Wednesday MidDay Medley
Produced and Hosted by Mark Manning
90.1 FM KKFI – Kansas City Community Radio
TEN to NOON Wednesdays – Streaming at KKFI.org

Wednesday, April 10, 2024

Mara Williams & J.M. Banks of VOICES OF Kansas City + Owen/Cox Dance Group + D. Rashaan Gilmore + Anson The Ornery

1. “Main Title Instrumental – It’s Showtime Folks”
   from: Orig. Motion Picture Soundtrack All That Jazz / Casablanca / December 20, 1979
   [WMM’s Adopted Theme Song]

2. Swamp Dogg – “Count The Days (feat. Jenny Lewis)”
   from: Blackgrass: From West Virginia to 125th St. / Oh Boy Records / May 31, 2024
   [Blackgrass: From West Virginia to 125th St, his first record with Oh Boy Records that will be released on May 31. The effervescent new single which was first released in 1967 by Inez and Charlie Foxx and re-envisioned here, arrives with an official music video featuring Swamp and Lewis recording the track at Nashville’s Sound Emporium. // Last month, the feature-length documentary Swamp Dogg Gets His Pool Painted premiered at SXSW and received raves from The Austin Chronicle and The Hollywood Reporter who called it, “a documentary that draws its voice and aesthetic from the spirit of its subject, resulting in a tight 97 minutes that feel organic and satisfying and, as befits that subject, appealingly odd.” Rolling Stone also included Swamp Dogg’s official showcase in their Best of SXSW roundup proclaiming, “Swamp Dogg sounded bold and robust, his vigor encouraging his band to ratchet up the energy… every musician on stage was locked into an undeniable groove.” // Produced by Ryan Olson (Poliça, Gayngs) and recorded with an all-star band including Noam Pikelny, Sierra Hull, Jerry Douglas, Chris Scruggs, Billy Contreras, and Kenny Vaughan, the 12-song collection is a riotous blend of past and present, mixing the sacred and the profane in typical Swamp Dogg fashion as it blurs the lines between folk, roots, country, blues, and soul. Special guests like Margo Price, Vernon Reid, Jenny Lewis, Justin Vernon, and The Cactus Blossoms all add to the excitement, but it’s ultimately the 81-year-old Swamp Dogg’s delivery—sly and playful and full of genuine joy and ache—that steals the show. // “Believe it or not, I didn’t do anything but sing these songs the way I would have sung them if it was an R&B album. That’s just the way the music comes out of me, and it would have been unholy for me to try and imitate anybody else,” explains Swamp Dogg about the making of the album. “Black music has had so many different labels put on it over the years that sometimes I’m onstage and I don’t know what the hell it is that I’m singing,” Swamp Dogg says with a laugh. “The only thing I know how to do is be myself.” // “Swamp Dogg is one of my favorite humans on the planet… How to classify him I just don’t know. He’s a soul artist, a psychedelic artist, a protest singer, he’s a man for all seasons.” – Ann Powers // Jerry Williams Jr. was born July 12, 1942. He is generally credited under the pseudonym Swamp Dogg after 1970, is an American soul and R&B singer, musician, songwriter and record producer. Williams has been described as “one of the great cult figures of 20th century American music.” // After recording as Little Jerry and Little Jerry Williams in the 1950s and 1960s, he reinvented himself as Swamp Dogg, releasing a series of satirical, offbeat, and eccentric recordings, as well as continuing to write and produce for other musicians. He debuted his new sound on the Total Destruction To Your Mind album in 1970. In the 1980s, he helped to develop Alonzo Williams’ World Class Wreckin’ CRU, which produced Dr. Dre among others. He continues to make music, releasing Love, Loss & Autotune on Joyful Noise Recordings in 2018,[3][4] and Sorry You Couldn’t Make It in 202. // Williams was born in Portsmouth, Virginia. He made his first recording, “HTD Blues (Hardsick Troublesome Downout Blues)”, for the Mechanic record label in 1954, when he was aged 12, with his parents and uncle and backing musicians, and was regularly hired to play private parties. From 1960, he released occasional singles for a variety of labels, including the self-written “I’m The Lover Man” in 1964, which was first issued on the Southern Sound label and was then picked up by the larger Loma label, almost breaking into the national Billboard Hot 100. He also wrote successfully for other musicians, including “Big Party” for Barbara and the Browns. // As Little Jerry Williams, he had his first national chart success in 1966, when “Baby You’re My Everything”, which he co-wrote and produced, was released on the Calla label and rose to #32 on the R&B chart, again just missing the Hot 100. He released several more singles on Calla through to 1967, by now credited simply as Jerry Williams, but with little commercial success, although some of his records such as “If You Ask Me (Because I Love You)” later became staples of the Northern Soul movement in the UK. // By late 1967 he started working in A&R and other duties for the Musicor label in New York. In 1968 he co-wrote, with Charlie Foxx, Gene Pitney’s up-tempo hit, “She’s a Heartbreaker”, which Williams also claimed to have produced, saying: “I produced the motherfuck out of it… [and] Charlie Foxx put me down on the label as “vocal arranger.” What the fuck is that? When they took out full-page ads in Billboard and Cashbox, there was a picture of Charlie on one side and a picture of Gene Pitney on the other and no mention of me.” // Later in 1968 Williams began working as a producer at Atlantic Records with Jerry Wexler and Phil Walden, on artists including Patti LaBelle & the Blue Belles, though he found the administration frustrating.[5] He established a songwriting partnership with Gary Anderson, who performed as Gary U.S. Bonds, and the pair wrote the R&B chart hits “To the Other Woman (I’m the Other Woman)” by Doris Duke, and “She Didn’t Know (She Kept on Talking)” by Dee Dee Warwick. He also recorded a single, “I Got What It Takes”, in a duo with Brooks O’Dell, and released two singles under his own name on the Cotillion label, a subsidiary of Atlantic. // Swamp Dogg Williams later wrote:I became Swamp Dogg in 1970 in order to have an alter-ego and someone to occupy the body while the search party was out looking for Jerry Williams, who was mentally missing in action due to certain pressures, mal-treatments and failure to get paid royalties on over fifty single records…. Most all of the tracks included were recorded in Muscle Shoals, Alabama, and Macon, Georgia, which brings me to how the name Swamp Dogg came about. Jerry Wexler, Atlantic Records v.p. and producer/innovator second to none, was recording in the newly discovered mecca of funk Muscle Shoals, Alabama. He coined the term “Swamp Music” for this awesome funk predominately played by all white musicians accompanying the R’n’B institutions e.g., Wilson Pickett, Aretha Franklin, King Curtis… I was also using the same “swamp” players. I was tired of being a jukebox, singing all of the hits by Chuck Jackson, Ben E. King, etc., and being an R’n’B second banana. I couldn’t dance as good as Joe Tex, wasn’t pretty like Tommy Hunt, couldn’t compare vocally to Jackie Wilson and I didn’t have the sex appeal of Daffy Duck. I wanted to sing about everything and anything and not be pigeonholed by the industry. So I came up with the name Dogg because a dog can do anything, and anything a dog does never comes as a real surprise; if he sleeps on the sofa, shits on the rug, pisses on the drapes, chews up your slippers, humps your mother-in-law’s leg, jumps on your new clothes and licks your face, he’s never gotten out of character. You understand what he did, you curse while making allowances for him but your love for him never diminishes. Commencing in 1970, I sung about sex, niggers, love, rednecks, war, peace, dead flies, home wreckers, Sly Stone, my daughters, politics, revolution and blood transfusions (just to name a few), and never got out of character. Recording in Alabama and sincerely singing/writing about items that interested me, gave birth to the name Swamp Dogg. // Having adopted his moniker before Snoop Dogg was born he has claimed to be “the original D-O double G.” // In 1970 he emerged in his new Swamp Dogg persona, with two singles on Wally Roker’s Canyon label, “Mama’s Baby, Daddy’s Maybe”, again co-written with Bonds, and “Synthetic World”. He also produced the first Swamp Dogg album, Total Destruction to Your Mind. The album sleeve showed Williams sitting in his underwear on a pile of garbage. Williams’ new direction apparently followed an LSD trip, and was inspired by the radical politics of the time and by Frank Zappa’s use of satire, while showing his own expertise in, and commitment to, deep soul and R&B music. According to Allmusic: “In sheer musical terms, Swamp Dogg is pure Southern soul, anchored on tight grooves and accentuated by horns, but the Dogg is as much about message as music…” Although not a commercial success at the time, Swamp Dogg started to develop a cult following and eventually the album sold enough to achieve gold record status. Record critic Robert Christgau wrote that “Soul-seekers like myself are moderately mad for the obscure” album and has called it “legendary”. It was reissued in 2013 by Alive Naturalsound Records. // Around the same time, one of the songs Williams had co-written with Gary Bonds, “She’s All I Got”, became a top-ten R&B hit for Freddie North, and was recorded with even greater success by country star Johnny Paycheck, whose version reached #2 on the country music chart in late 1971.[7] In a later interview on NPR’s Studio 360, Williams stated he was raised on country music: “Black music didn’t start ’til 10 at night until 4 in the morning and I was in bed by then… If you strip my tracks, take away all the horns and guitar licks, what you have is a country song.” However, he also continued to write and produce deep soul songs for other musicians, including Z. Z. Hill and Irma Thomas. In 1971 in collaboration with co-producer and writer the legendary George Semper he released “Monster Walk Pt. 1 and 2” by the Rhythm ‘N’ Blues Classical Funk Band on Mankind Records label. Produced for Jerry Williams Productions, Inc.and in spite of modest sales the record once again demonstrated his entrepreneurial skill as an artist. // As Swamp Dogg, he was signed by Elektra Records for his second album, Rat On! in 1971. The sleeve showed him on the back of a giant white rat, and has frequently been ranked as one of the worst album covers of all time. Sales were relatively poor, and he joined Jane Fonda’s anti-Vietnam War Free the Army tour. His next albums Cuffed, Collared and Tagged (1972) and Gag a Maggott (recorded at the TK Studio in 1973) were released on smaller labels, though his 1974 album, Have You Heard This Story??, was issued by Island Records. In 1977 he had another minor R&B hit with “My Heart Just Can’t Stop Dancing”, credited to Swamp Dogg & the Riders of the New Funk. He continued to release albums through the 1970s and into the mid-1980s as Swamp Dogg, on various small independent labels and in a variety of styles including disco and country and maintained a healthy cult following. He also set up his own publishing and recording company, Swamp Dogg Entertainment Group (SDEG). // In 1999, “Slow Slow Disco” was sampled by Kid Rock on the track “I Got One for Ya”, sparking a revival of interest in Swamp Dogg, who began performing live gigs for the first time. Several other of his recordings were sampled, and in 2009 he released two new albums, Give Em as Little as You Can…As Often as You Have To…Or…A Tribute to Rock N Roll, and An Awful Christmas and a Lousy New Year. He also released some further singles, and a compilation album of the best of his work as both Little Jerry Williams and Swamp Dogg, It’s All Good, was released in 2009. Most of his early Swamp Dogg albums have also been reissued on CD. // Swamp Dogg released a full-length album of new songs in 2014, The White Man Made Me Do It, which Williams described as being a sort of sequel to Total Destruction To Your Mind. Shortly thereafter, Swamp Dogg teamed up with Ryan Olson from Poliça to produce the tracks for his 2018 album Love, Loss & Autotune, Justin Vernon (aka Bon Iver) fine-tuning the vocal tracks. The song also features instrumentation by Guitar Shorty. The music video for “I’ll Pretend” premiered at NPR and was later featured at Rolling Stone, Pitchfork, Spin and elsewhere. Swamp Dogg described the song as a character study about “a guy sitting in a restaurant by himself losing his fucking mind because he’s hoping his woman is gonna walk by, but she’s at a Ramada Inn somewhere fucking somebody else to death.” // In 2020, he released the album Sorry You Couldn’t Make It, a country-styled record recorded in Nashville with producer Ryan Olson and musicians including Justin Vernon, John Prine, and Jenny Lewis. More info at: http://www.theswampdogg.com]

