Topper At Last Scott Records 1977

Topper At Last Scott Records 1977

Man, Rudy Passonno is quickly becoming a legend in my book.  As a producer, everything I he touched out of his small recording studio in Liberty, Missouri sounds professional and is worth searching out (at least, everything I've heard).  Second, his keyboard work is phenomenal.  He just swirls around tunes and jumps in at the right moments with bringing absolute absurdity and brilliance.

This album usually gets classified as prog, likely for the previously mentioned Passonno keyboard flourishes all over it.  However, it isn't like an unheard version of the band Kansas.  Topper isn't challenging the Brits, they just have moments that fit in the genre.  It's just as rooted in jazz, blues, and rock n' roll as anything else you'd hear from the same era.

Telling you though, just when you think the band is going all standard bar-band, there's some insane out of place Mellotron moment that finds it's way in and makes the track.  I mean, the lyrics are awful and again, most things with the exception of few stand alone moments are pretty typical, but the keyboards come in and just kick everyone's ass.

At one time, the album was bringing high dollars in the collectors market.  It's tapered down in the last few years, the music is out there on YouTube and traded mixes.  The people who really want the LP have it, the ones who still do can now grab it for a reasonable price.  Either way, it's worth checking out, worth buying jsut for the craziness of "Phaze 1" and "Phaze 2" on the second side...you'll also love the lifting of "Stairway to Heaven" on Topper's "Smile for the Clown"...and hey, don't crap on Topper for lifting the Zep; Page was the just as great of thief as he was a guitarist.

Smile for the Clown
HYPE THE CD!

Bob Marriott Just Pickin Marriott Productions 1984

Bob Marriott Just Pickin Marriott Productions 1984 No Cat #

So, looking at this cover, what does Bob have his guitar plugged into?  The chickens, a log, the barn?  Who thought that photo fit the mood in the first place?  Who rocks his Gibson in the barnyard?  That said, this is better than most private press album covers.  And, considering the backside indicates Mr. Marriott was living in Osawatomie, Kansas, I imagine you got to look country in those parts if you want your neighbors to listen.

Not for certain when this came out, not surprisingly, there isn't a lot of information out there on this Bob Marriott release, but, I'm going to guess early 80's.  You don't get many clues from the backside, only that it was recorded at Westgate Studios in Lenexa, Kansas and as previously mentioned, Bob was living in Osawatomie.

Here's the kicker, though, the whole package looks pretty country and awful, but it's certainly not country, and awful is just one guy's opinion.  Way back in the 60's it appears Bob Marriott used to perform as Bob Marriott and The Continentals and released a few 45s with singer, Chuck Vallant.  The 45s were put out by Jayco and played locally, possibly regionally, and the band gigged in surrounding areas.  The 45s now get sold as "Northern Soul," but are better termed R&B, or just rock n' roll.  They've been bootlegged and are quite sought after.  Further, they're pretty solid little rockers, well worth grabbing if you spot one.  Again, this is only assumption, but given this albums song selection and the Jayco releases style, I think it's reasonable to conclude.  In the albums outro, Marriott also thanks the Continentals along with a host or early rockers and soul stars.

So, it looks what you have here is Marriott using his Gibson and running through some 60's surf, rockabilly and old rock n' roll for ol' times sake.  Just doing instrumental workouts with very few tracks crossing over the 2 minute mark.  The production is a bit too slick which is what has me thinking this came out in the 80's. Oddly, the album features Rudy Passonno on keyboards, who, during the late 70s and early 80s was involved in everything local apparently.

It's a cool little album.  Just one man's last hurrah, you know?  I don't think he expected this to hit big or get airplay, the album just feels like he put this together as a gift to himself and his friends.  One last recording session before he hung it up for good (although, I'm betting he'll still play for anybody who asks).

David M. Dawkins & Rudy Passanno Mama Mama DMD Records 1979

David M. Dawkins & Rudy Passonno Mama Mama DMD Records 1979 CAT# DMD7901

The absolute joy of dropping the needle on a private press album...just not knowing what to expect and something comes on and just grabs you, it's hard to explain, but the fact that there's such a small amount of albums in existence, the sense of enjoyment you get from it is elevated.  And granted, there's the times when the album is pure crap and didn't deserve any sort of press, but the rare times when the music is good...it's like unearthing an ancient secret.  There's also the mystery, where did this person go?  Who bought the record?  As the record eventually disappeared from the few stores that carried it, was there anyone still listening?  Did the ones that sold just get thrown away or traded in only to end up in a vinyl recycle bin at some point?  How many were pressed and how many still exist today?  All the sudden you don't just have a secret, but you have to archive it.  You have to hold onto to it, just so it won't die and disappear forever.

Most these artists you can track down, especially if it's something local to you.  The guys are usually still playing somewhere for someone.  There's also the occasional eBay sale of a few that peak your interest and can also lead to some info (this one does sell between $30-$50).  But, according to this, Dawkins is somewhat of a mystery man.  Granted, the music or back story are nowhere as compelling as others, like the Lewis album from Canada, but all the same, there's nothing out there on Dawkins.  He's disappeared from any sort of scene, but here it is, this album he left behind that a few of us can still appreciate.

His partner, Rudy Passonno, was pretty busy musician/producer in KC.  A track of his has been discussed here, he also worked on a well known private press release by a band called Topper, further, he ran a studio outside of KC that had it's moment in the 70's.

Reading through the linked interview, he's also one hell of a guy.  He indicated to the blogger, Dawkins didn't have the money to record at Liberty Recordings where Passonno was recording.  The cost was $1000 for recording and a pressing of 1000 LPS, but rather than turn Dawkins away, Passonno claims he recorded the tracks at his own home for Dawkins, all that had to be paid for was the tapes and vinyl.  That's a solid dude.

