl cut.

As cool as Kansas is, it gets really white and Christian. This album represents that aspect. This is red-blooded, American, right-wing, Christian pride type stuff. You can probably guess it follows a country music path. Cool thing about Tim, though, he does all his vocals, check out the photo. Dude doesn't just have an awesome bowl cut, he has some fucking range.

The music is what I like to term, "Creepy, White, Gospel." It's uber-Religious and if there is stylistic theme, it'd be country. The best thing I can say about that is at least it doesn't go all Nashville Pop and stays slow and somewhat traditional. The lyrics are pretty over the top...stuff about meeting a "cripple" (that's what he says, not me) and when Tim explains he says he's sorry for the "cripple" the "cripple" replies, "I'll be walking just like you in Heaven." That's from the tune, "Hallelujah Square." On the uptempo tune, "If It Keeps Gettin' Better," Tim explains he doesn't know what he's going to do it the Lord keeps making things better. Stuff like this all seems a stretch to me, but whatever, good on you for putting it out there...I guess.

I could also mock the back cover note from Tim, but that'd be a dickmove. It's Christian and he's just explaining all that, all in all, it's a pretty nice message if you set your own beliefs apart from all the Gospel. So props to you Tim, way to put it out there despite assholes like me.

This isn't something I'd ever purchase, even if it is local. Not trying to judge a book by it's cover, but a quick look at the song titles and you know what this is going to be about. The record came in a bulk buy, so because it was local, I kept it.

Donnie Quinn Reno Junction Big K 1979

Donnie Quinn Reno Junction Big K 1979 CAT# 39863

Generally, Big K Records was putting out regional country albums, but this doesn't quite fit the bill. It's basically an Elvis Presley impersonation album, there's even a tribute tune. That probably sounds worse than it actually is, but that's the best description for it.

Donnie Quinn was apparently a teenager obsessed with the King. Of course, with that comes a healthy dose of country influences, from rockabilly to the straight early Nashville sound, but it's all filtered through Elvis Presley. The album also features the work of Terry Swope on guitar, who apparently like Quinn, was also obsessed with Elvis as he pens some of the tunes.

Again, though, it's not a terrible thing, a bit strange, but not terrible. The ballads don't need to be here, they showcase Quinn with his snarled lip vocals, just trying to channel some Elvis magic. But, it's no better than what Andy Kaufman was doing as a joke. When the band gets going on their "comeback" style Elvis-tunes, it's pretty enjoyable. There's some horns here and there, Donnie channels the best of sweaty, soul-driven, black, leather-suit, Elvis. It's no From Elvis in Memphis, but it's highlights aren't bad, just no where near as fulfilling as the real thing.

Bureman & O'Rourke Strawberry Pickin's Pearce Records 1974

Bureman & O'Rourke Strawberry Pickin's Pearce Records 1974 CAT# 42550

This is a solid LP put out by Pearce and, like most Pearce Recordings, it was done in the Cavern Studios of Independence, MO. The band's later release was discussed here, but this is the more sought after of the two. The LP has sold for hefty amounts thanks to buzz terms like "Rural Folk," "Psych Folk", and "Acid Archives" in which the album is discussed, however, it's a little more basic than all that. It's a well done country rock album, a bit more rural than something like the Eagles, and a bit more mellow than the stuff the Byrds were doing in the 70's. It's value is probably also aided by the Pearce label which collectors have seemed to latch onto.

On the top of the back cover, Bureman & O'Rourke indicate to the listener that the songs featured here are were selected by fans at Putche's Strawberry Patch (clever title now, right?) in Kansas City. It's a collection of some well thought out covers and decent original material. Like other bands that frequented the Strawberry Patch, they do play through some bluegrass at speed, but these guys keep it pretty mellow otherwise. The original song, "Genevieve", is a good example of what the two were capable of. Solid harmonies, haunting melodies, and desire to story tell with their songs.

Other highlights include the cover of "Fox and the Run" as a bluegrass number. The adapted version of "K.T.A." by the group with Kansas towns thrown in throughout is fun. The band's tune "86 Proof" is a spirited attempt at a rock song, it's amusing but falls a bit short. They get all yacth rock with a Kenny Loggins "Love Song," which isn't as bad as it should be, kind of pleasant. Their original tune, "Chanson de L'Oiseau", has some teeth to it and one of their strongest original tunes on the LP, despite the idea of the song being about the middle finger.

Genevieve

Tuffy Williams Tuffy Tuff Stuff Records 1982

Tuffy Williams Tuffy Tuff Stuff Records 1982 TS-1982-6

Some pretty boring private press country going on here.  Looking at the cover, I was hoping for cheeseball. lounge stuff at best.  And, while this does have a plethora of long winded, piano based ballads that could easily grace a lounge album, it's all pretty boring.

Had it been a bunch of covers, I would have passed.  But, Tuffy of Independence, MO, pens most his tracks, of the ten featured tracks, all but two are his own.  With private press stuff, that's what I look for; originals.  You never know what you might come across.  If you got the means and desire to put out a record on your own, there's usually at least one good track.

With this, maybe there is a standout track, but I'm not hearing it.  There is a song about fishing and stuff; it's got a guitar solo, or, there's some good piano runs on the cover of "Bad Moon Rising," maybe those are the money shots, I don't know.  The country is MOR, the ballads you can skip.  To it's benefit, it is far more routed in traditional country that what Nashville was doing in the 1980's.  Tuffy's piano gives slight western swing feel, so it's not a total train wreck.

Honestly, though, the best part about this record is the presentation.  For one, Tuffy named his label, Tuff Stuff Records...How you gonna mess with that?  Second, the home of Tuff Stuff Records is liste at 10917 Winner Road, in Independence.  C'mon, Winner Road?  That's legit.

https://www.google.com/maps/place/10917+E+Winner+Rd,+Independence,+MO+64052/@39.087675,-94.44869,3a,90y,183h,90t/data=!3m4!1e1!3m2!1sC3Dsjk0BKrwXx3Biz18TOQ!2e0!4m2!3m1!1s0x87c0fcdcd1e502cf:0x83b0163449d12591!6m1!1e1