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

Wednesday, July 30, 2025

WMM’s Favorite MidCoastal Releases of 2025…So Far! (Part 3) + Bobcat Attack + Guest Producer SYLKYSAN

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. Anna Moss & Calvin Arsenia – “It Was Only a Dream (Live)”
   from: “It Was Only A Dream (Live)” – Single / Moss Tones / May 16, 2025
   [With the world outside her window rapidly unraveling into chaotic madness, Anna Moss found herself holed up alone in her New Orleans home during 2020’s unprecedented global pandemic. Frozen in a state of paralyzing panic, crippling anxiety, and isolation, she was armed with only a guitar, and the voices in her head. A working musician her entire adult life, touring gigs and studio sessions had suddenly screeched to a harrowing halt. // Online, friends and fans sparred feverishly, screaming at each other and into the ether, while the realities and insecurities of her precarious situation sent the singer/multi-instrumentalist spiraling into a deep depression. // Manifested from the nadir of her own darkness and demoralization, Moss mined a medicinal muse from within, incessantly writing on guitar and rediscovering her salvation in song. Intimate, delicate, dreamy, messy, a flurry of new tunes began to flow freely, slowly liberating Anna from the suffocating clutches of her own despair. Emerging from the ashes of this traumatic, dehumanizing spell: a phoenix of deeply personal compositions that would eventually comprise Amnesty, Anna Moss’s solo debut LP released in March 2024 via Empire Records. // An intoxicating gumbo of bedroom pop and existential R&B, Amnesty is at once Anna’s potent opening salvo and a righteous rebirth, too. Paeans born of an emotional purge peel back the rawest, realest layers to reveal ruminations on an artist’s humanity. Throughout Amnesty, Moss treads distinctly different topography than with the idiosyncratic Handmade Moments—her long-running political folk-hop duo with partner Joel Ludford. Rich in ethereal harmonies, subtle sensuality, and melodies majestic, her album’s stripped-down, organic-soul sound leans into throbbing basslines and pulses with a buoyant thump. // Born and raised in the rural Ozark Mountains but currently rooted in the Crescent City, initially Anna had no intention to embark on a solo side project, never mind record an album. However, by January 2021, the pandemic still had the city—and Anna’s sanity—in a veritable vice grip, and this project gave her dreary days a purpose. Once she’d sketched out this smattering of brave new songs, she marched down to Royal Street—a busy busking hub in the famed French Quarter—ostensibly to rehearse the numbers in NOLA’s oldest neighborhood. // These nascent sidewalk sessions—low-pressure performances often powered by car batteries with tourists milling about—saw Moss connect with a fresh collaborator in Brazil-born drummer Fernando Lima, as Ludford provided electric bass. Amid blooming magnolias, Creole cottages, and the stoic oaks, seeds were sown for a glorious new beginning. // Ten tracks brimming with sultry instrumentation and a sharp-tongued chanteuse at the wheel, Amnesty embraces minimalism, yet arrives abundant in earworm escapism. With whispered sweet nothings and a healthy dose of sardonic wit, the protagonist elucidates themes of compassion, abolition, and forgiveness. On album opener “Slow Down Kamikaze”, breezy flute and a mellifluous vibe deftly disguise a rather heavy dialog that dares to dream oneself invisible. The vulnerable “Colors” chases the demons away with laconic, shoegaze strumming, a hazy shade of welter, and everybody crumbling to find a clue. // “Day After Day” is a first-take meditation on learning to love yourself; razor-sharp “Sickness In The Spirit” unpacks paradoxes and personal reckonings to make room for moral inventory. Biblical blues for a new world order, the gripping “Penis Envy” traces its genesis back a dozen years, a dusty, dormant idea finally brought to biting fruition once Anna arranged it for guitar. A defiant, Freudian refutation of the story of the Garden of Eden, Moss drinks down the evils of patriarchal dogma and returns serve, swingin’ for the fences with trademark style and verve. // A testimony to unconditional love and unwavering understanding, “Neverending” unspools an enchanting swirl that welcomes French vocalist Cyrille Aimée for a debutantes’ duet. Longtime California collaborators Rainbow Girls lend a canyon of heavenly harmonics to the Topanga-tinged title track, as “Amnesty” splits the difference between serenity and seduction. On first single “Gravy”, a disarming, irresistible chill is drizzled with muted trumpet courtesy of Ashlin Parker (Dumpstaphunk, Trumpet Mafia). Other guest contributors to Amnesty include Alex Toth (Rubblebucket) and Grammy-winning trombonist Miles Lyons (SOUL Brass Band). // Anna Moss wrote, arranged, tracked, and mixes Amnesty in her New Orleans home studio, assisted by engineers Bob Gaiser and Christian Lee King. /// On June 23, 2023 Calvin Arsenia released his 14 track album Paradise. Available through http://www.calvinarsenia.com // A new turning point as a songwriter. His most biographical album yet, with songs about Black Lives Matter, Racism, The Police, being on probation, gay love. The album contains collaborations with Cheery, Kadesh Flow and Jametatone. Calvin Arsenia one of our most frequent guests, who first appeared on WMM on July 25, 2012. KC Magazine has hailed Calvin as ‘equal parts opera, symphony, musical theatre, rock show, all built around its creator: a charismatic 6-foot-7-inch harpist with a 3 and ½ octave range, natural stage command and knack for gilding gold and painting lilies.’ Born in Orlando, Florida, Calvin’s creative journey began when he moved to Olathe, Kansas, teaching himself the guitar, piano, banjo. He learned his signature instrument, the harp, at the age of 20. His passion for stretching the boundaries of musical expression saw him transform a trip to Edinburgh, Scotland’s Fringe Festival early in his career into a life-changing music mission, with an Edinburgh church offering him a role as musical liaison between the church and the city that would change his life. Two years and 300 shows later, Calvin returned to KC reborn as a humanistic songwriter / performer where at 24 he released his EP, Moments, in 2014, and his EP Prose in 2015, and his Folk Alliance exclusive EP Catastrophe in 2016. On February 14, 2017 Calvin released his critically acclaimed full length debut, Catastrophe, with a live show at recordBar in November 2016 that involved a company of 50 people, dancers, stilt walkers. After signing to Center Cut Records, Calvin released the albums: Cantaloupe in 2018, with a sold out gigantic spectical at The Gem Theatre on Saturday, September 15, 2018. He then released, L.A. Sessions in 2019, and the EP HONEY DEW, and the EP Goddess with Quixotic, the Holiday album, ALL IS CALM. In 2020 Calvin collaborated with Mike Dillon on the Soundtrack to “Summer in Hindsight,” a feature-length film created by The West 18th Street Fashion Show that starred Calvin as an actor. Calvin is also the co-creator of the podcast “We Were Christian Kids” created with childhood friend Justin Randall who is a stand up comedian working in New York City and now Los Angeles. Calvin is also the published author of VERY GOOD BOY DOES FINE, a collection of Poetry & Prose published on October 5, 2021, by Andrews McMeel Universal. Calvin was voted KC’s Best Musician in The Pitch 2018, 2019, 2020, 2021, and 2022. He has been featured in Billboard, NPR.org. Charlotte Street Foundation announced that the recipients of the 2022 Generative Performing Artist Awards are The Black Creatures and Calvin Arsenia Scott.] [Calvin Arsenia played a PARADISE Album Release Party, Friday, June 23, and Saturday, June 24, at 7:00 PM at The Emerald, 1715 West 9th Street, KCMO, WEST BOTTOMS. More info at http://www.calvinarsenia.com][Calvin Arsenia was our guest on WMM on Jan. 18, 2023, June 21, 2023, and our 1000th Show on June 28, 2923.]