3. Beyoncé – “Blackbird (feat. Tanner Adell, Brittney Spencer, Tiera Kennedy & Reyna Roberts)”
   from: Cowboy Carter / Parkwood Entertaiment / March 29, 2024
   [Cowboy Carter (also referred to as Act II: Cowboy Carter) is the eighth studio album by American singer and songwriter Beyoncé, released on March 29, 2024, via Parkwood Entertainment and Columbia Records. The album is the second installment of Beyoncé’s trilogy project, following Renaissance (2022). Beyoncé conceived Cowboy Carter as a journey through a reinvention of Americana, spotlighting the overlooked contributions of Black pioneers to American musical and cultural history. // Mostly labeled a country album, Cowboy Carter blends together diverse musical genres such as pop, hip hop, trap, psychedelic funk, blues, soul, rock, rock ‘n’ roll, opera, “Irish” jig and folk music, among others. Conceptually, the album is presented as a radio broadcast by a fictitious station called “KNTRY Radio Texas”, with country singers Dolly Parton, Linda Martell and Willie Nelson acting as disc jockeys. The album’s songs feature lesser-known country artists such as Tanner Adell, Brittney Spencer, Tiera Kennedy, Reyna Roberts, Shaboozey and Willie Jones. The music is driven by a range of acoustic instruments played by musicians including Stevie Wonder, Paul McCartney, Nile Rodgers, Jon Batiste, Gary Clark Jr. and Rhiannon Giddens. // The album broke several streaming records and debuted at number one in several countries globally. Two co-lead singles — “Texas Hold ‘Em” and “16 Carriages” — supported the album, with the former becoming the first country song by a black woman to top the Billboard Hot 100 and Hot Country Songs charts. // Cowboy Carter was met with universal acclaim upon release; critics felt that the album’s genre experimentation, expansive scope and eclectic references aided an ambitious reimagining of Americana and country through the lens of its Black roots. The album also ignited discussions on Black musicians’ place within country music, boosted the listenership of Black country artists and country radio in general, and increased the popularity of Western wear and culture. // I grew up going to the Houston rodeo every year. It was this amazing diverse and multicultural experience where there was something for every member of the family, including great performances, Houston-style fried Snickers, and fried turkey legs. One of my inspirations came from the overlooked history of the American Black cowboy. Many of them were originally called cowhands, who experienced great discrimination and were often forced to work with the worst, most temperamental horses. They took their talents and formed the Soul Circuit. Through time, these Black rodeos showcased incredible performers and helped us reclaim our place in western history and culture.— Beyoncé to Harper’s Bazaar in 2021 // Beyoncé was born and raised in Houston, amid the city’s cowboy heritage and country and zydeco music. She listened to country music from an early age, particularly because of her paternal grandfather; her family attended the Houston Livestock Show and Rodeo every year in western clothing. She performed at the Rodeo four times between 2001 and 2007, and has continued to celebrate her country and Southern roots throughout her career. // Beyoncé’s first notable association with country music came in 2007, when she performed a bluegrass-inspired version of her hit “Irreplaceable” with country duo Sugarland at the American Music Awards. She first released an original country song in 2016: the track “Daddy Lessons” on her sixth studio album Lemonade. Beyoncé, together with the Chicks (who had previously covered the song), performed the track at the 50th Annual Country Music Association Awards on November 2, 2016. The performance was largely praised by critics and gave the Country Music Association Awards their highest viewership in history; however, it was also met with backlash, with some country music fans criticizing Beyoncé’s attendance and claiming she did not belong in the genre. The Country Music Association deleted all promotional posts about Beyoncé’s performance, which was seen as succumbing to the pressure in an attempt to prevent backlash against the organization. // This experience led to the creation of Cowboy Carter. Beyoncé said how it was made clear to her that she was not welcome in the country music space, but instead of letting the criticism force her out of the genre, it made her push past the limitations put on her. She delved into the history of country music and Western culture and researched its African-American roots. She studied “our rich musical archive” and learned from educators who had long advocated for a re-education on the black roots of country music. She also read that historically half of cowboys were black. “After understanding where the word ‘cowboy’ came from, I realized how much of the Black, brown and Native cowboy stories are missing in American history”, she said. This was the inspiration for her 2021 “Ivy Park Rodeo” clothing collection. Following this research, Beyoncé decided that she wanted to reclaim Americana and country music from a Black perspective, according to stage designer Es Devlin. Collaborator Rhiannon Giddens said Beyoncé did not intend to create a typical crossover country album, but instead wanted to explore her family’s roots through music. Beyoncé conceived the album as a redefinition of “what is Country and Americana, and who gets to be included”, with the aim of dismantling accepted false norms about American culture and paying homage to Black musical pioneers. // Cowboy Carter was over five years in the making. Beyoncé began to write the album in 2019, then recorded during the COVID-19 pandemic, which she described as her most creative period. The album forms the second installment (“Act II”) of a trilogy project that Beyoncé recorded during this period. The first act, Renaissance (2022), is primarily a house and disco record highlighting and celebrating the Black progenitors of dance music, leading some to believe that each album of the trilogy would aim to explore the Black roots of a different musical genre. Cowboy Carter was originally intended to be released before Renaissance but Beyoncé changed the order as a response to the pandemic. // Between 2020 and 2024, Dolly Parton said on multiple occasions that she would like Beyoncé to cover her song “Jolene”. She first said that “nobody’s ever had a really big hit record on [‘Jolene’]” in a December 5, 2020, interview with The Big Issue. She said that even though “the song has been recorded worldwide over 400 times in lots of different languages, by lots of different bands, [she’d] always hoped somebody might do [it] someday, someone like Beyoncé.” On March 10, 2022, when asked by Trevor Noah on The Daily Show about her 2020 statement, she said “I would just love to hear ‘Jolene’ done in just a big way, kind of like how Whitney did my ‘I Will Always Love You’, just someone that can take my little songs and make them like powerhouses. That would be a marvelous day in my life if she ever does do ‘Jolene’.” After publicly showing her support for Beyoncé’s 2024 venture into country in February, on March 8, 2024, in an interview with Knox News for the 2024 season opening of Dollywood, Parton said “I think she’s recorded ‘Jolene’ and I think it’s probably gonna be on her country album, which I’m very excited about…” // In addition to up-and-coming country artists, various established musicians contributed to Cowboy Carter, including Linda Martell, Willie Nelson, Stevie Wonder and Nile Rodgers // The joy of creating music is that there are no rules. The more I see the world evolving the more I felt a deeper connection to purity. With artificial intelligence and digital filters and programming, I wanted to go back to real instruments, and I used very old ones. I didn’t want some layers of instruments like strings, especially guitars, and organs perfectly in tune. I kept some songs raw and leaned into folk. All the sounds were so organic and human, everyday things like the wind, snaps and even the sound of birds and chickens, the sounds of nature.— Beyoncé on Cowboy Carter // Beyoncé recorded around 100 songs for the album. Each song is its own reimagined version of a Western film. These include Five Fingers For Marseilles (2017), Urban Cowboy (1980), The Hateful Eight (2015), Space Cowboys (2000), The Harder They Fall (2021), Killers of the Flower Moon (2023), Thelma & Louise (1991), and O Brother, Where Art Thou? (2000). // Cowboy Carter is generally described as a country and Western album, and blends together various genres including blues, soul, rock, rhythm and blues, zydeco, folk, bluegrass, opera, go-go, flamenco, funk carioca, fado, classic rock, rap, pop, house and Jersey club. The album is presented as a broadcast by a fictional Texas radio station, with country singers Dolly Parton, Linda Martell and Willie Nelson acting as radio DJs. The album features rising country artists Tanner Adell, Brittney Spencer, Tiera Kennedy, Reyna Roberts, Shaboozey and Willie Jones, and also features contributions by musicians such as Stevie Wonder, Nile Rodgers, Raye, and Jon Batiste. The album is cyclical, with the final note looping seamlessly into the beginning of the first track (which begins “Nothing really ends”) in the same manner as James Joyce’s Finnegans Wake (1939), according to the The Washington Post’s Shane O’Neill. The album features a range of acoustic instruments played by musicians including Stevie Wonder on harmonica, Paul McCartney and Nile Rodgers on guitar, and Rhiannon Giddens on banjo. // Chitlin’ Circuit-inspired Cowboy Carter tracklist poster released two days prior to the album. Beyoncé originally intended to release Cowboy Carter as the first installment of her trilogy project, but explained that “with the pandemic, there was too much heaviness in the world”, and so released Renaissance first, because “[people] deserved to dance.” The then-untitled album was first announced on February 11, 2024, during Super Bowl LVIII, when Verizon Communications aired a Super Bowl commercial, titled “Can’t B Broken”, in which Beyoncé tried to “break the Internet” through increasingly outlandish means, such as releasing a jazz saxophone record, performing on top of the Las Vegas Sphere, building an artificial intelligence (AI) version of herself, launching a “BarBey” (portmanteau of Barbie and Beyoncé) collection, announcing her candidacy for a fictional political position, and flying into space for a performance. After all of the ideas proved unsuccessful, Beyoncé concluded the commercial by remarking: “Okay, they ready. Drop the new music”. // Following the broadcast, Beyoncé released a teaser video for Act II on Instagram. Directed by British artist and filmmaker Nadia Lee Cohen, the video pays homage to Paris, Texas (1984), references border blasters and features Chuck Berry’s 1955 track “Maybellene”. The same day, the singer’s official website was updated to announce her eighth studio album, with the placeholder name Act II, scheduled for release on March 29. Subsequently, the album’s two lead singles, “Texas Hold ‘Em” and “16 Carriages”, were simultaneously made available for digital download and streaming. On March 12, Beyoncé announced the album would be titled Cowboy Carter via a teaser poster of a western saddle with a sash. With this she listed album merchandise of limited-edition CDs with a bonus track, T-shirts, and vinyl variants in red, white, blue and standard black. // On March 19, 2024, Beyoncé revealed the album cover via Instagram, and said there would be “surprises” and collaborations on the album. On March 20, she revealed a limited edition exclusive cover, wearing a sash that reads “act ii BEYINCÉ”, referencing her mother Tina’s generational family surname. Taglines and film stills for the album were projected onto various museums in New York City. One of these was an unauthorized projection onto the Solomon R. Guggenheim Museum, who genially responded by posting Franz Marc’s 1910 painting Three Horses Drinking with the Texas Hold ‘Em-inspired caption “This ain’t Texas”. Beyoncé also posted co-ordinates to the museum on her Instagram story. // This album has been over five years in the making. […] It feels good to see how music can unite so many people around the world, while also amplifying the voices of some of the people who have dedicated so much of their lives educating on our musical history. The criticisms I faced when I first entered this genre forced me to propel past the limitations that were put on me. act ii is a result of challenging myself, and taking my time to bend and blend genres together to create this body of work. […] I hope that you can hear my heart and soul, and all the love and passion that I poured into every detail and every sound. I focused on this album as a continuation of RENAISSANCE…I hope this music is an experience, creating another journey where you can close your eyes, start from the beginning and never stop. This ain’t a Country album. This is a “Beyoncé” album. — Beyoncé via Instagram in March 2024 // On March 27, Beyoncé posted a graphic to Instagram of the album’s tracklist inspired by vintage posters from the Chitlin’ Circuit era. It revealed collaborations with Dolly Parton and Willie Nelson, as well as a cover of the former’s “Jolene”, and “The Linda Martell Show”. The latter song references Linda Martell, the first Black woman to achieve commercial success in the country genre. // The CD release comes in four variants, each with a different rear cover depicting Beyoncé. It was released in Japan on March 29 and will be released on April 12 in Europe. After the album’s release, fans reported that their pre-ordered physical vinyl and CD copies were missing numerous tracks, with some asking for refunds.]

