Music Department of Shawnee Mission North in Concert 1966-67 Century Records 1967

Music Department of Shawnee Mission North in Concert 1966-67 Century Records 1967 CAT # CL 4-5600



Not much to this LP, not even the typical Beatles cover that was all the rage with high school choirs. Really only reason to pick it up is to archive it.



It's the Shawnee Mission North music program recorded in concert. The girl's choir is kind of entertaining, but yeah, nothing special. Typical selections for a high school program and it all ends up sounding like church music.

The Anniversary Designing a Nervous Breakdown Vagrant/Heroes & Villians/BMG 2000/2016 Reissue

The Anniversary Designing a Nervous Breakdown Vagrant/Heroes & Villains/BMG 2000/2016 Reissue CAT #VR4401

Man, I remember being so excited for this record in 2000. I actually got an advance copy to promote through an indie-promotion company when I was doing "street team" work. The Anniversary was becoming a big deal, locally and nationally. They were touring with the Get Up Kids, the singles they had released up to their debut were frantic emo-pop sing-alongs.

However, when I got the album I remember being completely let down. The album starts out promising with "The Heart is a Lonely Hunter" followed by "All Things Ordinary", but after that, I remember thinking the band had run out of ideas. The Rentals formula was wearing thin and in bursts, it worked for the band, but for an entire album, it gets thin. When the album was officially released, I never bothered updating my promo copy which was just a disc in a plain white envelope with a hype-sticker across the back.

Years later, when nostalgia took over, I regretted never buying it on vinyl. When I started looking for it, I would have been lucky to find a copy for $50. Then, just recently, Vagrant started re-releasing a bunch of their back catalog for the label's 20 year anniversary and this was included. I waited too long apparently to get a standard black copy and settled for this blue colored version...and once again, I was disappointed when I first put it on. Not because I felt I bought a bad album, I can now validate the purchase for two great tracks and some solid filler, I got more money than I did in 2000. But, what I was upset about this time was slightly warped vinyl...WTF. Quality control on recent vinyl pressings leaves a lot to be desired, but that's to be expected when everyone is buying records again.

Either way, the album sounds better today than it did back then. Bonus, the warp doesn't affect playback, so it's cool. I'm picking up on all the moments when the Get Up Kids association rubbed off on these guys, the pick slides, the obvious emo infliction, it's nice. But, mostly it's the nostalgia that gets me.

Designing a Nervous Breakdown

Shawnee Mission West High School The West High Story HPC Records 1963

Shawnee Mission West High School The West High Story HPC Records 1963 CAT #SPB-623

This record commemorates the newly opened Shawnee Mission West High School, which opened it's doors to students in the Overland Park area for the 1962-1963 school year. So in that regard, given that it was a newly formed music program, I guess this is good.

However, apparently the West High Story is about religion. The first side is exclusively Christian. The second side only steps away momentarily, but gets back to it in the matter of a couple of songs. It's a pretty boring story and now that Shawnee Mission West has an actual history, there's probably better story to tell. One thing is for sure, when you see the Facebook post demanding G-d be put back in public schools, the who posts those types of rants has never heard this album, it's boring and there's no way you'd want Christianity back in school if it meant going back to this type of music program.

Kevin Morby Harlem River Woodsist Records 2013

Kevin Morby Harlem River Woodsist Records 2013 CAT #WOODSIST071

This is Morby's debut LP as a solo artist. Years spent with his other bands primaraly in New York brought about 8 tracks which Morby has said were influenced by the Big Apple, thus the title Harlem River.

Like New York City, Morby's debut is a big undertaking. It's easy to get around, but to get to everything is nearly impossible. Morby employs a Dylan-esque thin-mercury sound and there is are great moments, tons of highlights, and things you just don't expect. But, also like New York, there's a lot of messy bits and plenty of construction all around. He's finding his direction and building things up. The highlights of the LP make it a fantastic and outweigh Morby's sometimes lofty ambitions that weren't completely fleshed out.

Harlem River

Shooting Star Self Titled Virgin Records 1979

Shooting Star Self Titled Virgin Records 1979 CAT #VA 13133

Been putting this one off for a while. When I started doing this blog, I was worried about all the Kansas LPs I'd be sifting through, but I've grown to like the band Kansas. What I should have been dreading is Shooting Star albums.