[Calvin Arsenia plays ULAH-PALOOZA at ULAH 4709 Rainbow Blvd, Westwood, KS. Two days of music and in-store performances! Saturday, August 2 at 12:00pm Noon with Calvin Arsenia followed by Caitlin Natalia, Marküs Raines, Day & Tizah, Heath Church, Nathan Corsi, Julie Bennett Hume, David George, Jamogi, playing until 8:00pm, and continuing on Sunday, August 3 at 12:00 Noon with David Luther, followed by The Canterberries, Christian Dixon, Gracie Caggiano, Russell The Love Muscle, Marty Bush, Joshua Jamês, Emma Jo, Zava, and DJ Ashton Martin, playing until 9:00pm. Presented by You Found Music, The David Luther and ULAH and all in support of ULAH’s GoFundMe campaign. Learn more by visiting http://www.ulahkc.com]

3. The Matchsellers – “The Same Moon”
   from: Psychobiography / The Matchsellers / August 2, 2025
   [Julie Bates is a classically trained violinist from Kansas City. Andrew Morris is a Chicago blues guitarist from Warsaw, Indiana. They met in Leipzig, Germany. During their year of living in the former East Germany, the pair began reanalyzing the songs of their homeland, and developed a tight yet gritty bluegrass style. In the summer of 2013 they left their jobs to hit the road and haven’t looked back. // In the band’s most recent iteration, mandolinist Brian McCarty brings an invaluable lifetime of experience in the Bluegrass tradition, while Brandon Day thrills audiences with his intricate bass solos. // On February 14, 2025 The Matchsellers reeased the single, “I Can’t Believe We’re Still In Love.” // On May 3, 2024 The Matchsellers released LIVE AT THE WAREHOUSE. // On October 28, 2022 The Matchsellers released The Wishful Thinker’s Hall of Game // On February 12, 2016 they released their album, SONGS WE MADE UP, one of Wednesday MidDay Medley’s 116 Best Recordings of 2016.. In late 2014 they released their debut full length recording, “Kosciusko County,” one of Wednesday MidDay Medley’s 115 Best Recordings of 2015. The Matchsellers have toured 3 European countries and 25 US States, performing 180 shows a year, including last year for the KC Fringe Festival, Bluegrass Bazaar in Flint, Michigan, Norman Music Festival in Norman, OK, and a 1st place win at the Eddie Owen Presents songwriting competition in Atlanta, GA.]

[The Matchsellers play a Psychobiography Album Release show Saturday, August 2, 2025 at 7:00pm in The Ruby Room at Musical Theatre Heritage in Crown Center Shops, Level 3 2450 Grand, KCMO.]

4. Lee Walter Redding – “All My Text Messages Are Verification Codes” (CD #4) (3:00)
   from: Student Loan Forgiveness Program – EP / Lee Walter Redding / July 18, 2025
   [Lee Walter Redding released the single “It Should Be Ours” on February 24, 2025. // On July 15, 2022 Lee Walter Redding released the EP live From The Argyle Wallpaper. Lee Walter Redding on vocals, guitar; Justin Rogers on bass; Andy Kirk on guitar/synth and Justin Skinner on drums. // Lee Walter Redding released “Elephant Man (feat. Stephonne)” on April 9, 2021. Lee told us that he learned about Stephonne Singleton from listening to Wednesday MidDay Medley and hearing Stephonne for the first time. WMM bringing musical collaborations together since 2004. // Kansas City based Lee Walter Redding was raised on 60s rock, steeped in 90s Britpop ennui, and guided by contemporary neo-soul, Lee Walter Redding weaves dry humor into vibrant sonic textures that sway from wistful to chaotic. Think 2010s Nick Lowe fronting The Velvet Underground. On warped vinyl. More info at: http://www.leewalterredding.bandcamp.com] [Lee Walter Redding was our guest on WMM on July 13, 2022]

5. David Luther – “Wrecking Bay”
   from: Who You Are / David Luther / April 25, 2025
   [David Luther released the first single “Smile About Something” on January 21, 2025. David Luther released the 2d single, “If Love Just Ain’t Enough (feat. Garrison Starr) on February 28, 2025. all singles off of David’s upcoming album EWHO YOU ARE expected April 25, 2025. // David Luther Broxterman recorded his first self-titled EP in 2009 with Nashville producer Neilson Hubbard. The EP featured backing vocals from Americana artist Garrison Starr. This experience was the catalyst that would send him on his path to a music career, gigging part-time to begin with while working full-time as a social worker. // In 2020, during the heart of COVID-19, David knew it was time to embrace becoming a full-time musician.. Stepping away from social work and side jobs, especially as a single father of two boys, was a faith move then. During this time, David collaborated with David George and Pat Tomek on his EP Take Me Home, which was released in 2022. The EP included the anthem Home To Kansas City and World’s Gonna Change, a song co-written by David, Brandon Mashburn, and Academy Award and Golden Globe-winning songwriter Tom Whitlock. George and Tomek’s dedication and artistry to the project, along with the exceptional musicians and singers, inspired David. Shortly after, David worked with his sister Anna Taylor and producer Brandon Mashburn on the single I Will, released in 2023, a song to draw attention to things that unite rather than divide us. // In July 2024, David again joined Neilson Hubbard, studio musician Juan Solórzano, and engineer Dylan Alldridge in their East Nashville studio to record a new full-length Americana album. The album, Who You Are, features partner Kelly Dougherty on several songs and Garrison Starr on If Love Just Ain’t Enough. The songs on the LP are a journey of David’s songwriting, many coming from painful places in the past and leading up to the last song he finished the night before the last days of recording, the title track. // David is grateful for the people in his family and community who have come alongside him, often carrying him and sometimes dragging or chasing him down his path. He says he can’t imagine how he’d still be doing this without their ongoing help and encouragement, especially that of his partner and manager, Kelly Dougherty. “I had no idea what I was getting myself into, but there’s no going back.”]

[David Luther plays KC Wine Company 13875 S Gardner Rd #1 Olathe, KS, Sat., August 3, at 2:00PM]

[David Luther plays ULAH-PALOOZA at ULAH 4709 Rainbow Blvd, Westwood, KS. Two days of music and in-store performances! Saturday, August 2 at 12:00pm Noon with Calvin Arsenia followed by Caitlin Natalia, Marküs Raines, Day & Tizah, Heath Church, Nathan Corsi, Julie Bennett Hume, David George, Jamogi, playing until 8:00pm, and continuing on Sunday, August 3 at 12:00 Noon with David Luther, followed by The Canterberries, Christian Dixon, Gracie Caggiano, Russell The Love Muscle, Marty Bush, Joshua Jamês, Emma Jo, Zava, and DJ Ashton Martin, playing until 9:00pm. Presented by You Found Music, The David Luther and ULAH and all in support of ULAH’s GoFundMe campaign. Learn more by visiting http://www.ulahkc.com]

6. Lucy Gray – “Purple Skies”
   from: “Purple Skies” – Single / Lucy Gray / July 25, 2025
   [Music & Lyrics by Lucy Gray Hamilton. Vocals, Ukulele by Lucy Gray Hamilton. Bass, Guitar & keyboards by Gregory Gagnon. // Lucy Gray released the single “Sixteen and Happy” on May 24, 2024. Produced by Gregory Gagnon- ShapeNote Studios & Robert Rebeck- Westend Recording Studios (Kansas City, MO). This recording was made possible by the Heartland Song Network and Gregory Gagnon of ShapeNote Studios. // ‘sixteen & happy” for me is a lot of things. It’s being sad on your birthday. It’s how crushing it can be when someone you were once so close with isn’t around anymore. It reveals how hard it is to acknowledge true feelings and how it can take time to express them. My deepest gratitude to Heartland Song Network and Greg Gagnon at ShapeNote Studios for making this recording possible!” – Lucy Gray // SONGWRITER, COMPOSER, MULTI-INSTRUMENTALIST – Lucy Gray grew up performing on festival stages from the young age of 7 while studying classical & fiddle style violin. By the age of 9 she was performing her own original songs leading her to 4 awards for songwriting & composition, invitations to speak at events, repeated radio spins, tv appearances & most recently a grant to record her latest single!]