4. Marvin Gaye – “Inner City Blues (Makes Me Wanna Holler)”
   from: “Inner City Blues (Makes Me Wanna Holler)” – Single / Tamla- Motown / Sept. 16, 1971
   [“Inner City Blues (Make Me Wanna Holler)”, often shortened to “Inner City Blues”, is a song by Marvin Gaye, released as the third and final single, and the climactic song from his 1971 landmark album, What’s Going On. Written by Gaye and James Nyx Jr., the song depicts the ghettos and bleak economic situations of inner-city America, and the emotional effects these have on inhabitants. // In 1998, co-writer James Nyx Jr. recalled, “Marvin had a good tune, sort of blues-like, but didn’t have any words for it. We started putting some stuff in there about how rough things were around town. We laughed about putting lyrics in about high taxes, ’cause both of us owed a lot. And we talked about how the government would send guys to the moon, but not help folks in the ghetto. But we still didn’t have a name, or really a good idea of the song. Then, I was home reading the paper one morning, and saw a headline that said something about the ‘inner city’ of Detroit. And I said, ‘Damn, that’s it. ‘Inner City Blues’.” // The song was recorded in a mellow funk style with Gaye playing piano. Several of the Funk Brothers also contributed, including Eddie “Bongo” Brown, and bassist Bob Babbitt. // In its unedited version as it appears on the album, the final minute of the song (and of the LP) is a reprise to the theme of “What’s Going On”, the album’s first song, then segues into a dark ending. This final minute was cut off of the single version, as well as other sections of the song so the single edit runs under three minutes—this edit appears on most reissues of the LP. // Lead and background vocals by Marvin Gaye
   Piano by Marvin Gaye; Instrumentation by The Funk Brothers and the Detroit Symphony Orchestra including: Bobbye Hall on bongos. // Motown released “Inner City Blues” as a single on their Tamla label on October 14, 1971. Record World predicted that it would be Gaye’s “third [single from What’s Going On] to smash.” // The song helped Gaye make history by being one of the few artists to have three or more Top 10 songs off Billboard’s Pop Singles chart peaking at #9 and one of the first to have three consecutive #1 hits on Billboard’s R&B Singles chart where it stayed for two weeks. Although not certified by the RIAA at that time, all three releases from the What’s Going On album gained Gold status by selling over 1,000,000 copies in the U.S.]