This is Shooting Star's first LP which was recorded in England (they were after all, the first American band to be signed by the Virgin label) by Gus Dudgeon who did more famous work with the likes of Elton John and David Bowie. The result is over the top pomp rock with heavy emphasis on good times, being awesome, and getting the girl back. I mean, they're competent players and while pomp-rock can be great (see the band Boston), Shooting Star is just too fucking happy. No matter what the circumstances are, Shooting Star is fucking winning and celebrating with guitars.

Just watch this video, these guys won 1979.

Berwanger Demonios High/Dive Records 2015

Berwanger Demonios High/Dive Records 2015 CAT# HDR016

Josh Berwanger is apparently just going with his last name now...at least according to this 6 song EP put out by High/Dive Records.

Demonios is Berwanger growing fonder of the power pop treasure trove he discovered when making his self-titled debut. These six tracks find him trying to master his own brand of the genre. In addition to late-70's skinny tie sounds, he is attempting to mix the swagger of 80's hard rock and the groove of 70's jam bands. It's a decent mix, but he can't drop the influences of his work in the Anniversary, there's still a lot of Weezer and 90's alterno-rock hiding in the corners of his songs.

As catchy as his solo debut was, you could tell it owed a lot to others. Demonios finds the songwriter finding more of himself in his new power pop hooks. He's still the goofy character with a backward baseball cap and outlandish fashion, but his version of the american teenager culture starts to grow on you, motorcycles, heartache, and suburban punks start to make a lot of sense on these tracks.

Live Radio Performance

Kevin Morby Still Life Woodsist Records 2014

Kevin Morby Still Life Woodsist Records 2014 CAT# WOODSIST075

This was Kevin Morby's 2nd solo LP and is a collection of songs he wrote as part of his band the Woods as well as some after leaving the band as the inner indicates the songs were written between 2012 and 2014.

The title of the LP isn't clear as the inner states, "Still Life A Collection of songs Written between 2012 and 2014", the cover however states, "Still Live With Rejects From the Land of Misiftoys", yet, the spine and LP state the simple title, "Still Life". The titles seem to indicate what the album is; a collection of tracks Morby couldn't fit onto his prior LP, "Harlem River" and tracks he didn't see fitting onto his next album which became "Singing Saw". This was his second LP released in 2014 and the front cover states "Misifitoys" (yeah, it's misspelled) which would indicate this is just a collection of tunes Morby didn't know what to do with other than record them.

For the most part, "Still Life" feels like a collection or a compilation. There's incredible tracks, some of Morby's best, but there's no feel to the album. He jumps from aggressive Dylan-esque rockers, to sprawling alt. country experiments. Overall, it's an amazing mix-tape presented by Kevin Morby, the highlights being when he channels Dylan's thin-mercury sound as it's a step away from his other two albums.

Full Album

Kevin Morby Singing Saw Dead Oceans 2016

Kevin Morby Singing Saw Dead Oceans 2016 CAT #DOC111

Kevin Morby is this kid from Kansas who's creating his own Dylan mythology. Yeah, big words, but that's what he's done up to this point. Apparently, with very few people taking notice he grew up in Overland Park, KS and dropped out of Blue Valley Northwest High School. He obtained his GED and left for New York.

In New York worked in restaurants and being a bike courier. He helped create the experimental folk group, the Woods, as the bassist. He also created his own side project with Cassie Ramone of the Vivian Girls called the Babies, putting out two albums. By 2013, he began his career as a solo artist releasing Harlem River. He's since moved to Los Angeles.

Singing Saw is his most recent and third release. Between it and Harlem River was the album Still Life released in 2014. His first two albums are satisfying experimental folk and brought him critical attention, but both are a bit wobbly, close, but not quite realized. Singing Saw nails things down.

Morby's voice draws a lot Dylan comparisons, he mumbles and groans over his melodies. However, he's not a complete folkie, he likes to try a lot of everything. Best comparison to an area artist would be Gene Clark. Morby's music is a melting pot of American music, with heavy nods to Dylan, but stepping so far out into space that it's best called American Cosmic. Singing Saw is filled with amazing moments and no tracks you'd want to skip. It's surprising this kid has anything to do with Overland Park.

