Southern Fried Fiddlin' Man Fox Productions 1980

Southern Fried Fiddlin' Man Fox Productions 1980 CAT #FP-369

It appears Southern Fried is a Joplin, Missouri band, although, parts of their only album were recorded in Tulsa, Oklahoma. Either way, they look like kick-ass cowboy types from Missouri.

Their album is surprisingly good, a little bar band, but the recording sounds good, the majority of tracks are originals, and it doesn't fall into the obvious. In 1980, a Joplin, Missouri band could have gone a lot of ways, the obvious Ozark Mountain Daredevils, or perhaps the more pomp rock approach of successful acts like Kansas and Missouri. But, Southern Fried didn't let popularity concern them, they just put out an album of country rock that in parts, kicks around the shit and never concerns itself with a Nashville sound. Their tunes definitely stay in the country realm, but you can tell, these guys weren't afraid of letting the good stuff like the Allman Brothers and Skynard influence their brand of country.

Appears most of the guys in the band still get together and perform. They appear to have slowed down and become Jimmy Buffet fans, but for the most part, still look like a rowdy bunch of dudes that would tear apart a bar.

The Ozark Mountain Daredevils It'll Shine When It Shines A&M 1974

The Ozark Mountain Daredevils It'll Shine When It Shines A&M 1974 CAT# SP-36

This album contains the Daredevils standout, yacht-rock hit, "Jackie Blue." It still sounds strange in the context of the band's music. They try so hard to be down-home and roots driven rock n' roll. They step heavily into country and bluegrass and keep a live sound. Then, out of nowhere, "Jackie Blue" with its smoothness and cocaine perfection. You'd guess the band was from Los Angeles and not in between Springfield, Missouri and Kansas City.

From there, the Daredevils do what they do. Play around with rock n' roll and traditional roots music. There's a  track entitled, "Kansas You Fooler," which seems to recall the bitter Kansas-Missouri rivalry, However, this appears to be a coming to terms with Kansas after leaving Colorado, seeing all the flatness of Western, Kansas is kind of peaceful. Another highlight is the track, "E.E. Lawson," which is this driving bass rhythm with truck stop vocals telling the story, it's a bit novelty, but clever. Overall, the LP is a strong effort worth repeated listens.

Jackie Blue

Brewer and Shipley Weeds Kama Sutra 1969

Brewer and Shipley Weeds Kama Sutra 1969 CAT# KSBS 2016

Man, if there's anything writing a blog about random ass music can teach you, it's don't sleep on anything. Outside of the one hit, I never bothered to listen to Brewer & Shipley. But, these Kansas City transplants did some solid work. Surrounded themselves with great talent and wrote some pretty great folk rock.

Weeds isn't a masterpiece, but it's probably more overlooked than it should be. Their tunes are clever and smart. The first track mentions how you get stoned and listen to Music From the Big Pink by the Band. There's a clever cover of Dylan's "All Along the Watchtower", albeit a bit too expected for the type of sound these guys were laying down. They're apparently huge stoners and it shows in their albums as they weren't afraid to experiment with their sound. It's also apparent as members of the Grateful Dead appear on the album as well as the likes of Mike Bloomfield.

Overall, it's quality stoner, country-rock. In the ballpark with Grateful Dead albums like Workingman's and American Beauty. Promise you, none of the 10 minute drum solos, those two Dead albums are pretty low-key affairs.

Lady Like You

The Dillards Roots and Branches Anthem 1972

The Dillards Roots and Branches Anthem 1972 CAT #ANS 5901

It's a bit of stretch to throw the Dillards into this blog, but the connections to Kansas City are there. The band is from Salem, Missouri which is 4 hours East of Kansas City. However, the Dillard brothers worked extensively with Bonner Springs native and Byrd, Gene Clark. The album Dillard & Clark is a tough one to track down and well worth it if you can find it. Further, mandolin player Dean Webb, was from Independence, MO. Overall, just including them for the association with Clark and the proximity, oh, and they're awesome. If I could, I'd also include John Hartford, but haven't figured out how to get him in here...he's undeniably from St. Louis.