7. Boxknife – “Ready or Not” – Single”
   from: “Ready or Not” Single / Squarestab Records / August 1, 2025
   [Boxknife released their EP Manifestering on May 20, 2022. The band released their debut single “The Tower” just prior to that date. Boxknife, a queer dark-pop band from Kansas City made up of Stephanie Bankston, Britt Wild, Mia Morrow, and Brook Worlledge who formed from the ashes of the band Lovergurl. Keyboardist and vocalist, Stephanie Bankston was born and raised in Kansas City, Missouri. She is a graduate of The University of Missouri. She moved abroad in her 20s, and lived in Seoul, Korea, where she played in a mostly female band called BaekMa (“White Horse”). Stephanie returned to Kansas City in the Fall 2015. Brook Worlledge, is a Kansas City native. She is the band’s lead vocalist and drummer and writes songs for the band. Brook is a defender of the proletariat. Brook’s influences range from The B-52s, The Velvet Underground, and The Brian Jonestown Massacre. Brit Wild has played to Wick and the Tricks and other bands in Kansas City.]

[Boxknife play the Video Premiere Party and Single release for “Ready or Not” Friday, August 1, at 9:00pm at the Union Library, 1317 Union Ave, in West Bottom, KCMO with drag by Cee J The Troll and Mx. Virtue, with Musical performance by @theblackmariahtheater and Tarot by Mama Matthew.]

8. Radkey – “Victory”
   from: “Victory” – Single / Little Man Records / March 28, 2025
   [On September 23, 2022 Radkey released the single “Better Than This.” The band released “Games (Tonight)”: on January 28, 2022 on Little Man Records. Isaiah, Dee, and Solomon Radke of the critically acclaimed rock trio Radkey joined us live in our 90.1 FM studios on September 5, 2018. Radkey was formed in 2010 in St. Joseph, where the brothers were raised. The family moved to Kansas City. The band has released multiple full-length recordings. IN 2021 Radkey was featured in Dave Grohl’s van-touring documentary film, WHAT DRIVES US. Radkey released GREEN ROOM on Little Man Records on November 27, 2020.On Green Room the band serve as their own producers. Radkey released DARK BLACK MAKE UP in 2015 and DELICIOUS ROCK NOISE in 2016 — plus multiple EPs and singles, and were part of a MasterCard advertising campaign on digital billboards in NYC along with a national television commercial that aired during the 2018 Grammy Awards that brought the band to the attention of Jack White who asked the band to tour with him. In 2018 the band went back on the road with The Damned throughout the United States. In December they went back into the studio to record with producer Bill Stevenson of the California punk rock group Descendents. In early 2019 they played shows in Amsterdam and Stockholm. In 2018 the band released “Basement,” “St. Elwood,” “Rock & Roll Homeschool,” as well as several other singles. On February 22, 2019, Radkey released “No Strange Cats…P.A.W.” a 7-song EP is essentially a collection of the band’s most recent singles. It comes after the January 11, 2019 release of No Strange cats…Spiders – EP a 6 song EP of several new songs mixed with several singles from late 2018.]

[Radkey plays and presents RADFEST 3 on Friday, August 1, 2025 at 6:00pm to 11:00pm at Lemonade Park 1628 Wyoming Street, KCMO with Frogpond, The Rackatees, and Gascan.]

10:29 – Underwriting

9. Bobcat Attack – “Found In The Grass”
   from: The Year of The Bobcat / Les Bon Bons Electriques – The Record Machine / Aug. 1, 2025
   [Bobcat Attack released the single “Bird of Prey” on January 10, 2025 Bobcat Attack is the alter ego of electronic musician Nathan Reusch. Reusch has a passion for blending dub, techno, and ambient electronica into his own improvised vision. His compositions, crafted with synthesizers, drum machines, and modular synths, create a pulsing soundscape that is both intimate and lush, setting him apart in the electronic music scene. // Reusch first started making electronic music influenced by emo/punk in the early 2000s, opening for acts like Taking Back Sunday, Mewihoutyou, Coheed and Cambria, to more fitting artists like Joy Electric, Atom & His Package, Casiotone for the Painfully Alone and Yacht. In 2003, he started his indie label, The Record Machine, and in 2011, he founded KC’s Middle of the Map Fest; his time and focus on making his music came to a halt. The pandemic inspired Reusch to dust off his Bobcat Attack moniker and renewed his interest in making music. After a few months of waywardly trying to figure out patches and midi cables, he joined KC’s Synth Collective and found a group of similarly-minded electronic musicians. // After a year of playing and organizing shows with the KC Synth Collective, he is regaining his footing; Reusch is ready to release his first new material in nearly two decades. Bobcat Attack bridges the gap between ambient, dub-techno, and house music. The result is a rich textural environment of blooming melodies, entrancing techno beats, and ambient soundscapes that immerses the listener in a vibrant, flooding forest of electronica. His arrangements are patient and complete, and there’s always a discovery bubbling underneath the surface. // Bobcat Attack’s debut single release, “Pallas,” (Sept. 20, 2024) was the inaugural release on Les Bon Bons Electriques – The Record Machine imprint. This collaboration between fellow electronic musician and collaborator Mark Ronning (Mr. Golden Sun/Pool Culure) and Reusch’s label, The Record Machine,]

[Bobcat Attack plays YEAR OF THE BOBCAT EP release show on Thursday, July 31 at miniBar, 3810 Broadway, KCMO, with FaceFace, Hautlle and Slow Poke.]

11:33 – Interview with Nathan Reusch

Bobcat Attack is Nathan Reusch co-founder of The Record Machine an area music label that is celebrating 22 years! Nathan Reusch first started making electronic music under the name Bobcat Attack influenced by emo/punk in the early 2000s, opening for acts like Taking Back Sunday, Mewihoutyou, Coheed and Cambria, to more fitting artists like Joy Electric, Atom & His Package, Casiotone for the Painfully Alone and Yacht. In 2003, he started his indie label, The Record Machine, and in 2011, he founded KC’s Middle of the Map Fest; his time and focus on making his music came to a halt. Under Nathan’s leadership The Record Machine has been the label for Static Phantoms, Monta, Various Blonde, Cowboy Indian Bear, LaGuerre, The Philistines, and Black Light Animals and many more. Nathan is also a DJ. The pandemic inspired Reusch to dust off his Bobcat Attack moniker and renewed his interest in making music. After a few months of waywardly trying to figure out patches and midi cables, he joined KC’s Synth Collective and found a group of similarly-minded electronic musicians. His debut track, Pallas, released September 18, 2024 was the inaugural release on Les Bon Bons Electriques imprint on The Record Machine label. This collaboration between fellow electronic musician and collaborator Mark Ronning (Mr. Golden Sun/Pool Culure) and Reusch’s label, The Record Machine,

Nathan Reusch thanks for being with us on WMM.