Dorothy (Video)

Queen Bey Comin' Thru Beystring Productions 1987

Queen Bey Comin' Thru Beystring Productions 1987 CAT# CAP122

Beyonce ain't got nothing on Kansas City, we had the original Queen Bey. Nice, right?

Queen Bey was a Kansas City blues and jazz singer active in a Kansas City scene that was popping out local LPs and compilations throughout the 80s. She's now in Los Angeles apparently or was, either way, it appears she still performing. This specific recording was recorded in Los Angeles and credited to Beystring Productions in Overland Park, KS. It can be assumed that Beystring was the Queen's own private label.

During her time in KC, she is reported to have started singing at an early age in the 1950's. Her bio indicates she started to become a significant member of the local jazz and blues scene in the 80's and is officially recognized as an Ambassador of Jazz for Kansas City. In addition to her singing career, she's also been featured as an actor in television, screen and on Broadway. So, a pretty substantial career.

This 5 song EP is a throwback sound, the backside notes it was recorded live with no mixing, editing or overdubs on a two tracks, so no plastic, canned garbage to be found here. It was recorded digitally, which was still fairly new in the 80s, so the sound is very sharp and loud, maybe too much, but that's a minor issue. It's an enjoyable set of songs with a throwback style. It certainly doesn't sound as if its a product of the 80's. However, someone could mistake for a 70's lounge act very easily if they weren't paying much attention. However, the arrangements done by Joe Cartwright and Greg Eicher (both Kansas City area guys) sound authentic to a time when jazz was king. Overall, it's a solid set of tunes.

Queen Bey Live, 2011 in KC

Lilah Gillett and Harvery Prinz Play the Hammered Dulcimer Duets Happy Hammerin' Audio House 1979

Lilah Gillett and Harvery Prinz Play the Hammered Dulcimer Duets Happy Hammerin' Audio House 1979 CAT# AHKB105F79

Oh man, why not, right?  How bad could it be, right?  Well honestly, it's not that bad at all.  Lilah Gillett and Harvey Prinz throw down on their dulcimers; hardcore.  They do some traditional, some waltzes, and even throw in a few rags, one of which was penned by Kansas Citian, Charles Johnson.  I mean, keep in mind you have to like the sound the hammered dulcimer, then you have to be prepared for two hammered dulcimers going at it with each other (no dueling, though, just harmonizing).  Once you get over the fact that there is no other musical accompaniment, the arrangements are enjoyable and it's surprising how much room two of these instruments can fill.

Both these players are seasoned vets, so that's good.  Further, at the time of it's release, both were Overland Park residents.  A little research will lead you to YouTube videos with Lilah Gillett at the Dulcimer Players Convention which indicates she was a founding member in 1963 (I'd post them, but there's like 4 videos and each one is 20 minutes).  Further, the back cover lets you know she was once a teacher of the instrument.

Harvey Prinz was such a fan of the instrument, he ran a small Overland Park business making them himself.  His maker skills were even commissioned by the Walnut Valley Association of Winfield, Kansas, for use in their festivals.  Research shows though, that Harvey's true passion however was the Lutheran Church as he was an acting Reverend.  Nevertheless, his love of the instrument allowed him to record this album (there's apparently two others, both of which also feature Lilah Gillett).

Anyway, I'm not saying it's the best hammered dulcimer album I've ever heard, but I am saying it's the only album to focus solely on the hammered dulcimer I've ever heard.  Strange record, though.  I can't really put my finger on it's purpose.  Audio House didn't fund it as they were a custom label, they recorded and put your music on vinyl for a set fee.  So these two footed the bill in a custom press apparently to advertise Prinz's handcrafted dulcimers and lessons taught by Gillett.  No doubt, I'm sure there were some family and friends that scooped up the album as well.

Missouri Welcome Two Missouri Polydor 1979

Missouri Welcome Two Missouri Polydor 1979 CAT# PD-1-6206

Meh, nothing but a bunch of meh-ness from this Kansas City band on their major label debut.  And, it's kind of hard to figure out all the MOR numbers on this album.  Was it the labels fault?  The band?  What was the reason for virtually no excitement on this record.