10:12 – Interview with Mara Rose Williams and J.M. Banks

Mará Rose Williams is The Kansas City Star’s assistant managing editor for race and equity issues. She has served as a member of the Star’s Editorial Board and she is an award-winning columnist. She has written on all things education for The Star since 1998, including issues of inequity in education, teen suicide, universal pre-K, college costs & racism on university campuses. She was a writer on The Star’s 2020 “Truth in Black amd White” project, and the recipient of the 2021 Eleanor McClatchy Award for exemplary leadership skills and transformative journalism.

Mara Rose Williams thanks for being our guest on WMM

J.M. Banks is Co-Host of Voices of Kansas City on KKFI 90.1 FM. He grew up in Kansas City. and went to Paseo Academy Of Performing Arts and then Studied at University of Missouri – Kansas City. J.M. Banks is The Kansas City Star’s culture and identity reporter. He has worked in various community-based media outlets such as The Pitch KC and Urban Alchemy Podcast. He is former Advisory Board Member at KSHB 41. J.M. is the Creator and Host of J.M. Banks: The KC Renaissance now in its 6th year.

J.M. Banks thanks for being our guest on WMM

Mará Rose Williams and J.M. Banks, join us to talk about The Kansas City Star’s new 4-week radio series, VOICES OF KANSAS CITY, that The Star is producing with 90.1 FM KKFI. The series begins on Wednesday, April 17, at 6:00 pm.

Mara Rose Williams and J.M. Banks are the cohosts of this new series.

This is the second season of VOICES OF KANSAS CITY that The Kansas City Star has created in collaborations with 90.1 FM KKFI.

The first season VOICES OF KANSAS CITY told the stories of 8 Black owned small business in Kansas City and aired September 22, through October 13, 2023 at 12:00 Noon, and was part of KKFI’s “new schedule roll-out.”

In Season two, Mará Rose Williams and J.M. Banks of The Kansas City Star have created feature stories on eight young Black Activist in our community.

This series is part of The Star’s continued effort to improve coverage of Black Kansas Citians, following the paper’s 2020 publication, of the award winning, six story, “Truth in Black and White,” an apology for the news organization’s poor, inadequate, and often absence of coverage of Black Kansas City which perpetuated systemic racism in our city.

Mara Rose Williams started the conversation with KKFI by referring to The Kansas City Star’s December 22, 2020. The Kansas City Star published an apology:

“Today we are telling the story of a powerful local business that has done wrong.

For 140 years, it has been one of the most influential forces in shaping Kansas City and the region. And yet for much of its early history — through sins of both commission and omission — it disenfranchised, ignored and scorned generations of Black Kansas Citians. It reinforced Jim Crow laws and redlining. Decade after early decade it robbed an entire community of opportunity, dignity, justice and recognition.

That business is The Kansas City Star.

Before I say more, I feel it to be my moral obligation to express what is in the hearts and minds of the leadership and staff of an organization that is nearly as old as the city it loves and covers:

We are sorry.”