Put out in 1972, Roots and Branches, is a bit more polished than the band's earlier work which was released by Elektra. Their early LPs focused on roots driven bluegrass with great vocal harmonies. After leaving Elektra, the band attempted a more commercial sound on this LP. The harmonies are still there, the roots feel is still there, but there are elements of the laid-back California country-rock scene that was prevalent at the time. Still, this is pretty far away from the Eagles. You'll hear similar harmonies, but you have to remember it was the Dillards who first influenced bands like the Eagles; these guys were just trying to cash in on the scene they helped start.

Highlights on the LP include the fuzzed out lead track, "Redbone Hound." The Shel Silverstien cover of "Last Morning," is light, airy, and rural. The rollicking feel of "Get on the Road" can sound a bit disingenuous, but, it's a nice attempt at putting some more rock into the band's countrified sound. The must-hear moment on the LP though is vocal rendition of "Man of Constant Sorrow", with all it's hillbilly harmonies.

Redbone Hound

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

Tom Bark Cosmopolitan Redskin Leprechaun Records 1977

Tom Bark Cosmopolitan Redskin Leprechaun Records 1977 CAT# MON 1977 711 x 53

I can find more info about the guys Tom Bark associated than I can find about the actual composer of the album. Apparently, in the early days of rock n' roll Tom Bark was hanging out with the crowd surrounding Larry Emmett & The Sliders, which was an early rock n' roll band in the area. If you couldn't figure it out by the album cover, Tom Bark is Native American as was Larry Emmett. I believe the two formed a somewhat well-known band originally called Colt 45, but later renamed the KC Blues Band in the early 70's. That band stayed together loosely up until recent times.

Stepping away from the KC Blues Band, Tom Bark cut this album in 1977. It sounds very 1977. The production is slick and gives the LP a dated sound. The albums sound is all over the place, which doesn't give Bark much of an identity. He does some modern blues numbers, country tunes, and with KC gunslinger Terry Swope on guitars, he even borders on hard rock/heavy psych for an ending of a tune. 

Bark is best when he focuses on his country rock leanings. The sound doesn't feel forced and the production serves it better. The country waltz of "Wandering Pollyanna" is a highlight. You'd think the label, Leprechaun Records, is a private thing, but they had at least one other release in the 80's and there are possibly other releases out there. The label was located in Kansas City, MO.

Two tracks with terrible sound quality

Gene Clark Two Sides To Every Story RSO 1977

Gene Clark Two Sides To Every Story RSO 1977 CAT# RS-1-3011

Gene Clark was born in Tipton, Missouri which is about two hours East of Kansas City and near Jefferson City, Missouri.  At a young age, Gene Clark's family moved to Kansas City and by the time he was finishing high school, his family was found itself on the Kansas side.  Clark would graduate from what had to be extremely rural, Bonner Springs High School (the town, outside of a Wal-Mart and a concert venue is still fairly rural to this day, suburban, yes, but still pretty sparse).

Prior to becoming a Byrd and changing the face of American music, Clark gigged around with some high school bands, one of the groups was named Joe Meyers and the Sharks another named the Rum Runners.  He would establish a residency in Kansas City with a group called the Surf Riders at a venue named the Castaway Lounge (years later, it would become a gay bar that Melissa Ethridge frequented).  As a member of the Surf Riders, Clark was discovered by Leavonworth, Kansas native, Randy Sparks, as he was passing through with his folk band, the New Christy Minstrels.  Clark was hired by the band and he would embark on tours with the Minstrels.