The first album was decent bar-band stuff.  This however, it's still bar-band stuff, but it's a bit more polished and lost some of the appeal in the process.  Some of the numbers have flashes of something that would at least got people off their ass, but the band keeps it at a medium pace; they aren't about to rock you despite that their tunes could have.  I'm just confused, did they walk into the studio and say, "Hey, we got some rockin' tracks for Polydor."  To which Polydor replied, "That's great, sure they rock, but do the tracks sound like the Eagles?"

To me, the album sounds like a dirty bar band trying to sound like the Eagles.  There's a smoothness to this entire record that would have been better served without.  Either way, this album marked the end of the band, Missouri.  The album features a re-recorded version of the band's surprise hit, "Movin' On," it's not any better and it's really not worse, although, people seem to cite the first version as superior.  It's just meh, the entire album is bland. devoid of color, and boring (however, second to last song, "Love on the Run", cool drum intro and synths begging to be sampled, but still, meh).

A collection of tunes

Josh Berwanger Oh Bis! B/W Back of My Hand Too Much Rock 2014

Josh Berwanger Oh Bis! B/W Back of My Hand Too Much Rock 2014 CAT# 003

The transformation is complete.  Josh Berwanger has gone form Blue Valley teenage hipster, to emo heartthrob, to retro rocker, to a power pop craftsmen.  This is the third in Sid Sowder's Too Much Rock series and will be released on June 3rd, 2014.  There will be a party June 5th, 2014 at Mills Records in Westport.  You should go.  I'm probably not gonna go...don't want to be the weird, old, fat belly, looking awkward and shit.

So yeah, Berwanger's power pop stick is growing on me.  Moments on his solo LP are brilliant, but the LP wasn't completely drenched in big hooks and jangly guitars.  His original tune on this 7", "Oh Bis!", is nothing but power pop, clocking under 3 minutes of actual song before Berwanger goes into a short roller-hockey story about the song's title.  There's woo-hooing, oohhs and aahhs on the chorus, and it's about getting the girl.  It's so power pop it comes off a bit formulaic, but, all is forgiven since Cheap Trick stopped writing good songs in the 80's and the most great power pop groups disbanded prior to the end of the 1970's.

As with all releases in the series, Too Much Rock selects a song to cover on the flip side.  Berwanger gets the Jags "Back of My Hand", which is an obscure track to most Stateside, but was a hit in the band's home of England.  Berwanger's version is solid.  The Jags were a little too clean and sharp versus American bands of the same era like the Nerves or the Real Kids.  I had an issue with the singer's affliction and the band's slick production.  Berwanger's breathy vocals and hurried production do the song a favor.  Also, love the use of female backing vocals rather than dual tracking dude's vocals to perfection (kind of the auto-tune of it's time wasn't it?).  Further, big fan of the acoustic guitar break, it's a nice touch.

Oh, and I'm not going to talk about the cover...I don't get it, but whatever, I guess it's supposed to be funny?

UPDATE: Apparently there is a limited run of color variants that will be available for this release, my guess would be at Mills Records show.  109 colored 7"s in blue, green, purple and what appears to be a Coke Bottle clear.  Also, the cover I don't get...  It's done by Jay Shaw, an artist who does alternate movie posters...I get it now.

Check out the Tune, Too Much Rock.com

Berwanger T.K. Webb Split 7" Creme Tangerine 2013

Berwanger T.K. Webb Split 7" Creme Tangerine 2013 CAT# CTR-003

Nifty release on hot pink vinyl.  This was put out by a small label, Creme Tangerine, in 2013.  As far as 7"s go, solid packaging, the pink vinyl is cool, the label contrasts nicely, the artwork and printing are attractive, but simple.  Also, Josh Berwanger was behind most of the artwork and design, so pretty DIY accept the actual label part.

From my understanding, it was Josh Berwanger's first output as a solo artist.  You can tell since it's drenched in a sound reminiscent of his work with the Anniversary.  Bit of a dance rock groove with synth effects all over the place.  It's got a good hook and the Anniversary-ness to is welcome in relation to the Only Ones. He's not doing this sound anymore, if you've heard Berwanger's newest stuff, dude is obsessed with power pop sounds.  He's doing an upcoming release for Sid Sowder and Too Much Rock which is due out in early June.  That release promises to be full on 1978 style.