I imagine some of that deal had to do with the strengths of Dawkins' tracks.  Dawkins put together a collection of originals, they are above average 70's, singer-songwriter stuff.  They're not naked or strange, there's some sadness there, but mostly basic 70's AM pop sounds filtered through a songwriter on on the folk side of things.

Where the record stands apart from the millions of other singer songwriter releases is Passonno's work on the LP.  Dawkins' pleasant, soulfoul voice and acoustic guitar are met by Passonno and his 70's electronics and keyboards.  Passonno programmed the drums on synths, same with the bass lines.  Then to give the album a full fell he dumps a Hammon C3 organ, Fender Rhodes, Wurlitzer, a bunch synths and something called a Poymoog (I'm assuming it was a Polymoog, which would mean several linked Moogs).

Again, the tunes are pretty standard, but all the unexpected keyboards add so much weight.  Not creepy or weird like it may sound, it's a really full sounding, pleasant album.  It's all just so unexpected.

Believing Is Not Easy

KY102 Presents Homegrown Midwest's Best Music Taft Broadcasting 1980

KY102 Presents Homegrown Midwest's Best Music Taft Broadcasting 1980 NO CAT#

KY 102 FM was a long standing AOR station in Kansas City.  When I first moved to the KC area as a teenager, they were still functioning as a local station on the dial at 102.  However, they fell victim to the hostile radio takeover, but did continue on under different call letters and new ownership.  I think, after a few years, that station finally folded and ended up going top 40 or Country.  Don't quote me on that, though, I don't pay a lot of attention to AOR radio.

When I moved to Kansas in the 90's the station was an odd mix of classic rock and newer music.  They weren't close minded to newer stuff, but if it was new it was going to sit in well next to all the Boston and Rush.  Piecing things together, it appears that back in the 80's the station may have been half-way cool.  I've picked up on local album sleeves.  The station is thanked on the first Rainmakers LP (Balls by Steve, Bob, & Rich), there's this LP, and a few other things I've seen referencing KY 102.  So, it would seem back in the day, KY 102 supported the local rock scene.  Can't imagine they were showing support for the Lawrence scene in those days, but I'm guessing the bar bands got a few spins at the station... and I bet they fucking LOVED Kansas.

Honestly, even with a nod from the Rainmakers, I've seen this album around town and never gave it much thought.  However, a a good friend offered this up and all I had to do was find a copy of Johnny Cash's Folsom Prison, easily done and he sent a sealed copy of this.  In retrospect, I shouldn't have been so pretentious about the comp.  Looking it over, it's got the Secrets* who were featured on the hyper-obscure Kansas City power pop label, Titan!.  Further, "Homegrown" comps were put out nationally, a few have some real gems (especially some of the ones from Hawaii).  KC's version can't be much different.  Below is a run down of everything the good and mostly bad.

Pedestrian - Ain't Got the Time - Some hard rockin' KC guys that use laser production effects in the recording.  Sure the lasers are really synths, but pretty cheesy all the same.

The Secrets* - Uniform - This is the reason I got excited about this release, this a solid Titan! power pop band out of KC.  Song isn't fast paced, they sent their wussy material to KY, obviously.  It is a great little power pop tune with piano and bubbly AM sounds.

The Clocks - She Looks Lot Like You - Kansas City band full of confusion.  Man, these guys don't know what they're shooting for.  All sorts of crazy prog keyboard breaks with an 80's skinny-tie chorus and power pop aspects.  It's kind of amusing, but just a bit too scatterbrained to be considered a gem.

The Moffet-Beers Band - It Could Be Raining - What a bunch of sappy crap.  It'd be tolerable if it had some some twang, but this is just teenage roller-rink, sad-bastard music.  The name of the song and the band say everything you need to know about this Lenexa band.

David Hale - Opus X - This Kansas City dude's song title sounds pretty sci-fi and he's credited for all instruments.  It's got a killer drum intro, for sure.  It tops it off with some prog guitar work over the top.  From there, it doesn't go much further, TONS of guitar are added.  It's instrumental with a break that takes a turn from the hard rocking prog feel to a jazz and blues feel.  It really just ends up being a guy showing off and stalls there.

Rudy Passonno - Dead Boys - Outside of the Secrets* I had my hopes up for this...Not for any other of the reason but the name of the track.  This Kansas City dude starts off all creepy, like a Halloween novelty song.  Then it becomes kind of clear, the best case scenario for the song would actually be a novelty Halloween song.  It's just gets goofy and the subject matter is an awful attempt at telling a story about child death and murder.  It's friggin' weird.

Chaser - Anyone Will Do - This band is from Raytown, MO.  They nail the bar band thing, just a rolling rhythm and hard driving guitars, a little twang for good measure.  Nothing outstanding and the production is a little too slick for the sound the band is attempting.

US Steal - Crazy Things - Kansas City band and from looking at the band name and track, I just expected more standard MOR bar band stuff.  A little harder edged than I expected.  Bordering on metal.  I imagine they toned things down for their KY 102 demo submission, but pretty similar to first wave pop-metal.

Fields - I'll Be Gone - This Parkville, MO band is trying to be blues-based rock band.  Except, their keyboards go all prog and sound out of place, I think they're set them to the fiddle setting, too.  Takes away from a song that's already pretty middle of the road.

Alchemy - Sparks - If your name is Alchemy and you're from Topeka, KS you better sound like the band Kansas' little cousin.  The band certainly tries, they have two keyboardist and make an attempt at progressive rock.  The theatrics are there, the singer is a little weak, but of all the tracks I've shit on throughout this review, this band showed the most promise even though it's nowhere near the level of Kansas, just had a sound that could have been explored further.