The Minstrels got Clark to California and across the rest of the USA.  It is rumored that he quit the band after hearing the Beatles.  After leaving the folk scene, Clark soon met Roger McGuinn at the Troubadour in Los Angeles.  The rest obviously is history as the two would piece together the Byrds.  From 1964 to 1966, Clark would pen some of the best known Byrds original tunes.  In the early days, Clark was the dominant force behind the band as many members had yet to develop their own songwriting skills.  However, writing hits like "Eight Miles High" and "Set You Free This Time" earned Clark extra royalties which brought resentment.  Further, Clark wasn't really a fan of touring and had a long time fear of flying, by 1966 he left the group.

After leaving the Byrds, Clark returned to Kansas City for a brief time prior to going back to LA to start a solo career.  His early solo-work is thought of as highly influential in the development of country rock or alternative country sound.  Unfortunately for Clark, his replacement in the Byrds, Gram Parsons, would obtain higher praise for the same genre-bend of country and rock, especially consider Parsons is thought of as the driving force behind the Byrds' Sweetheart of the Rodeo.  For some time, Parsons and Clark almost mirrored each other, both pressing the blend of country with rock music, Parsons with the Byrds and later solo, Clark as a solo artists and a number of collaborations.

Ultimately, Clark could never reach the success he had with the Byrds.  Further, his sort-of Byrds replacement would be crowned the father of country-rock and outshine Clark critically and in popularity.  Much of this was likely owed to Clark's disdain of touring and fear of flying, however, Clark's material also became highly experimental when set next to that of his contemporaries.  While others may have had consistency, you can't say Clark wasn't trying to push boundaries.

Regardless, his solo work is filled with highlights, so much so, that even as late 1977 the guy was still putting out quality albums like this when everybody else had attempted a Rod Stewart type sell-out if they were still playing at all.  The album sounds nothing like 1977, it's a fairly low-key, country affair.  The song quality is still there with his songs, "Kansas City Southern," "Mary Lou" and the beautiful ballad, "Hear the Wind."  His cover of the traditional "In The Pines" showcased his talent as an interpreter and vocalist, further, after listening, it's pretty clear Kurt Cobain's interpretation owed a lot to Clark's on the same tune.  While it's not the top of his catalog, it's an essential for Clark fans and is certainly deserving of reassessment after years in the shadow of Clark's prior solo-work.

In the Pines
Hear the Wind

The Blue Things Listen & See! RCA 1966

The Blue Things Listen & See! RCA 1966 LSP-3603

This is an original stereo copy of this LP I recently picked up.  I've already talked about it's greatness on a reissue copy I have.  This just kind of displays the sickness of record collecting.  The reissue is fine, it plays clean, it's quiet, but it'll never be as good as finding an original item.  While I'd prefer a copy in mono copy (more proof collecting records is a sickness and not a hobby) I leaped at the chance to purchase this.

Admittedly, the reissue copy I have is nothing to write home about it.  I have a feeling the thing was sourced from a CD rather than the original masters.  The music on this original leaps off the stereo, parts of the reissue seem a bit buried and not as alive.  So despite what may seem like an unneeded investment, I'm pretty happy about it (even with some surface noise in the dead wax and quieter passages).

Anyway, I picked up this legendary Hays, KS band from a kid in Olathe, KS.  He's a pretty young guy (maybe in his 20's), but he runs a booth at an Olathe antique mall called Green Expressions where I've spent some time digging.  Actually, on a whim I picked up the Cole Hunter 7" there and it turns out it's his brother.  My dad has gotten to know the kid and was telling me about how he went to his house once and dug through some stuff.  Awhile back, I had found some really killer stuff at his booth and the store employee told me the guy was talking about 800 records he had picked up and planned to bring in soon.  Considering I was pretty happy with the purchases I made, I called my dad and asked if he could hook up a visit to the dude's house.

My old man came through and we went over.  He showed us what he was willing to part with (there wasn't anywhere near 800 records) and showed us a crate that was "special" for a party at the antique mall and mentioned he wasn't willing to sell those records, yet.  Needless to say, I flipped through that crate.  This Blue Things LP was just staring at me so I had to ask if he'd part with it early.  He sold it to me cheap and explained his philosophy, he'll take the quick nickel instead of holding out for the right guy to show up at an Olathe antique mall to give him the slow dime.