The flip side features a home recording from T.K. Webb entitled, "Fuck the Police."  I think the song uses the phrase once and I'm not a huge fan of using a title that borrows from N.W.A., but whatever.  It's a a decent rural, folk-blues jam.  Homemade style, so it's still rough around the edges.

Nifty Label, Super-Indie, Creme Tangerine

Riverrock Midwest Man Hannah Records 1980

Riverrock Midwest Man Hannah Records 1980 CAT#HR2101

So, all over the US, there are these pockets of country/bluegrass scenes that exist in retaliation to the continued destruction of Country music in Nashville.  This started happening heavily in the 1970's and continues to this day.  Sure, there was the Outlaw scene that was prominent in the 70's and 80's as well as the buzz of Alt. Country in the 90's and 00's, but there has always been a steady stream of regional country music that has nothing to do with the pappy-crap put out by the Nashville machine.  These regional scenes are worth looking into, they're rooted in tradition and continue to follow in the footsteps of Hank Williams, Johnny Cash, and Flatt & Scruggs.  They don't follow the rules of Nashville and could care less about the current Country charts.

Riverrock used to be one of those bands in the late 70's in the Kansas City area, then they did this.  They traveled to Nashville and did this album at a studio called, "The Sound Shop."  I assume in an attempt to reach commercial success.  They did obtain some marginal local radio play according to their website with this LP, but at what price?  This is terrible.  It's uber-slick and polished, it has everything to do with Kenny Rogers and nothing to do with Hank Williams.  I mean seriously, it was recorded at a place called "The Sound Shop."  Like you could just go in, grab a number, wait in line and come out with something that sounds like every other half-hearted piece of crap that was coming out of Nashville (and still is).

The band seems to pride themselves on this release, they even did a special 30 year reunion CD some a while back.  I don't know, the slickness of it all just turns me off, you can't seriously call it Country music...it's Country-influenced Pop music.  Just would have thought with the obvious Bluegrass roots found on Riverrock's previous albums, Texas, would have been the place to find a producer...but, in Nashville there's plenty of people willing to take your money and give you watered down production.  Props for giving it a go, though, I just can't enjoy the results.

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

The Anniversary Cassandra L. '76-'77 EP Good Guys & Bad Buddies Records 2000

The Anniversary Cassandra L. '76-'77 EP Good Guys & Bad Buddies Records 2000 CAT# 001

This is a little 7" The Anniversary put out to sell on their 2000 tour.  The first track, "All Right For Now" was the tune on the Paper Brigade split they did with Proudentall.  The other two tracks, "Hold Me Tonight" and "Low Tide and Hospital Bed" were recorded along with with "All Right" in Chicago in 1997.  The band printed up (like, copy machine printed up) 5 different cover variations and noted to fans, "collect all five."  Truthfully, I think the EP is actually self-titled, but my cover reads Cassandra L '76-'77, so I'm going with that. The run on these had to be limited, this copy is stamped #0380, so likely a batch limited to a 1000.  Not sure why they wanted to release stuff they did in 1997 for a 2000 tour, but it may have been a quick release because they were without copies of the album Designing a Nervous Breakdown at the beginning of the tour.

It's a cool little EP that offers a good insight into the band in their early days.  The song, "All Right for Now" is great and has been discussed on the Proudentall split.  The B Side is sophomoric but endearing, "Hold Me Tight," is a bit schizophrenic with it's slow jam vibe and Moog-tacular intro before ripping into some jock-tastic guitar rock.  "Low Tide and Hospital Bed" has some string effects and gets a bit muddy with everything it's trying to do, but it's held together by Adrianne Verhoeven, because she always the best part of the early version of this band.

Hold Me Tonight

Riverrock Still Live & Pickin' Rockin' W Records 1977

Riverrock Still Live & Pickin' Rockin' W Records 1977 RW4503

This is a live LP recorded live at Putsch's Strawberry Patch in 1977.  I'm not too clear what type of venue the Strawberry Patch was, but it appears in the late-70's there was somewhat of a country/bluegrass scene centered around this venue.  I'd like to know more, the name was trademarked and there's references to a restaurant called Mr. Putsch's that artists appeared at along with the Strawberry Patch which appears to be a proper venue.