Read more at: http://www.kansascity.com/news/local/article247928045.html#storylink=cpy

From this apology The KC Star has made a commitment to change. They hosted “Community Listening Projects” to find out what readers want, what are their issues, what are their loves.

The Star learned that the community wants more stories about success and triumphs.

The KC Star wanted to partner with KKFI to have us be the broadcast platform to air these programs, as a limited series.

KKFI is a non-commercial radio station under the direction of a non-profit 501 (c) 3 organization. We operate under FCC and IRS regulations. The series would not be about selling any specific products, it would be more of a journalistic approach to the who, what, where, when, how, of the people behind the business, to tell stories of success.

The KC Star is presenting 8 stories on young Black activists in Kansas City. These will be approximately 30-minute interview/features, to become four 60-minute shows, created, produced, hosted, and edited by KC Star Staff: Mara Williams & J.M. Banks.

The KC Star Initiative mirrors KKFI’s “New Program Roll Out” Initiative of working to make both of our organizations even more diverse, inclusive, equitable, and representative population we serve.

90.1 FM KKFI’s Programming Committee, voted to approve KKFI’s airing of The KC Star’s 4-week series. The MidCoast Radio Project Board of Directors voted unanimously, to approve the motion.

Mara Rose Williams and J.M. Banks thank you for being our guest on WMM

The second season The Kansas City Star’s new 4-week radio series, VOICES OF KANSAS CITY, produced on collaboration with d 90.1 FM KKFI will begin on 90.1 FM KKFI on Wednesday, April 17 , at 6:00pm.

10:30 – Underwriting

5. Brad Cox – “Canon from 4 FRAGMENTS”
   from: Music from 4 FRAGMENTS / Owen/Cox Dance Group / April 12, 2024
   [4 Fragments is a series of short works with music for string quartet, percussion and electronics, composed by Brad Cox. The musicians are: Matthew Bennett on violin, Christine Grossman on viola, Sascha Groschang on cello, Jeff Harshbarger on bass, Patrick Alonzo Conway on percussion, and Brad Cox on piano. Also, John Kizilarmut on percussion, although not playing for the live show, John was instrumental in putting the music together. 4 Fragments celebrates those we love, those we have lost, and the joy of human connection.]

[4 FRAGMENTS is premiering at City Stage Theatre, Union Station 30 W. Pershing Rd. KCMO, Friday & Saturday, April 12 & 13 at 8:00 PM, and Sunday, April 14, at 2:00 PM. More info at: http://www.owencoxdance.org]

10:32 – Interview with Jennifer Owen & Brad Cox

Jennifer Owen is Artistic Director of Owen/Cox Dance Group, an ensemble she co-founded with composer Brad Cox in 2007. She has choreographed over fifty new works for Owen / Cox Dance Group. Prior to founding Owen/Cox Dance Group, Owen enjoyed a 13-year international ballet career. After training w/ Pacific Northwest Ballet School, San Francisco Ballet School, School of American Ballet, and Bolshoi Ballet Academy, she went on to dance with the Russian State Ballet, Moscow Renaissance Ballet, Kansas City Ballet, Hong Kong Ballet, BalletMet, and was a guest artist w/ National Ballet of Turkmenistan.

Brad Cox is a composer in the uniquely American Ellington model, Brad is dedicated to forming long lasting relationships with musicians and writing music for those musicians. Brad served as founder & contributing composer to The People’s Liberation Big Band of Greater Kansas City, and conceived & organized the ensemble’s versions of The Nutcracker and the Mouse King and The Battleship Potemkin. In addition to his work with Owen/Cox Dance Group, he has created compositions & arrangements for Sony Classical recording artist Nathan Granner, Grammy award-winning producer & engineer Russ Elevado, Paris-based songwriter Krystle Warren and internationally-recognized puppeteer Paul Mesner. Brad is a 2009 recipient of the Tanne Foundation Award, and 2010 recipient of the Charlotte Street Foundation Generative Performing Artist Award.

Jennifer Owen and Brad Cox join us to talk about 4 FRAGMENTS, a series of short works with music for string quartet, percussion & electronics, composed by Brad Cox, celebrating those we love, those we have lost, and the joy of human connection. 4 FRAGMENTS is premiering at City Stage Theatre, Union Station 30 W. Pershing Rd. KCMO, Friday & Saturday, April 12 & 13 at 8:00 PM, and Sunday, April 14, at 2:00 PM. More info at: http://www.owencoxdance.org

Jennifer Owen & Brad Cox thank you for being our guest on WMM

Jennifer Owen has choreographed over fifty new works for Owen/Cox Dance Group, including two commissions by the Nelson-Atkins Museum of Art, and works commissioned by Island Moving Co. of Newport, RI, Kansas City Dance Festival, Kansas City Baroque Consortium, and Kansas City Chamber Orchestra. She has also created nine new works for Kansas City Ballet’s In the Wings choreographic workshop, and a winning entry for the 2006 Columbus Choreography Project. Owen is the recipient of a 2000 Princess Grace Honorarium. Prior to founding Owen/Cox Dance Group, Owen enjoyed a 13-year international ballet career. After training with Pacific Northwest Ballet School, San Francisco Ballet School, School of American Ballet, and the Bolshoi Ballet Academy, she went on to dance with the Russian State Ballet, Moscow Renaissance Ballet, Kansas City Ballet, Hong Kong Ballet, BalletMet, and was a guest artist with the National Ballet of Turkmenistan. She has performed principal roles in Giselle, Don Quixote, George Balanchine’s Tchaikovsky Pas de Deux and Donizetti Variations, and the central pas de deux in Todd Bolender’s Arena.

The musicians in 4 FRAGMENTS are: Matthew Bennett on violin, Christine Grossman on viola, Sascha Groschang on cello, Jeff Harshbarger on bass, Patrick Alonzo Conway on percussion, and Brad Cox on piano. Also, John Kizilarmut on percussion, although not playing for the live show, John was instrumental in putting the music together.

Jen Owen’s husband and partner is Brad Cox, is also the founder of The People’s Liberation Big Band of Greater Kansas City--a musicians’ collective dedicated to the creation and performance of new large ensemble jazz. AND, Brad Cox Octet–an eight-piece ensemble made up of 2 saxophonists, 2 bass players, 2 drummers, and 2 keyboardists.

Jennifer Owen and Brad Cox of Owen/Cox Dance Group talk with us about 4 FRAGMENTS, a series of short works with music for string quartet, percussion and electronics, composed by Brad Cox, celebrating those we love, those we have lost, and the joy of human connection. 4 FRAGMENTS is premiering at City Stage Theatre, Union Station 30 W. Pershing Rd. KCMO, Friday & Saturday, April 12 & 13 at 8:00 PM, and Sunday, April 14, at 2:00 PM. More info at: http://www.owencoxdance.org

Jennifer Owen & Brad Cox thank you for being our guest on WMM

10:40

6. Brad Cox – “Canon from 4 FRAGMENTS”
   from: Music from 4 FRAGMENTS / Owen/Cox Dance Group / April 12, 2024
   [4 Fragments is a series of short works with music for string quartet, percussion and electronics, composed by Brad Cox. The musicians are: Matthew Bennett on violin, Christine Grossman on viola, Sascha Groschang on cello, Jeff Harshbarger on bass, Patrick Alonzo Conway on percussion, and Brad Cox on piano. Also, John Kizilarmut on percussion, although not playing for the live show, John was instrumental in putting the music together. 4 Fragments celebrates those we love, those we have lost, and the joy of human connection.]

