Social Distancing Spins, Day 8

By Joel Francis

Joe Tex – I Gotcha (1972) Like a lot of people, I was introduced to Joe Tex through the Reservoir Dogs soundtrack. Like most of Quentin Tarantino’s musical moments, “I Gotcha” was placed perfectly in the film, when the guys bring the captive cop back to the warehouse. I can’t remember where or when I first encountered “You Said a Bad Word,” but that song captured the same sexual menace, braggadocio and funk as “I Gotcha.” If you liked one, you would surely like the other. Lucky for me, those songs kick off each side of this album. “Give the Baby Anything That Baby Wants” was another single released from this album in the same vein as “I Gotcha” and “Bad Word.” The ballads on here aren’t bad, but when I spin this record I want to strut.

Cannonball Adderly – Mercy, Mercy, Mercy! Live at The Club (1966) If you don’t recognize the name Cannonball Adderly, you may know him as the saxophone player who isn’t John Coltrane on Miles Davis’ Kind of Blue. This album is a world away from Davis’ celebrated release, but it is fantastic in its own right. The title song actually crossed over on the pop charts and it’s easy to see why. It kind of rolls in from nowhere before building into a big gospel-fueled chorus. Composer Joe Zawinul takes a solo on the electric piano as the melody percolates until the band churns back into that big chorus. It’s the kind of song that could go on forever. To my ears, it also points the way to the jazz television themes of the 1970s and ‘80s, like Bob James’ “Angela,” used for Taxi and Mike Post’s theme for “Hill Street Blues.” If Zawinul’s name sounds familiar, he played on Davis’ fusion landmarks “In a Silent Way” and “Bitches Brew” before founding Weather Report with Wayne Shorter. Oh, and the rest of this live album is great, too.

Neko Case – The Tigers Have Spoken (2004) Technically this is a live album, but there’s no crowd noise or stage banter (until a hidden track at the end), so you could be forgiven for thinking this is a studio release. Either way, hearing Neko Case perform songs by Buffy Saint Marie and Loretta Lynn is a treat. Gospel music isn’t the first thing that comes to mind when I think of Case, but she and her top-shelf band do right by “This Little Light.” My hometown even gets a nod on “The Train from Kansas City.” All in all, The Tigers Have Spoken isn’t as essential or immediate as the many studio albums containing her original compositions, but it is a great homage to some of the people who inspired her.

Red Kate – Unamerican Activities (2016) Nearly every December for the past several years the RecordBar has hosted a great tribute to the late Clash singer and guitarist Joe Strummer. I always make it a point to attend because it is an opportunity to hear songs by my favorite band performed live. Red Kate were the closing performers in 2018 and blew me away with their intensity. Afterward, I struck up a conversation with lead singer L. Ron Drunkard – shout-out to that amazing stage name – who is exactly who you’d expect him to be: A guy who fell in love with punk music as a kid and has been playing in bands for most of his life while holding down a day job to pay the bills.

The music on Unamerican Activities reflects that proletariat, we’re-all-in-this-together perspective. These songs hit hard and punch back at the ruling class. No one’s working for the clampdown in these quarters.

Roy Orbison – All-Time Greatest Hits (1986) Every music collection needs so Roy Orbison, so this was one of the earliest albums I bought. A closer look reveals this aren’t the original recordings of Orbison’s best-known songs, but remakes done in 1986. The big clues are that the musician credits are the same for all tracks and there aren’t any licensing arrangements for the singles that were initially issued across several labels. The good news is that the producers didn’t try to update the Orbison sound. There are no gated drums or synthesizers and Orbison still hits all the right notes on “Cryin’” so this collection still works for me.