I was stoked and thought I should shout about his spot in Olathe (which my dad would prefer a secret).  He sells some good records, nothing seems to exceed a $20 price point.  He's having a party at GREEN EXPRESSIONS out in the parking lot on May 30th with a bunch of new records to flip through.  If you like records, you should go...seriously, good prices on a lot of things.  He's got an absurd amount of Zeppelin records people should buy.

Blue Things-Girl of the North Country

The Only Children Change of Living Art of the Underground 2004 (2007)

The Only Children Change of Living Art of the Underground 2004 (2007) AOTU #044

Been trying to get into this album recently.  I really enjoy Josh Berwanger's new LP, thought I should give this another try as it represents his work immediately following the breakup of the Anniversary.  Unfortunately, I didn't miss any power pop gems on this LP, it's still a failed attempt at Country Rock.

The vinyl release of this came on a putrid brown and yellow swirl combo and was limited to 500 copies.  It also came out 3 years after the album was released on CD.  I haven't dug it out in such a long time that I kind of forgot I had it.  The band features the previously mentioned Berwanger, Christian Jankowski on drums, and James David on bass from the Anniversary.  Also features Heidi-Lynne Gluck, who is Canadian and was part of the group Some Girls.  Kansas Citian, T.K. Webb rounds out the lineup on guitar.  The best part about the album is that it features T.K. Webb on guitar.  He's the only one who's able to sound genuine throughout the album and that's really due to his talent as a guitar player, I don't think he's all that Southern-fried or anything, he's more blues based on his work.

I don't know though, despite Webb, I can't get into this.  It's just drenched in Southern rock cliches, too the point that it sounds disingenuous.  The thing about good Southern rock is that it bleeds into things like funk, jazz, and country.  You can make fun of yelling, "Freebird" all you want, but that first Skynard album is diverse.  This sounds like some dudes that discovered the Allman Brothers and went with that and nothing else, maybe the Band, because they're accepted universally as "cool".  There are moments the band starts to sound like ZZ Top and I don't think that was their intent.  It feels like they envisioned this dramatic Americana, roots album.  Instead, it comes across as poser-Southern Rock with too many splashes of country and not enough soul.

The album does have some decent moments though, I actually like the ZZ Top riffing of the title track and the song "West Virginia."  The flip side has some soft spoken ballads that aren't half bad as well...there's some 7"s available I might start searching out, you know, see if they didn't figure it out prior to the band disbanding.

Change of Living

Bureman & O'Rourke Somebody Give Me A Smile Happiness Records 1976

Bureman & O'Rourke Somebody Give Me A Smile Happiness Records 1976 SHA-1001

Yet another private press country LP from the Kansas City area.  I got this one from a good friend in a trade and was excited to hear it.  This particular LP doesn't command much online, however, there's another album by the duo of Bureman & O'Rourke titled Strawberry Pickins that is usually labeled "rural folk" and can sell for a decent amount.

This LP is far too produced to be considered rural folk.  Very much a product of 1976.  It's borders on Eagles influences, very much a light rock affair with a lot of country affliction.  It does have it's moments of country rock or roots rock throughout, but the most of the album leans on acoustic guitar as the lead and vocal harmonies.  For the most part, the two write most their own material, with only a few cover tunes.  Lyrically, they aren't an amazing, but the tunes are worthwhile overall.

The LP lists the Happiness Records as based in Leawood, KS.  So it's apparent the band resided there.  In fact, there's some evidence that the band pal'd around with the Overland Park band, River Rock, as the Strawberry Pickins LP appears to be some sort of reference to the Strawberry Patch, which must have been some sort of local venue for these local pickers and country artists.  River Rock lists one of their albums as recorded at the venue.

Also, you can still find the duo performing locally.  Apparently, they play regularly at Wil & Jenny's in Overland Park, KS.  Further, Tim O'Rourke still releases music on a regular basis.

http://www.buremanandorourke.com/