Bobcat Attack plays YEAR OF THE BOBCAT EP release show on Thursday, July 31 at miniBar, 3810 Broadway, KCMO, with FaceFace, Hautlle and Slow Poke.

Last year the Kansas City record label The Record Machine launched a new imprint, “Les Bonbons Electriques”. Creative collaboration between label-owner Nathan Reusch and musician Mark Ronning began as a shared passion for synthesizers and has turned into an expansion of The Record Machine’s label.

On September 20th, 2024, Bobcat Attack, the moniker of electronic artist Nathan Reusch, released his first single. September 20th marked the beginning of Les Bonbons Electriques, an imprint of The Record Machine, a collaboration between Reusch and electronic musician Mark Ronning (Pool Culture, Mr. Golden Sun). Les Bonbons Electriques (“electric candy” in French) is a new imprint that will focus on artistry, experimentation, and electronic music. For Reusch’s project Bobcat Attack, where his modular synthesizer is the center of his electronic, ambient, and dub techno-influenced music, Les Bonbons Electriques is the perfect label match.

Les Bonbons Electriques began as a series of pop-up shows to feature Kansas City electronic artists, inspired by Ronning’s foray into modular synthesis during the pandemic. When Reusch and Ronning connected in 2022 over a shared passion for modular synthesis, they formed a fast friendship and, from this, a creative collaboration was born. Now, the name “Les Bonbons Electriques” will be both a live performance series as well as a record label imprint of The Record Machine.

The initiation of this new imprint comes with exciting new artists and releases. Bobcat Attack’s first single “Pallas” is releasing on September 20th, a pulsing track with a bouncing melody over ambient architecture. And, on October 4th, indie pop band, The House, will be releasing their single “Honey”, a soaring tune with electronic augmentation over chamber-pop arrangements. This first duo of releases serves as the perfect representation of the space that Les Bonbons Electriques can occupy: a spectrum of organic and inorganic sounds, from those fully distorted, filtered, and modulated by electronica to acoustic instruments wrapped up in swirling, synthesized ambience.

Connect with The Record Machine and Les Bonbons Electriques
@therecordmachine
@lesbonbonselectriques
@bobcatattack.me
@thehouse.band

Nathan Reusch thanks for being with us on WMM.

Bobcat Attack plays YEAR OF THE BOBCAT EP release show on Thursday, July 31 at miniBar, 3810 Broadway, KCMO, with FaceFace, Hautlle and Slow Poke.

10:49

10. Bobcat Attack – “Drifter”
    from: The Year of The Bobcat / Les Bon Bons Electriques – The Record Machine / Aug. 1, 2025
    [Bobcat Attack released the single “Bird of Prey” on January 10, 2025 Bobcat Attack is the alter ego of electronic musician Nathan Reusch. Reusch has a passion for blending dub, techno, and ambient electronica into his own improvised vision. His compositions, crafted with synthesizers, drum machines, and modular synths, create a pulsing soundscape that is both intimate and lush, setting him apart in the electronic music scene. // Reusch first started making electronic music influenced by emo/punk in the early 2000s, opening for acts like Taking Back Sunday, Mewihoutyou, Coheed and Cambria, to more fitting artists like Joy Electric, Atom & His Package, Casiotone for the Painfully Alone and Yacht. In 2003, he started his indie label, The Record Machine, and in 2011, he founded KC’s Middle of the Map Fest; his time and focus on making his music came to a halt. The pandemic inspired Reusch to dust off his Bobcat Attack moniker and renewed his interest in making music. After a few months of waywardly trying to figure out patches and midi cables, he joined KC’s Synth Collective and found a group of similarly-minded electronic musicians. // After a year of playing and organizing shows with the KC Synth Collective, he is regaining his footing; Reusch is ready to release his first new material in nearly two decades. Bobcat Attack bridges the gap between ambient, dub-techno, and house music. The result is a rich textural environment of blooming melodies, entrancing techno beats, and ambient soundscapes that immerses the listener in a vibrant, flooding forest of electronica. His arrangements are patient and complete, and there’s always a discovery bubbling underneath the surface. // Bobcat Attack’s debut single release, “Pallas,” (Sept. 20, 2024) was the inaugural release on Les Bon Bons Electriques – The Record Machine imprint. This collaboration between fellow electronic musician and collaborator Mark Ronning (Mr. Golden Sun/Pool Culure) and Reusch’s label, The Record Machine,]

[Bobcat Attack plays YEAR OF THE BOBCAT EP release show on Thursday, July 31 at miniBar, 3810 Broadway, KCMO, with FaceFace, Hautlle and Slow Poke.]

11. Maya Mikity – “As One”
    from: “As One” – Single / Sailing Wonder / April 16, 2025
    [Maya Mikity is a local KC pop singer-songwriter based in the U.S. She this dance/EDM track titled in a collaboration with Triangle. “As One” is currently featured as the theme song for ZIP FM, one of Japan’s leading radio stations, and has also been added to many major playlists like Electronic House Chill Out and EDM NOMAD. It has also been playing on radio stations all around the world. “As One” is one of 10 single Maya Mikity has release this year so far.]

12. T.A. Rell – “4oreign (Radio Edit)”
    from: Love Pages: Pt. 1 – EP / T.A.P. OUT Music / March 27, 2025
    [“4oreign: was originally released as a single on April 13, 2024. Arick “TA. Rell” Ridgell is a 23 year old producer/writer/artist who recently has began emerging by way of the internet. The Kansas City,Missouri native was born August 29,1990. He’s an alumni of Center High School (Kansas City,MO, 64131), and a current student at Longview Community College (Lee’s Summit,MO), where he’s currently looking to obtain a degree in Audio Engineering. He’s what you’d call a mixing pot of R&B, country, gospel, pop, rock and roll, etc… TA’s “style influenced by a variety of artists such as Ray Charles, James Brown, Smokie Robinson, The Temptations, Jamie Foxx, Tank, Tyrese, Musiq Soulchild, Fred Hammond, John P. Kee, amongst others. T.A. tries not to trap himself in the box on genres but tries to use his love for all music to unlock the hearts and souls of listeners around the world. ]

11:00 – Station ID

11:00 – Special Guest Producer SYLKYSAN

SYLKYSAN is Sandra Draper. Sandra is a member of KKFI’s Board of Directors, Sandra was born in Kansas City and attended Paseo High School. Sandra became a student at Washburn University in Topeka, Kansas, and eventually returning to Kansas City to complete her last year graduating with a Bachelor of Arts degree studying history and communications at The University of Missouri at Kansas City. She is the mother of four children three sons and one daughter. While her children were all born on different years 1978, 1979, 1980, and 1981 two of her sons were born on the same day, and her daughter and other son were also born on the same day. For the past year Sandra has been volunteering at KKFI and has been in training to host and produce her own radio show, Silky San’s Soul Sensation coming soon in the overnight hours on 90.1 FM