Public Enemy – Fear of a Black Planet (1990) Despite its provocative title, Public Enemy’s third album isn’t as incendiary as the first two. This isn’t to say Chuck D is pulling any punches. “Burned Hollywood Burned” torches the movie industry for black stereotypes and the lack of black actors a generation before #OscarsSoWhite. “Fight the Power” doesn’t attempt to hide its manifesto. Deeper into this dense album “Pollywannacracka” discusses interracial couples (before Jungle Fever, I might add). Flava Flav’s comic relief comes in the form of “911 is a Joke.” Ha ha.

In a way, Black Planet is a distillation of the first two albums in manner more palatable to mainstream tastes. It’s PE’s best-selling album, but also the last album where nothing feels forced and it doesn’t seem like they are trying too hard. Looking at current headlines and the spike in hate crimes since 2017, it seems the concept of a black planet is still a very present fear in society today. Welcome to the terrordome.

John Fogerty – Blue Ridge Rangers (1973) John Fogerty was snake-bitten and gun-shy after the demise of Creedence Clearwater Revival. His label owner swindled him out of songwriting royalties and his brother Tom had sided with the label before bitterly leaving CCR. This is probably why John Fogerty’s name is hard to find anywhere on this debut solo album. The Blue Ridge Rangers are actually Fogerty playing all the instruments. He does a good job sounding like Nashville session players during this romp through a dozen country standards. My favorites are the gospel songs “Working on a Building” and “Somewhere Listening,” each featuring a choir of Fogertys on backing vocals. The performance of Hank Williams’ “Jambalaya” is as close as the album gets to CCR territory.

Willie Nelson – Phases and Stages (1974) Finding someone who doesn’t like Willie Nelson is like encountering someone who hates rainbows, ice cream and puppies. I mean, I guess mathematically that person has to exist, but you never expect (or hope) to encounter him or her. I’ll never forget a former co-worker’s diatribe against Nelson, but I took some satisfaction in knowing the disdain was for political, rather than musical reasons.

Phases and Stages is the album that immediately preceded Nelson’s breakthrough, Red-Headed Stranger and also the second of what would be three consecutive concept albums. I’d say that period represents peak Nelson, but the truth is that Nelson turns out so many albums and so many of them are solid that any valleys are likely to be followed by a couple more peaks. If you love country music, rainbows, ice cream and puppies, you should have this album. If you don’t like any of these, I feel sorry for you.

Middle of the Map 2013

(Above: Roman Numerals fill in for the Guards at the RecordBar on the second night of the 2013 Middle of the Map festival.)

By Joel Francis
The Kansas City Star

Note: Sigur Ros pulled me away from covering the first day of MoTM, but I was at the RecordBar on Friday and the outdoor stage on Saturday (with a quick reprise back at the RecordBar).

Friday

In some unfortunate scheduling, Spirit is the Spirit, a Lawrence-based quintet, was forced to compete with Grizzly Bear. It’s too bad fans of laid-back, analog rock were forced to chose, because many Grizzly fans would likely appreciate Austen Malone’s easygoing, reassuring approach.Spirit’s 40-minute set recalled the earthier moments from the Band and the relaxed vibe of “Workingman’s Dead.” The quintet performed several songs from its new EP and was finally able to coax the sparse crowd to dance on the set-closing “Pillows.”

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Indie rock supergroup Divine Fits rock the Middle of the Map outdoor stage on Saturday.

Roman Numerals are technically a local band, but Friday’s abbreviated set felt more like a homecoming. The four-piece band was playing with drummer Pete LaPorte for the first time in five years and singer/guitarist William Smith had flown in from his home in New York City.

Stepping in at the last minute for the Guards, who called in sick, the Numerals delivered a gripping 30-minute preview of their set planned for Saturday on the outdoor stage.

The RecordBar crowd swelled considerably for the Numerals, but it didn’t approach feeling full until fans started appearing at the conclusion of Grizzly Bear’s set, in anticipation of Deerhoof.

By the time Deerhoof went onstage at midnight, the RecordBar had a line out the door. A packed house watched the avante-indie quartet make its Kansas City debut (although the band did open for the Flaming Lips mini-residency at Liberty Hall in Lawrence last summer).