10:43 – More Interview with Jennifer Owen & Brad Cox

Jennifer Owen and Brad Cox of Owen/Cox Dance Group talk with us about 4 FRAGMENTS, a series of short works with music for string quartet, percussion and electronics, composed by Brad Cox, celebrating those we love, those we have lost, and the joy of human connection. 4 FRAGMENTS is premiering at City Stage Theatre, Union Station 30 W. Pershing Rd. KCMO, Friday & Saturday, April 12 & 13 at 8:00 PM, and Sunday, April 14, at 2:00 PM. More info at: http://www.owencoxdance.org

Jennifer Owen & Brad Cox thank you for being our guest on WMM

Owen/Cox Dance Group is a 501 (c) 3 not for profit corporation with a mission is to create new music and dance collaborations, to present high-quality contemporary dance performances with live music, and to engage as wide an audience as possible through affordable live performance, education and outreach programs

Over the last few years Owen/Cox Dance Group’s was working on a U.S. State Diplomacy Tour in Ukraine. COVID-19 local & international protocol, postponing this trip until later. Jen Owen how do you explain how your donace company has been involved in international history and now with the Russian invasion into the Ukrain things have dramatically changed.

Monday, April 8, 2024 was Cecilia Cox’s 10th Birthday and she saw the solar eclipse in Fredericktown, Missouri.

Past Shows:

Owen Cox Dance Group’s aRound & aRound, March 31 thru April 2, 2023, at ​The City Stage Theatre, Union Station This production featured original music composed by Brad Cox and Jeff Freling (of Victor & Penny and Slim Hanson and the Poor Choices). This work also featured visual projections created by artist and NEA Fellow, Nate Fors.

Owen Cox collaboration with The Black Creatures “What Came With Spring,” Oct. 7 thru October 9, 2022.

Jennifer Owen & Brad Cox thank you for being our guest on WMM

4 FRAGMENTS is premiering at City Stage Theatre, Union Station 30 W. Pershing Rd. KCMO, Friday & Saturday, April 12 & 13 at 8:00 PM, and Sunday, April 14, at 2:00 PM. More info at: http://www.owencoxdance.org

10:54

7. Rick Mareske – “River”
   from: A Stroll in The Park / Rick Mareske / March 30, 2024
   [For this song: Rick Mareske on guitar, with Erin Keller on lead vocals, Beth Watts Nelson l backing vocals, Betse Ellis on violin, Christine Broxterman on cello, Brian Steever on drums, Jeffery Ruckman on piano, & Johnny Hamil on bass.These compositions have been written over the past 50 years but have been edited, updated, arranged, scored over the last four years and finally recorded. // Compositions by Rick Mareske. Produced by Clarke Wyatt. Recorded by Chad Meise at Massive Sound and Clarke Wyatt at Gnomes and Goats Studio. Mastered by Collin Jordan at Boiler Room Mastering. Illustrations by Regina Compernolle. Album Design by Quinn Kavanaugh. Musicians: Thomas Aber – Clarinet and Bass Clarinet; Christine Broxterman – Cello; Patrick Alonzo Conway – Percussion; Betse Ellis – Violin, Viola and Fiddle; Adam Galblum – Mandolin; Johnny Hamil – Electric Bass and String Bass; Byron Jones – Trumpet, Flugelhorn and Vocals; Erin Keller – Vocals; Rick Mareske – Guitars and Vocals; John Miles – String Bass; Fast Johnny Ricker – Slide Guitar; Jeffery Ruckman – Piano and Organ; Steven Smith – Alto and Tenor Sax; Guy Montes – Flute; Brian Steevers – Drums; Beth Watts Nelson – Vocals; Randy Weinstein – Harmonica; Bill Woodhouse – Mandolin; Clarke Wyatt – Banjo and Organ; Zinnia, Macee, and Clementine – Choir. Artwork by Regina Compernolle. Wallet Style Case Design by Quinn Mahler]

[Rick Mareske plays A Stroll In The Park – CD Release Party, Friday, April 12, at 8:00pm at The Brick, 1727 McGee, KCMO, with Erin Keller on vocals; Beth Watts Nelson on vocals; Rick Mareske on guitar & vocals; Byron Jones on trumpet, flugelhorn, & vocals; John Miles on string bass; Johnny Hamil on string bass & electric bass, Gliddon Coleman on keys; RJ Schultze on drums. With special Guests: Betse Ellis on fiddle; Clarke Wyatt on banjo & keyboards; Bill Woodhouse on mandolin; and maybe others.]

8. Krystle Warren – “Move”
   from: Three The Hard Way / Parlour Door Music / August 18, 2017
   [Inspired by early Black gospel and gospel/jazz music of the 20th Century leading up to the Civil Rights era Produced by Krystle Warren and Ben Kane (D’Angelo, Emily King, PJ Morton). Recorded, engineered, and mixed by Ben Kane. Written & performed by Krystle Warren. Mixed at The Garden, Brooklyn. Mastered & cut by Alex DeTurk at Masterdisk. In 2016, for Middle of The Map Festival Krystle Warren premiered songs from this album in a packed room at Californos in Westport and later at The Polsky Theatre for the Performing Arts Series of Johnson County Community College. For this record Krystle decided to play every instrument and vocals & back up vocals, “playing bass, drums, lap steel, piano, guitar, and vocals directly to analog tape. She and Ben Kane recorded in Villetaneuse, France, a small town on the outskirts of Paris in a vintage 70s era studio that offered just the right, rich sound to suggest the musical foundation for the record, and to do justice to the duo’s carefully balanced arrangements.” In the Summer of 207 prior to this album’s release, on WMM Krystle shared inspirations for this record, early gospel recordings, that crossed over into Jazz from Pharoah Sanders, Edwin Hawkins, and The Swan Silvertones. Originally from KC, Krystle learned to play the guitar by listening to Rubber Soul & Revolver from The Beatles. Krystle graduated from Paseo Arts Academy in 2001 and began her musical career in collaborating with area jazz and pop musicians. After living in San Francisco and NYC, Krystle was signed to a French label, Because Music, and moved to Paris to release “Circles” in 2009. Krystle played French and British television programs, including Later with Jools Holland, garnering critical acclaim and traveling all over the world with Rufus Wainwright, Nick Cave, Norah Jones, and Joan As Police Woman. Krystle created, Parlour Door Music, to release “Love Songs: A Time You May Embrace” a recording from a 13-day session in Brooklyn, where she recorded 24 songs live with 28 musicians including her band, The Faculty, alongside choirs, horn and string sections.]

[Krystle Warren plays Boulevardia, Saturday, June 15 at Crown Center]

11:05 – Interview with D Rashaan Gilmore

D. Rashaan Gilmore is the Emmy winning host and moderator of the Kansas City PBS program Flatland KC. He is also a Newsweek contributing writer. After nearly four years as part of the team on 90.1’s The Tenth Voice, D. Rashaan made the leap to producing and hosting his own weekly radio show “Unbossed and Unbothered” that aired from 2021-2022 on 90.1 FM KKFI. A life-long resident of Kansas City. He is community connector, organizer, collaborator, and AIDS activist, who serves as Founder and President/CEO at BlaqOut KC, which seeks to organize and mobilize the black, gay community in Kansas City and develop a leadership core. Gilmore has previously managed multiple significant HIV/ AIDS awareness and prevention grants for the Kansas City CARE Clinic. D Rashaan has also served as the Senior Field Organizer for PROMO, Missouri’s statewide LGBT equality and advocacy organization.