13. Traffic – “Rainmaker”
    from: Low Spark of High Heeled Boys / Universal Island Records / November 1, 1971
    [The Low Spark of High Heeled Boys is the fifth studio album by English rock band Traffic, released in 1971. The album was Traffic’s most successful in the United States, reaching number 7 on the Billboard Top LPs chart and becoming their only platinum-certified album there, indicating sales in excess of one million. However, it failed to chart in the United Kingdom. The album features the minor hit “Rock & Roll Stew” and the title track, which received heavy FM airplay. // It was Traffic’s first studio album to feature percussionist Rebop Kwaku Baah, and the only studio appearance of drummer Jim Gordon and bassist Ric Grech. Grech had previously worked with Traffic singer/multi-instrumentalist Steve Winwood in the short-lived supergroup Blind Faith. This is the only Traffic album to feature two lead vocals by Jim Capaldi (“Light Up or Leave Me Alone” and “Rock & Roll Stew”). His only other solo lead vocal on a Traffic studio album was on “Dealer” from Mr. Fantasy (1967). // As with other Traffic albums, The Low Spark of High Heeled Boys featured varied influences, including jazz, folk music and Classical. The name of the album’s title track was suggested by the actor Michael J. Pollard. // The LP’s front cover is notable for its top right and bottom left corners being clipped, giving the illusion of a three-dimensional cube. This effect would be repeated on their next album, Shoot Out at the Fantasy Factory. On original pressings of the UK and some European versions, the title of both the album and song are shown as ‘The Low Spark of High-Heeled Boys’ (with a hyphen) on the record labels. // The title of the album and the eponymous single on it became the source of some controversy in the UK upon initial release. At that time, the phrase “high-heeled boys” was often used by British writers as a slang term referring to organized-crime assassins. When it became clear the song was not inspired by this and was using the term in a non-descriptive sense, the issue faded away. // The album was certified gold less than a year after its release in the United States, and eventually certified platinum in 1996. It was remastered and reissued with one bonus track on 19 March 2002.]

14. Creed – “Weathered”
    from: Weathered / The Bicycle Music Company / January 1, 2001

15. Pleasure – “Sassafras Girl”
    from: Joyous / Craft Recordings / 1977
    [Pleasure is an American Band from Portland Oregon. They became apart of the underground music scene in the 70’s with the hit Glide from the album Future Now. Pleasure is an American band from Portland, Oregon, United States. Blending soul, funk and jazz with a street edge, they became a cult group on the underground black music scene of the late 1970s. Their song “Glide”, from the album Future Now, went to #55 on the Billboard Hot 100 and #10 on the Best Selling Soul Singles chart in 1979; it was their biggest hit. The band broke up in 1982. // A new version of the band re-formed in 2019 and released an album, Now Is the Time. // Pleasure was formed in Portland, Oregon in 1972 as a merger of two local bands: The Franchise which included drummer Bruce Carter (December 28, 1956 — August 12, 2006), bassist Nathaniel Phillips, and guitarist Marlon McClain, and The Soul Masters. The rest of the band members included keyboardist Michael Hepburn / Donald Hepburn. Saxophonist Dennis Springer, trombonist/guitarist Dan Brewster, vocalist Sherman Davis, and percussionist Bruce Smith have been part of the group along the way, including trumpet player Tony Collins and lead vocalist/guitarist Randy Hall. // In 1974, Grover Washington who was a big fan of the band directed them to seek out The Crusaders’ Wayne Henderson. Impressed with what he heard, his enthusiasm led them to a deal with Fantasy Records. This was the beginning of a six-year relationship with the label and a four-year relationship with Wayne Henderson who through his own production company “At Home Productions”, was the band’s producer and mentor. // In 1979, the band released the album Future Now, which included the hit “Glide”; it went to #55 on the Billboard Hot 100 and #10 on the Billboard R&B chart. // Pleasure managed to fuse many styles of music including jazz, funk, soul, and rock along the way and achieved national recognition and excellent record sales, along with catching the ear of many hip hop artists who were inspired to sample much of Pleasure’s material. // This success was visibly evidenced with the now well-established African-American classic cult film, House Party featuring Kid and Play, and recently the comedy film Uncle Drew. Bruce Carter’s drum solo on “Bouncy Lady” along with songs “Let’s Dance” and “Joyous” were used in the Ultimate Breaks and Beats Series. // “Joyous” was also used on Janet Jackson’s 1997 release, The Velvet Rope (“Free Xone”), and “Future Now” was used in Will Smith’s 2002 release, Born to Reign (“1000 Kisses”). “Celebrate The Good Things”, “Thoughts Of Old Flames” and others are still being sampled and used today. // After their breakup in 1982 most members managed to stay active in the music scene one way or another through teaching, producing other acts, songwriting for Disney, and touring with artists such as Kenny G, Herb Alpert, The Crusaders, The Whispers, United We Funk All Stars, the Dazz Band and Cool’R. // Michael Hepburn (owner of the name and co-founder) is still performing, producing and is presently working as a Civil Deputy Prosecuting Attorney in the King County Office of the Prosecuting Attorney. // Pleasure now is composed of Michael Hepburn, Nathaniel Phillips, Douglas Lewis, Dennis Springer, Brian Foxworth, and Tiffany Wilson, and released an album on Pleasure Records in 2019 called Now Is The Time. They also released “One More Time” from the current album as the “A” side of a 45 rpm vinyl record by Neil Pounds under his UK label Six Nine Records Ltd. The “B” side of their 45 is “For Your Pleasure,” which is the introductory selection on the album.]

16. The JWB – “Groove Axis”
    from: Groove Axis / Groovward Publishing / October 19, 2010
    [The JWB is James Ward Band. The JWB is a Jazz Fusion band formed over 20 years ago.  The JWB combines Jazz, R&B, Funk, and Gospel music. This is a Family Band that consists of Angela Ward on Keyboards, James Ward on Bass, and Jaylen Ward on Drums. Other members of the band include Clifford Mills on Vocals and Percussion, Travis Johnson on Guitar, and Gerald Dunn on Sax.]

17. Clifford Mills – “In My Dreams”
    from: Unchained – Single / Sony Music / August 15, 2022
    [Clifford Mills first got started with my singing career in church (Handy Chapel AME) in Joplin, Mo. at the age of 5. At that age I sang my first solo (“99 and a Half Won’t Do”). When I reached high school I sang in my first secular group by the name of “The Confessions” at Central Sr. High in Kansas City, Mo. The release date of my CD entitled “Unchained” was September 22nd 2022. with two songs. Only Time Will Tell and In My Dreams..]