The band plays through most of the tunes at break-neck speed, obviously feeding off some sort of energy from the crowd.  However, it couldn't have been that rowdy at the Strawberry Patch, this is still Kansas City, so even their attempt at speeding up Hank Willaims' "I Saw the Light" can't touch anything you'd call honky-tonk or rockabilly.  

Overall, Riverrock stays true to bluegrass.  When they go straight country, they do so by ruining Willie Nelson's "Gotta Get Drunk," but, props for digging deep on an early Nelson track.  The live recording doesn't make them any better or more exciting as a band.  Compared to their debut LP, it's a bit of let down.  The first time I heard the debut I was pleasantly surprised.  The first time listening to Still Live & Pickin' is a shrug of the shoulders, it's what you'd expect from a regional country/bluegrass LP.  Lots of covers, some goofy originals, nothing amazing.

Riverrock Self-Titled Private 1975

Riverrock Self-Titled Private 1975 CAT# SRK-585

I spotted this at a Salvation Army and the awful cover photo just screamed private press.  An old-timey, sepia-toned, portrait shot that looks like it was done at Worlds of Fun (for those of you not familiar to KC, Worlds of Fun is an amusement park owned by the Hunt family, it's kind of hokey, but fun).  Picked it up and discovered these bad-asses are from Overland Park, KS, so I took it home.

When I first put it on the turntable, I expected country, I just didn't expect to be all that enjoyable.  I figured guys from the suburb of Overland Park would be highly influenced by the Nashville country-pop sound, y'know, loads of sentimental, hard-luck, ballads.  A bunch of shitty studio effects and a bunch of filler.  Instead, it's a roots driven and weighted in traditional country.

To be sure, there are the hokey and hillbilly moments, the instrumental "Buffalo Chips" comes to mind for using a kazoo.  Overall though, traditional instruments and no pretension.  It's a very homespun LP and while it contains some hoe-down moments better suited for live shows, solid harmonies and songwriting.  In addition, there's a cover of the Beatles "With a Little Help From My Friends," and an even better cover of Dylan's, "You Ain't Goin' Nowhere," simlar to the version that showed up on the Byrd's Sweetheart LP.

It's a surprisingly good album.  These were guys weren't rebelling against the Nashville sound, but they weren't following it rules, either (didn't have to in Kansas).  It's not an "outlaw" or "rebel" album, but it's certainly rooted in traditional country, coming close to the 'Newgrass' scene that was growing throughout the 70's.  Later, the band would make an 8 hour drive to Nashville to record an album that disregards everything enjoyable about this album, but I'll get to that at another time.

http://www.riverrockkc.com/

Josh Berwanger Strange Stains Good Land Records 2013

Josh Berwanger Strange Stains Good Land Records 2013 CAT# GLR013-1

Quick introduction to the album, Josh Berwanger, was one of the main songwriters for the now defunct Anniversary.  He plays around town and elsewhere as the Josh Berwanger Band, but the LP is credited to him as a solo artist.  For the most part, Berwanger is the only consistent player on tracks and the group is pieced together.  One stand out, the first track, "Bullets of Change," features Kansas City native T.K. Webb on guitar.

After the split of the Anniversary in 2004, Berwanger and members of Anniversary formed the Only Children which took the stoner-rock vibe of the Your Majesty to the country-rock side of the fence.  So instead of big groove retro-rock, they went rural, Southern boogie.  That all ended in 2007.  Since then, hadn't heard much from any Anniversary alums other than Justin Roelfs' White Flight recordings and videos.

Apparently, Berwanger was busy penning power-pop gems.  Granted, still retro-rock, but there are some legitimate hits on this LP.  Kansas City recently got a new adult alternative station, it's a former NPR station out of Central Missouri State (maybe?) going by the Bridge FM.  They're trying incredibly hard to align themselves with the local scene and are spinning the crap out of Berwanger's tunes.  And for good reason, there are some great songs.  The station currently seems to favor, "Time Traveler", which is kind of funny because the word "shit" is stated clearly and I don't think they've caught on.