D Rashaan Gilmore thanks for being with us on Wednesday MidDay Medley.

D. Rashaan Gilmore congratulations on winning an Two Emmy Awards.

After nearly four years as part of the team on 90.1’s The Tenth Voice, D. Rashaan made the leap to producing and hosting his own weekly radio show, “Unbossed and Unbothered” that aired from 2021-2022 on 90.1 FM KKFI. And then KC PBS hired D. Rashaan to serve as host and moderator of Flatland KC whee is has won two Emmy Awards.

While he had his radio show on KKFI D Rashaan covered insurrections, impeachments, and inaugurations, COVID-19, The Vaccine, The Presidential election. In his new role as host and moderator of Flatland KC D. Rashaan covers all kinds of area issues including recently the April 2, Jackson County Sales Tax vote.

Will Flatland KC give D. Rashaan a segment called “Reclaiming My Time” inspired by the legendary U.S. Representative for California’s 43rd Congressional District, Maxine Waters.

D. Rashaan’d program on KKFI was called “Unbossed and Unbothered” a title inspired by the late congress woman Shirley Chisholm who ran for President in 1972 with the motto: “Unbought and Unbossed.”

Shirley Anita Chisholm (November 30, 1924 – January 1, 2005) was an American politician who, in 1968, became the first black woman to be elected to the United States Congress. Chisholm represented New York’s 12th congressional district, a district centered in Bedford–Stuyvesant, Brooklyn[a] for seven terms from 1969 to 1983. In 1972, she became the first black candidate for a major-party nomination for President of the United States and the first woman to run for the Democratic Party’s presidential nomination. Throughout her career, she was known for taking “a resolute stand against economic, social, and political injustices,” as well as being a strong supporter of black civil rights and women’s rights.

Born in Brooklyn, New York, she spent ages five through nine in Barbados, and she always considered herself a Barbadian American. She excelled at school and earned her college degree in the United States. She started working in early childhood education, and she became involved in local Democratic Party politics in the 1950s. In 1964, overcoming some resistance because she was a woman, she was elected to the New York State Assembly. Four years later, she was elected to Congress, where she led the expansion of food and nutrition programs for the poor and rose to party leadership. She retired from Congress in 1983 and taught at Mount Holyoke College while continuing her political organizing. Although nominated for the ambassadorship to Jamaica in 1993, health issues caused her to withdraw. In 2015, Chisholm was posthumously awarded the Presidential Medal of Freedom.

Actress Uzo Aduba portrays Chisholm in the FX on Hulu miniseries Mrs. America, released in April 2020, for which she won an Emmy Award for Outstanding Supporting Actress in a Limited Series.

In November 2020, Danai Gurira was cast as Shirley Chisholm in The Fighting Shirley Chisholm, directed by Cherien Dabis, about her 1972 run for president. However, as of 2024, the film had not appeared, and it was still considered to be in development.

Shirley was released on Netflix in March 2024 with Regina King as Chisholm and John Ridley directing. Also announced in the cast were Lance Reddick, Lucas Hedges, Amirah Vahn, André Holland, Christina Jackson, Michael Cherrie, Dorian Missick, W. Earl Brown and Terrence Howard.

Chisholm was also heavily featured in Mel Brooks’s 2023 satirical television series History of the World, Part II, played by Wanda Sykes. Segments throughout the series loosely detailed Chisholm’s presidential bid stylized as episodes of Shirley!, a fictional 1970s sitcom. The episodes “starred” other members of Chisholm’s family and friends, including Conrad Chisholm (Colton Dunn), Florynce Kennedy (Kym Whitley) and Ruby Seale (Marla Gibbs).

Current Issues for “Reclaiming My Time”:

The Right wing attack against Black History

The movie “Shirley” and the Academy Award Nominated film, “Rustin” starring Coleman Domingo as Bayard Rustin both offer history so many folks do not know about.

Biden vs. Trump the rematch
Women’s Healthcare vs. The Supreme Court
House Speaker Mike Johnson presides over the most ineffective Congress ever?
Trump in Court
Drag Queen Story time
After Trump
Trump supporters don’t care about issues, they only want revenge and suffering.
Why do well meaning white folks ask their Black friends to explain racism? Shouldn’t it be the other way around?

A life-long resident of Kansas City. He is community connector, organizer, collaborator, and AIDS activist, who serves as Founder and President/CEO at BlaqOut KC, which seeks to organize and mobilize the black, gay community in Kansas City and develop a leadership core.

Gilmore has previously managed multiple significant HIV/ AIDS awareness and prevention grants for the Kansas City CARE Clinic.

D Rashaan has also served as the Senior Field Organizer for PROMO, Missouri’s statewide LGBT equality and advocacy organization.

D Rashaan thanks for being with us on Wednesday MidDay Medley.

D. Rashaan Gilmore is the Emmy winning host and moderator of the Kansas City PBS program Flatland KC. D. Rashaan Gilmore also serves as Founder and President/CEO at BlaqOut KC More info at: http://www.blaqOut.org

11:28 – Underwriting

11:28 – Underwriting

9. The Distant Now – “Some Thin Dime”
   from: The Dime Variations / The Distant Now / March 27, 2024
   [Kansas City, Kansas based musical duo, The Distant Now who released “The Dime Variations,” on April 2, 2024. Anson the Ornery and Brandan Hoffman created two new songs that are two sides of the same coin. “Some Thin Dime” antes up a classic soul tune, recorded to sound live in a smokey nightclub. “Borrowed Dime” then doubles down by flipping “Some Thin Dime” to create new meaning and context. “The Dime Variations” is streaming on all platforms. Last year The Distant Now released the EP Want Not is Deth on July 29, 2023. The Distant Now is now a duo, but last year it was a trio with Jacob E.chord, Anson The Ornery, & Brandan Hoffman. More info at: http://www.thedistantnow.bandcamp.com]

11:35 – Interview with Anson The Ornery

Anson the Ornery is a multimedia artist with a background in music, visual arts, writing and acting. Anson combines his artistic disciplines in interactive installations and performances to use the viewer as a creative part of his process. Anson graduated with a BFA in Expanded Media along with minors in Music and Writing from the University of Kansas in 2010 then moved to Kansas City to be apart of the art scene. Anson is currently managing his own art handling business as he continues to create more ambitious installations.

Anson the Ornery is one half of of the Kansas City, Kansas based musical duo, The Distant Now who released “The Dime Variations,” on April 2, 2024. Anson the Ornery and Brandan Hoffman created two new songs that are two sides of the same coin. “Some Thin Dime” antes up a classic soul tune, recorded to sound live in a smokey nightclub. “Borrowed Dime” then doubles down by flipping “Some Thin Dime” to create new meaning and context. “The Dime Variations” is streaming on all platforms.