11:25 – Underwriting

18. Donny Hathaway – “Love Love Love”
    from: Extension of a Man / Atco / June 18, 1973
    [Extension of a Man is the final studio album released by the R&B/soul singer Donny Hathaway on Atco Records in 1973. // The release was his last solo studio album. It is noted for including a young Stanley Clarke of Return to Forever on a couple of tracks, as well as drummer Fred White, brother to Earth, Wind & Fire’s Maurice White, who worked with Hathaway in Chicago in the early days. White also played with Hathaway on concert dates and is featured on Hathaway’s live performance recordings. // The opening instrumental track pays homage to the melody of “Here Comes De Honey Man” from The Gershwins’ Porgy and Bess. // Donny Edward Hathaway (October 1, 1945 – January 13, 1979) was an American soul singer, keyboardist, songwriter, backing vocalist, and arranger who Rolling Stone described as a “soul legend”. His most popular songs include “The Ghetto”, “This Christmas”, “Someday We’ll All Be Free”, and “Little Ghetto Boy”. Hathaway is also renowned for his renditions of “A Song for You”, “For All We Know”, “Jealous Guy” and “I Love You More Than You’ll Ever Know”, along with “Where Is the Love” and “The Closer I Get to You”, two of many collaborations with Roberta Flack. He has been inducted into the St. Louis Walk of Fame and won one Grammy Award from four nominations. Hathaway was also posthumously honored with a Grammy Lifetime Achievement Award in 2019. Dutch director David Kleijwegt made a documentary called Mister Soul – A Story About Donny Hathaway, which premiered at the International Film Festival Rotterdam on January 28, 2020.]

19. Otis Redding and Carla Thomas – “Tramp”
    from: King & Queen / Atlantic Records / March 16, 1967
    [King & Queen is a studio album by the American recording artists Otis Redding and Carla Thomas. It is Thomas’ fourth album and Redding’s sixth and the final studio album before his death on December 10, 1967. Influenced by Marvin Gaye’s duets, the album features ten covers of soul classics and the eleventh finishing song co-written by Redding. // The album includes crossover hits “Tramp” and “Knock on Wood”. Following Redding’s death, the single “Lovey Dovey” was also released. The original album’s liner notes were written by Tennessee Senator Howard H. Baker, Jr. It was released on March 16, 1967, by Stax Records. // Producer Jim Stewart had the idea to produce a duet album with Otis Redding and Carla Thomas, as he thought it would help their musical careers’ progress, and that “[Redding’s] rawness and [Thomas’s] sophistication would work” well together. Another reason to combine the two artists was in the hopes of achieving a success similar to that which Motown singer Marvin Gaye had with both Mary Wells and Kim Weston. Carla Thomas was already successful in the R&B business; she had already had many singles appear in both the Hot 100 and Hot Rhythm & Blues Singles charts, most recently her 1966 song “B-A-B-Y”. Redding agreed to record with Thomas, simply stating, “Well, hey, you from Memphis, you from Tennessee, you can hang”. At the time the album was recorded in January 1967, Thomas was studying at Howard University in Washington D.C. for an M.A. in English. Recorded in about six days (another source states only three days), the album features eleven songs: ten covers of soul classics, and an eleventh song, “Ooh Carla, Ooh Otis”, that Redding co-wrote with Al Bell. It features house band Booker T. & the M.G.’s, pianist Isaac Hayes, and the brass section the Memphis Horns. Six out of eleven songs were cut during their session; the rest were overdubbed by Redding in the following days owing to their concert obligations. // Three singles were released from the album: “Tramp”, the first cut song, was released as a single in April and peaked at number two on Billboard Hot Rhythm & Blues Singles chart and at number twenty-six on Billboard Hot 100; “Knock on Wood” peaked in September at number eight on the Hot Rhythm & Blues Singles chart and number thirty on the Hot 100 charts; and “Lovey Dovey” was released late in 1968, and charted at number twenty-one on the Hot Rhythm & Blues Singles list and number sixty on the Hot 100. The album was released on March 16, 1967.]