Cross Sonic Youth with a Japanese game show and you’re in the ballpark of Deerhoof’s unique sound. The diminuitive Satomi Matsuzaki’s enchanting vocals served as a counterpoint to the chaos, while Greg Saunier’s drumming anchored the seemingly free-form songs.

The biggest responses during the 70-minute set came early for the catchy “Panda Panda Panda” and Flaming Lips’ drummer (and Lawrence resident) Kliph Scurlock’s surprise guest appearance behind the kit.

Saturday

Beautiful Bodies had no problem sustaining the momentum from Roman Numerals’ incredible set-closing cover of Joy Division’s “Transmission.”
Bodies singer Alicia Solombrino spent more time in the crowd than she did onstage. She wasn’t always visible, but it was easy to gauge where she was by the disproportionate amount of hands (and phones) in the air.

Fans further away found plenty to like from the five-piece band’s high energy, half-hour set. The parking lot hosting the outdoor stage was only a third full, but the balcony at nearby Buzzard Beach was packed.

Sandwiched between Beautiful Bodies’ grrl-power pop and Futurebirds’ alt-country, the Soft Reeds were a palate cleanser.

The quintet’s 30 minute set previewed material from an upcoming new album. Bursts of free jazz sax highlighted the opening number, and songs like “Finding Patterns” and “Moving in Time” recalled the nervous energy of the Talking Heads. The band also covered Roxy Music’s “Virginia Plain.”

Fans missing Uncle Tupelo will have an instant friend in Futurebirds. The five-piece alt-country band from Athens, Ga. made an impressive KC debut.
Their too-short 50 minute set was grounded in the earthy jangle of three guitars and driven to the stratosphere by the cry of a pedal steel.
A cover of Chris Isaak’s “Wicked Game,” highlighted the band’s strengths, a perfect balance of smooth yet ragged. The one-two of “Wild Heart” and the anthemic “Yur Not Dead” closed the set on the highest moment of the day so far.

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The Futurebirds make their Kansas City debut at the 2013 Middle of the Map festival.

Divine Fits had its work cut out following Futurebirds. The supergroup comprised of members of Spoon, Wolf Parade and New Bomb Turks proved up to the task. The quartet performed all but one track from their sole LP during the one-hour set, with a new song, “Chained to Love” and a cover of Tom Petty’s “You Got Lucky.”

Both diversions blended well with the group’s sound: driving indie rock built over basic synth patterns. The material blossomed onstage gaining raw energy and losing the sterility of the recorded versions. Frontmen Britt Daniel and Dan Boeckner alternated vocal and lead guitar duties. Two of the band’s most neurotic numbers, “What Gets You Alone” and “Shivers” also provided the night’s best moments.

It was hard not to miss the Beaumont Club throughout the weekend, the outdoor stage offered several benefits. Although capacity never rose more than two-thirds full, it offered much greater capacity. It also provided the opportunity to simultaneous enjoy great music and beautiful spring weather.

Tennis
It seemed no one wanted to leave the RecordBar after Making Movies. The venue was one-in, one-out well into Tennis’ set and the room didn’t start to thin until around 1 a.m.

The husband and wife duo of Alaina Moore and Patrick Riley were augmented by a two-piece rhythm section for their 50-minute set. The band’s jangly indie pop and confessional, introspective lyrics made them seem like the cool aunt and uncle to Best Coast. Songs were filled with complex lyrics and romantic devotion typical of a married couple who met in a college philosophy course. The biggest responses went to “Petition” and “Origins.” The response to “Petition” was so great that Moore joked that know she knows how Taylor Swift feels.

The final notes had barely died before the house lights were thrown on and patrons were ordered out. Middle of the Map 2013 was officially over at the RecordBar.

Keep reading:

Review: Kanrocksas (Day 1)

Review: Mission of Burma at MoTM

Review: F*cked Up at MoTM