Anson The Ornery, Thanks for being with us on Wednesday MidDay Medley

Last year The Distant Now released the EP Want Not is Deth on July 29, 2023 with Jacob E.chord, Anson The Ornery, & Brandan Hoffman. // Too Much Rock reviewed The Distant Now’s Sept. 9, 2022 concert at The Rino in NKC, MO. : “The evening began punctually at 8pm. The three-piece of The Distant Now was up first. Three dudes. Patchy beards. Long dark hair. Lanky. Glasses. They could be brothers, but they’re not. They’re guitarist Jacob E.chord (Eckhardt to the taxman), keyboardist Anson DeOrnery, and drummer Brandan Hoffman. You’ve seen some before in other bands. You’ve seen all of them at other shows. The band hasn’t been around long. In fact, The Distant Now only has two songs that they’ve written as a band. They played both (as the opener and the closer I believe) and then padded the half-hour set with five other songs from the players’ other projects. As such it’s hard to get a feel for what the band is or where it is going. There are short psych songs augmented by E.chord’s pedal board. There are long multi-movement prog suites colored by DeOrnery’s synthesized organ tones. There’s elements of jazz and indie throughout. Originality is hard to pull off, but the Distant Now is giving it a go. E.chord carried most of the vocals. Sometimes they’re a bit campy in that Peter Murphy or even Ziggy-era Bowie way. That’s fun. DeOrnery provided backing vocals throughout the night and took lead on a few. One was a bit iffy. He sounded better on the next. That must have been the closer. It had a solid piano ballad foundation elevated with phased guitar weaving in and out. Between songs E.chord chatted with the audience. DeOrnery chimed in. The set was relaxed and unpretentious. The audience, engaged and supportive. Time will tell where the band goes, but everyone should pay attention to find out.” (from http://www.toomuchrock.com)

The last time Anson The Ornery was on the show was May 20, 2020. We were on the phone during this COVID-19 pandemic.

Anson The Ornery had just released DJ Daniel The Cat on May 6, 2020 – Daniel used small electronic toy synthesizers to accommodate the size of his paws to create his self titled album synthpop DJ Daniel the Cat containing six upbeat dance songs with lyrics chronicling Daniel’s crippling social anxiety. After Daniel’s disappearance the DJ Daniel the Cat album was believed to be lost over. Over the last decade the notoriety of DJ Daniel the Cat has grown due to the popularity of the internet and the demand for the lost album was never greater when it was recently rediscovered. DJ Daniel the Cat is just one part of a larger work of art. Anson will be premiering DJ Daniel the Cat live on YouTube on Friday, May 22 at 7:00 PM with a special surprise at the end for longtime fans.

For over a decade it was believed that the ground-breaking 2009 self-titled album DJ Daniel the Cat had been lost after the disappearance of Daniel the Cat in 2010. Recently Anson the Ornery, the producer and singer of DJ Daniel the Cat, rediscovered the album’s masters. The interest in DJ Daniel the Cat has only grown over the years despite the fact that few have ever heard the legendary album outside Daniel’s inner group of friends. That is soon to change, for Anson has announced that on May 22nd 2020 he will be live streaming DJ Daniel the Cat via Facebook and Youtube Live at 7 pm CST in its entirety along with his own personal commentary about the making of the album.

The breakout success of Piano Cat inspired Daniel to become a DJ himself but, due to bigotry in the music industry towards cats, Daniel was worried that his music would not be taken seriously. Anson then became the voice of DJ Daniel the Cat in order for the public to accept Daniel’s music. The two labored on the album for months only using small electronic toy synthesizers to accommodate the size of Daniel’s paws. The result was a masterful collection of six electronic dance music tracks with lyrics chronicling Daniel’s crippling social anxiety. After the news of Daniel’s disappearance Anson was disheartened and DJ Daniel the Cat was lost in the confusion. Over the last decade the notoriety of DJ Daniel the Cat has grown due to the popularity of the internet and the demand for the lost album has never been greater.

Anson The Ornery, Thanks for being with us on Wednesday MidDay Medley

“The Dime Variations” is streaming on all platforms More information at: More info at: http://www.thedistantnow.bandcamp.com http://www.ansontheornery.com

11:50

10. The Distant Now – “Borrowed Dime”
    from: The Dime Variations / The Distant Now / March 27, 2024
    [Kansas City, Kansas based musical duo, The Distant Now who released “The Dime Variations,” on April 2, 2024. Anson the Ornery and Brandan Hoffman created two new songs that are two sides of the same coin. “Some Thin Dime” antes up a classic soul tune, recorded to sound live in a smokey nightclub. “Borrowed Dime” then doubles down by flipping “Some Thin Dime” to create new meaning and context. “The Dime Variations” is streaming on all platforms. Last year The Distant Now released the EP Want Not is Deth on July 29, 2023. The Distant Now is now a duo, but last year it was a trio with Jacob E.chord, Anson The Ornery, & Brandan Hoffman. More info at: http://www.thedistantnow.bandcamp.com]

11. Waxahatchee – “Bored”
    from: Tiger’s Blood / Merge Records / March 22, 2024
    [Kansas City based Katie Crutchfield’s southern roots are undeniable. The name of her solo musical project Waxahatchee comes from a creek not far from her childhood home in Alabama and seems to represent both where she came from and where she’s going. // Tiger’s Blood was produced by Brad Cook. Engineered & mixed by Gerardo “Jerry” Ordonez. Assistant engineering by Natalia Chernitsky. Mastered by Emily Lazar. Recorded and Mixed at Sonic Ranch Recording Studios. // On March 27, 2020 Waxahatchee released SAINT CLOUD which was in the TOP 20 of WMM’s 120 Best recordings of 2020. On Saint Cloud all songs were written by Katie Crutchfield. Recorded & mixed at Sonic Ranch in Tornillo, TX & Long Pond in Stuyvesant, NY. Produced by Brad Cook. Engineered by Jerry Ordonez. Additional engineering by Jon Low. Mixed by Jon Low. Mastered by Brent Lambert at The Kitchen. KATIE CRUTCHFIELD on vocals, acoustic guitar, piano, keys; BRAD COOK on bass, acoustic guitar, piano, keys, synth; BOBBY COLOMBO on electric guitar, acoustic guitar, keys; BILL LENNOX on electric guitar, acoustic guitar, keys, percussion; NICK KINSEY on drums, percussion; JOSH KAUFMAN on electric guitars, piano, organ, percussion. More info at: http://www.waxahatchee.com.]

[Waxahatchee plays the Uptown Theatre on April 18, 2024]

Next week on Wednesday, April 17 We will cover Manor Fest 6 with Special Guest Shaun Crowley.

THANK YOU to our incredible KKFI Staff; Director of Development & Communications – J Kelly Dougherty, Volunteer Coordinator – Darryl Oliver, Chief Operator – Chad Brothers.

This radio station is more than the individual hosts of each individual radio show. Instead it is about a collective spirit of hundreds of hardworking people, unselfishly setting aside ego, to work for the greater good of community building and the gigantic goal of keeping our airwaves free, non-commercial, and open to all! Congratulations and thank you to all programmers & volunteers who went the extra effort to keep our station alive.

Our Script/Playlist is a “cut and paste” of information.
Sources for notes: artist’s websites, bios, wikipedia.org

Wednesday MidDay Medley in on the web:
http://www.kkfi.org,
http://www.WednesdayMidDayMedley.org,
http://www.facebook.com/WednesdayMidDayMedleyon90.1FM

Show #1041