20. Johnny “Guitar” Watson – “Superman Lover”
    from: Ain’t That A Bitch / High Fashion Music / September 19, 1976
    [John Watson Jr. (February 3, 1935 – May 17, 1996), often known professionally as Johnny “Guitar” Watson, was an American musician. A flamboyant showman and electric guitarist in the style of T-Bone Walker, his recording career spanned 40 years, and encompassed rhythm and blues, funk and soul music. // Watson recorded throughout the 1950s and 1960s with some success. His 1954 instrumental single “Space Guitar” was the first of his recordings to showcase his electric guitar playing. His creative self-reinvention in the 1970s, with funk overtones, saw Watson have hits with “Ain’t That a Bitch” and “Superman Lover”. His highest charting single was 1977’s “A Real Mother for Ya”. // Watson was born in Houston, Texas. His father John Sr. was a pianist, and taught his son the instrument. But young Watson was immediately attracted to the sound of the guitar, in particular the electric guitar as played by T-Bone Walker and Clarence “Gatemouth” Brown. // His grandfather, a preacher, was also musical. “My grandfather used to sing while he’d play guitar in church, man,” Watson reflected many years later. When Johnny was 11, his grandfather offered to give him a guitar if, and only if, the boy did not play any of the “devil’s music”. His parents separated in 1950, when he was 15. His mother moved to Los Angeles, and took Watson with her. // In his new city, Watson won several local talent shows. This led to his employment, while still a teenager, with jump blues-style bands such as Chuck Higgins’s Mellotones and Amos Milburn. He worked as a vocalist, pianist, and guitarist.[3] He quickly made a name for himself in the African-American juke joints of the West Coast, where he first recorded for Federal Records in 1952. He was billed as Young John Watson until 1954. That year, he saw the Joan Crawford film Johnny Guitar, and a new stage name was born. // On June 7, 1953, Shorty Rogers included Watson as part of his Orchestra to perform at the ninth Cavalcade of Jazz concert, held at Wrigley Field in Los Angeles, California, which was produced by Leon Hefflin, Sr. Also featured that day were Roy Brown and his Orchestra, Don Tosti and His Mexican Jazzmen, Earl Bostic, Nat King Cole, and Louis Armstrong and his All Stars with Velma Middleton. // Watson affected a swaggering, yet humorous personality, indulging a taste for flashy clothes and wild showmanship on stage. His “attacking” style of playing, without a pick, resulted in him often needing to change the strings on his guitar once or twice a show, because he “stressified on them” so much, as he put it. Watson’s 1954 instrumental single “Space Guitar” was his first recording to show his “sheer off-the-wall madness” on electric guitar, although it did not chart. According to music historian Larry Birnbaum, for “Space Guitar” he “came into his own as a guitarist”. Watson would later influence a subsequent generation of guitarists. His song “Gangster of Love” was first released on Keen Records in 1957. It did not appear in the charts at the time, but was later re-recorded and became a hit in 1978, becoming Watson’s “most famous song”. // He toured and recorded with his friend Larry Williams, as well as Little Richard, Don and Dewey, the Olympics, Johnny Otis and, in the mid-1970s with David Axelrod.[3] In 1975 he was a guest performer on two tracks (flambe vocals on the out-choruses of “San Ber’dino” and “Andy”) on the Frank Zappa album, One Size Fits All. He also played with Herb Alpert and George Duke. But as the popularity of blues declined and the era of soul music dawned in the 1960s, Watson transformed himself from southern blues singer with pompadour into urban soul singer in a pimp hat. His new style was emphatic – wearing gold teeth, broad-brimmed hats, flashy suits, fashionable outsized sunglasses and ostentatious jewelry. // He modified his music accordingly. His albums Ain’t That a Bitch[3] (included funk blues singles “Superman Lover” and “I Need It”) and A Real Mother For Ya (1977) fused funk and blues. Reviewing A Real Mother for Ya, Robert Christgau wrote in Christgau’s Record Guide: Rock Albums of the Seventies (1981): “Watson has been perfecting his own brand of easy-listening funk for years, and this time he’s finally gone into the studio with his guitar Freddie and his drummer Emry and a bunch of electric keyboards and come up with a whole album of good stuff. The riff-based tracks go on too long but go down easy and the lyrics have an edge. Granted, Watson can’t match George Benson’s chops, but this is dance music, chops would just get in the way. And I prefer his Lou-Rawls-without-pipes to Benson’s Stevie-Wonder-ditto”. The title track, “A Real Mother for Ya”, released in 1977, was Watson’s highest charting single. // Watson’s album Love Jones was released in 1980. The death of his friend Larry Williams by gunshot in 1980 and other personal setbacks, led to Watson briefly withdrawing from the spotlight in the 1980s. “I got caught up with the wrong people doing the wrong things”, he was quoted as saying by The New York Times. // The release of his album Bow Wow in 1994 brought Watson more visibility and chart success than he had ever known. The album received a Grammy Award nomination. In a 1994 interview with David Ritz for liner notes to The Funk Anthology, Watson was asked if his 1980 song “Telephone Bill” anticipated rap music. “Anticipated?” Watson replied. “I damn well invented it! … And I wasn’t the only one. Talking rhyming lyrics to a groove is something you’d hear in the clubs everywhere from Macon to Memphis. Man, talking has always been the name of the game. When I sing, I’m talking in melody. When I play, I’m talking with my guitar. I may be talking trash, baby, but I’m talking”. // In 1995, he was given a Pioneer Award from the Rhythm and Blues Foundation in a presentation and performance ceremony at the Hollywood Palladium. In February 1995, Watson was interviewed by Tomcat Mahoney for his Brooklyn, New York-based blues radio show The Other Half. Watson discussed at length his influences and those he had influenced, referencing Guitar Slim, Jimi Hendrix, Frank Zappa and Stevie Ray Vaughan. He made a special guest appearance on Bo Diddley’s 1996 and final studio album, A Man Amongst Men, playing vocoder on the track “I Can’t Stand It” and singing on the track “Bo Diddley Is Crazy”. // “Johnny was always aware of what was going on around him”, recalled Susan Maier Watson (later to become his wife) in an interview printed in the liner notes to the album The Very Best of Johnny ‘Guitar’ Watson (1999). “He was proud that he could change with the times and not get stuck in the past”. // Watson died of a heart attack while on tour on May 17, 1996, collapsing on stage at the Ocean Boulevard Blues Cafe in Yokohama, Japan. At around 7:40, when performing the first verse of “Superman Lover”, his first song of the night, he made a gesture as if pushing the microphone stand towards the audience, with his hand on his chest and fell down on his back. He was pronounced dead, at a nearby hospital, less than two hours later. Two days afterward one of Watson’s band mates told the audience, “Johnny once said that if he were to die, he wanted to die on stage”. He was 61. Watson left behind two children. His remains were brought home for interment at Forest Lawn Memorial Park Cemetery in Glendale, California, and buried in the Great Mausoleum, Sanctuary of Enduring Honor, Holly Terrace entrance. Since 2022 his son De Jon has been employed with the American professional baseball team the Washington Nationals. // Watson stated: “I used to play the guitar standing on my hands, I had a 150 foot cord and I could get on top of the auditorium – those things Jimi Hendrix was doing, I started that shit”! // Frank Zappa stated that “Watson’s 1956 song ‘Three Hours Past Midnight’ inspired me to become a guitarist”. Watson contributed to Zappa’s albums One Size Fits All (1975), Them or Us (1984), Thing-Fish (1984) and Frank Zappa Meets the Mothers of Prevention (1985). In an August 1979 issue of Musician magazine Zappa said, “To me, it seems incomprehensible that a person could listen to ‘Three Hours Past Midnight’ by Johnny Guitar Watson and not be moved to get violent… I mean, that’s really saying something. Same with the guitar solo on ‘Story Of My Life’ by Guitar Slim. I mean, that stuff used to make me violent. I’d just want to get an icepick and go out and work over the neighborhood!” // Steve Miller recorded Watson’s “Gangster of Love” on his 1968 album Sailor. Miller then made a reference to his song title in his 1969 song “Space Cowboy” (“And you know that I’m a gangster of love”) from his 1969 album, Brave New World. Miller’s 1973 hit song “The Joker” included the lyric “Some call me the gangster of love”. Miller had also borrowed the sobriquet for his own “The Gangster Is Back”, on his 1971 album Rock Love. // Jimmie Vaughan, brother of Stevie Ray Vaughan, is quoted as saying: “When my brother Stevie and I were growing up in Dallas, we idolized very few guitarists. We were highly selective and highly critical. Johnny ‘Guitar’ Watson was at the top of the list, along with Freddie, Albert and B. B. King”. Watson influenced Jimi Hendrix, Sly Stone, Etta James, and Stevie Ray Vaughan. // Bobby Womack said: “Music-wise, he (Watson) was the most dangerous gunslinger out there, even when others made a lot of noise in the charts – I’m thinking of Sly Stone or George Clinton”. // Etta James stated, in an interview at the 2006 Rochester International Jazz Festival: “Johnny ‘Guitar’ Watson … Just one of my favorite singers of all time. I first met him when we were both on the road with Johnny Otis in the ’50s, when I was a teenager. We traveled the country in a car together so I would hear him sing every night. His singing style was the one I took on when I was 17 – people used to call me the female Johnny ‘Guitar’ Watson and him the male Etta James … He knew what the blues was all about”. James is also quoted as saying: “I got everything from Johnny … He was my main model … My whole ballad style comes from my imitating Johnny’s style… He was the baddest and the best … Johnny Guitar Watson was not just a guitarist: the man was a master musician. He could call out charts; he could write a beautiful melody or a nasty groove at the drop of a hat; he could lay on the harmonies and he could come up with a whole sound”. // Interviewed after his death, blues producer Mike Vernon said of Watson, a friend and colleague: “In the blues world, there are very, very few innovative talents of the size of a Johnny ‘Guitar’ Watson… John has constantly experimented, he’s tried to stay with the times, and created a lot of fantastic music which the anoraks of the blues world tend to pooh-pooh. A talent like John’s is very hard to keep in check”.]