While the album has some lulls, which isn't any different than any of the Anniversary albums, the first side and moments on the flip side are incredible.  My main problem with Berwanger has always been this forced persona.  Like he's always trying hard (like his former band mate, Justin Roelfs) to be this strangely, engaging, oddball.  What's wrong with being a normal dude who plays guitar, you know?  You're from the burbs, embrace it.  Despite all that, he's never sounded more genuine than he does here.  Power pop suits this dude, his backwards hats and vintage attire are well placed.  His breathy vocals and T-Rex-ish cosmic lyrics make sense.  Unfortunately, he's hitting on some pretty well worn territory.  I mean, even when chiming guitars and big Beatles chorus' were a thing in the late-70s, people quickly looked elsewhere (how many hits did the Knack have, again?).  Regardless, I'm hoping this album finds a devoted following.  The songs deserve it.

Baby Loses Her Mind
Time Traveler

White Flight S/T Range Life/Black And Green Records 2006

White Flight S/T Range Life/Black And Green Records 2006 CAT #BG003

This has easily become one of my favorite local releases over the past few years.  It's Justin Roelofs, post-Anniversary, just putting his ideas out there and creating somewhat of a spectacle of himself.  For this LP and project, he's no longer Justin Roelofs, he is White Flight or the White Wizard.  He also reportedly found all his inspiration on a visit to South America, never doing drugs, but soaking in some serious spirituality.

He's a smart dude and has always been off center (or at least he wants you to think he is).  I remember when he was in the Anniversary hanging around Lawrence.  They were a tight-knit band and were always seen together.  Once they headlined KU's Day on the Hill, which is a outdoor, parking lot concert.  I was in attendance with my sister and the Anniversary was hanging out in front of us pre-show.  Somehow, they got on the topic of Neutral Milk Hotel's In An Aeroplane Over the Sea album.  One of the Anniversary guys, I want to say the drummer stated something to the effect of he never understood the album or didn't really like it.  Roelofs blew up.  He started asking, "Do you know what it's about?"  And before anyone could answer he started telling them it was based on the Diary of Anne Frank (it isn't, but it's a rumor).  He continued though, for like 10 minutes, red in the face that his band mate didn't agree that the album is genius.  So, despite that some of the White Flight thing seems theatrical, there is plenty of evidence that points to Roelofs' eccentricity.

Another thing about Roelofs, up until this album, he has always seemed somewhat disingenuous.  He's very adept at writing in a current scene's sound.  His early high school career was based around a pop-punk sound.  As discussed previously, he had success writing in that genre.  Then, he formed the Anniversary and was drawn into the sound of Weezer and the Rentals.  When, stoner rock became a thing, he and the Anniversary changed tune again.  All good tunes and worth listening to, but not really his own thing.

That changes White Flight album, at least to a certain extent.  This is a mash-up of everything he's heard, everything he could want to copy, everything he could think of.  He just throws it all out there.  Had this come out pre-Animal Collective, people would call it genius.  Instead, it gets lumped in as more post-modern indie-rock.  And, truth be told, I'm fairly certain some Animal Collective did come across Roelofs' lap prior to putting this together.  But, fuck, it's a great album.

Upon first listen, it is a bit much to take in and can sound sloppy and unfocused.  After a few times though, the hip hop influences just start to blend with all the chopped up electronics, samples, and guitars.  Lyrically, he's a kid from Overland Park, KS, and doesn't have much to say, he talks about cats, spirits and there's a lot of scratch vocal "la, la, la, la-ing" going on.  It's okay though, because the groove is there.

The amount of visuals out there for the album is pretty incredible.  He's got YouTube of himself dispelling drug rumors to his mom (is that needed?) and he gave himself a Jesus makeover in all his glossy videos.  Again, he's an eccentric dude, but after several videos, it all seems a bit over the top and concocted.  I'll take it though, the album is brilliant.

Apparently, White Flight is now done.  The White Wizard (again, that Roelofs) is working with Evan 'E. Vax' Mast of Ratatat (also worked with Jay Z) and they are dubbing themselves Abuela.  Both E. Vax and White Wizard went to South America to shoot video for all the visuals that are going to go along with the music.  The song, "Sapa," has already been featured in a Lexus commercial and there is a video up for it.  The first 7" featuring the song is apparently available currently.

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