21. Force M.D.’s – “Love is a House”
    from: Touch and Go / Tommy Boy Music / January 1, 1987
    [The Force M.D.s are an American R&B vocal group that was formed in 1981 in Staten Island, New York. Although the group has old school hip hop roots, it is perhaps best known for their soulful R&B tunes such as “Tender Love,” “Love Is a House,” “Tears,” and “Here I Go Again.” They are considered major forerunners of the new jack swing movement. // The band was originally named The L.D.s, and then became the Force MCs.Though the group was not quite always as recognizable as other New York R&B acts when it first started, they were among the first R&B vocal groups to intermix doo-wop-affected singing with and sometimes over hip-hop beats. // The group was composed of brothers Stevie D., Antoine “T.C.D.” (February 3, 1963 – January 18, 1998), and Rodney “Khalil” Lundy, and their uncle Jessie Lee Daniels (July 4, 1963 – January 4, 2022). Later, friends Trisco Pearson (October 23, 1962 – September 16, 2016) and Charles “Mercury” Nelson (December 19, 1964 – March 9, 1995) from the Mariners Harbor housing projects joined the group. // The group began performing on Times Square, New York City street corners and during trips on the Staten Island ferry. After the L.D.s connected with DJ Dr. Rock (Roger Daniels) they then performed as “Dr. Rock & the Force MCs.”[2] The group was discovered by hip hop promoter Vansilk in summer 1981. The three members were Dr. Rock, Stevie D. and Mercury. In collaboration with Dr. Rock, the group continued to perfect their unique sound, which was unusual at the time: a fusion of doo-wop harmonies and hip-hop that involved singing, rapping and group member’s “human beatbox” melodies at underground hip hop shows. They gained even more credibility and respect from local fans after competing in an emcee lyrical battle against the well known Cold Crush Brothers from the Bronx in 1983. // By 1984, the group signed with Tommy Boy Records. This is the same year the group changed their name to the Force MDs, which stood for “Musical Diversity”. They had developed into a quiet storm/contemporary R&B group, with its top-ten R&B hit, “Tears”, from the debut album, Love Letters. (With the exception of their first album, the group was the first act on Tommy Boy to have major-label distribution through its then-parent Warner Bros. Records.) // The group produced a collection of R&B hits throughout the 1980s, and received overwhelming commercial success from the Jimmy Jam and Terry Lewis-penned love song “Tender Love” from their second album, 1985’s Chillin’. The song was featured in the 1985 feature film and soundtrack Krush Groove, and proved to be a success, peaking at No. 10 in the Billboard Hot 100 chart, becoming an instant R&B classic after it stayed on the chart for 19 weeks. “Tender Love” was also one of the tracks that helped Jam & Lewis garner a Grammy Award for Producer of the Year. The song “Itchin’ for a Scratch” was performed by the group in the 1985 feature film Rappin’, and was also part of the soundtrack. // In 1987 they finally scored their first R&B #1 hit, “Love Is a House,” from their third album, Touch and Go. // By the late 1980s the group’s popularity began to wane. A fourth album, Step to Me, was released in 1990, which featured record production by Full Force, Marley Marl, Monte Moir (of the band The Time), and others. Members Pearson and Nelson left soon afterward, replaced by original member Rodney “Khalil” Lundy (who had initially left the band early in their career) and new member Shawn Waters. The group then released the album Moments in Time in 1994, but failed to chart or produce any hits. In 1996 the group appeared on several tracks on the Ghostface Killah album Ironman. // hree of the group’s members died during the latter half of the 1990s: Nelson suffered a fatal heart attack in 1995; former collaborator DJ Dr. Rock died suddenly of AIDS in 1996; and in 1998, Antoine Lundy died of Lou Gehrig’s disease. // Surviving members of the group’s classic lineup – Daniels, Pearson, and Stevie D. Lundy – along with Rodney Lundy returned with a comeback album, The Reunion, in 2000, but it failed to chart or register any hits. Damen Heyward, a native of The Bronx formerly of the mid-/late-1980s group 4 By Four, later joined the group as well. After leaving the group, Heyward went on to tour with artists such as Joe. // Trisco Pearson died on September 16, 2016, at age 53, after a battle with stage 4 cancer. His death was announced by Bow Legged Lou of Full Force. Jessie Daniels died on January 4, 2022, at the age of 58.]

22. Alicia Keys – “Underdog”
    from: ALICIA / RCA – Sony Records Corp / September 18, 2020
    [Alicia Augello Cook (born January 25, 1981), known professionally as Alicia Keys, is an American singer and songwriter. A classically trained pianist, Keys began composing songs at the age of 12 and was signed by Columbia Records at 15. After disputes with the label, she signed with J Records to release her debut studio album, Songs in A Minor (2001). Met with critical acclaim and commercial success, the album sold over 12 million copies worldwide and won five awards at the 44th Annual Grammy Awards. It contained the Billboard Hot 100-number one single “Fallin'”. Her second album, The Diary of Alicia Keys (2003), was met with continued success, selling eight million units worldwide and spawning the singles “You Don’t Know My Name”, “If I Ain’t Got You”, and “Diary” (featuring Tony! Toni! Toné!).[8] Its release earned an additional four Grammy Awards. // Her 2004 duet with Usher, “My Boo”, became her second number-one single in the US. Keys’s first live album, Unplugged (2005), spawned the single “Unbreakable” and made her the first female artist to have an MTV Unplugged project debut atop the Billboard 200. Her third album, As I Am (2007), sold seven million units worldwide and yielded her third Billboard Hot 100-number one single, “No One”. In 2007, Keys made her film debut in the action-thriller Smokin’ Aces, and performed the theme song to the James Bond film Quantum of Solace with her single “Another Way to Die” (with Jack White) the following year.[10] Her fourth album, The Element of Freedom (2009), peaked atop the UK Albums Chart, sold four million copies worldwide, and was supported by the singles “Doesn’t Mean Anything”, “Try Sleeping with a Broken Heart”, and “Un-Thinkable (I’m Ready)”. // Keys guest appeared on Jay-Z’s 2009 single “Empire State of Mind”, which became her fourth number-one hit in the US. Her fifth album, Girl on Fire (2012), was her fourth non-consecutive album to peak the Billboard 200, and was supported by its lead single of the same name; her sixth album, Here (2016), peaked at number two on the chart. Her seventh and eighth studio albums, Alicia (2020) and Keys (2021), spawned the singles “Show Me Love” (featuring Miguel), “Underdog”, “Lala” and “Best of Me”. Her ninth, Santa Baby (2022), was a holiday album and her first independent release. In 2023, she wrote, composed and co-produced her first Broadway musical, Hell’s Kitchen, which won two Tony Awards. // Keys has sold over 90 million records worldwide, making her one of the world’s best-selling music artists. She was named by Billboard as the Top Artist of the 2000s in the R&B/Hip-Hop category, and placed tenth on their list of Top 50 R&B/Hip-Hop Artists of the Past 25 Years. She has received numerous accolades in her career, including 17 Grammy Awards, 17 NAACP Image Awards, 12 ASCAP Awards, and an award from the Songwriters Hall of Fame and National Music Publishers Association. Keys was also honored with the Producers & Engineers Wing Award and the Global Impact Award by the Recording Industry Association of America. VH1 included her on their 100 Greatest Artists of All Time and 100 Greatest Women in Music lists, while Time has named her in their 100 list of most influential people in 2005 and 2017. Keys is also acclaimed for her humanitarian work, philanthropy, and activism. She co-founded the nonprofit HIV/AIDS-fighting organization Keep a Child Alive in 2003, for which she serves as Global Ambassador.]

23. Steel Pulse – “Worth His Weight in Gold (Rally Round)” (CD #23) (4:34)
    from: True Democracy / Electra Records / May 4, 1982
    [Steel Pulse are a roots reggae band from the Handsworth area of Birmingham, England. They originally formed at Handsworth Wood Boys School, and were composed of David Hinds (lead vocals, guitar), Basil Gabbidon (lead guitar, vocals), and Ronald McQueen (bass); along with Basil’s brother Colin briefly on drums and Mykaell Riley (vocals, percussion). Steel Pulse were the first non-Jamaican act to win the Grammy Award for Best Reggae Album. Collectively the band has won one Grammy award with nine nominations. // Frontman David Hinds of Steel Pulse in concert in Antwerp, 2022. // Basil Gabbidon and David Hinds became inspired to form Steel Pulse after listening to Bob Marley and The Wailers’ Catch a Fire. The band formed in 1975; their debut single release “Kibudu, Mansetta And Abuku” arrived on the small independent label Dip, and linked the plight of urban black youth with the image of a greater African homeland. They followed it with “Nyah Luv” for Anchor. They were initially refused live dates in Caribbean venues in Birmingham due to their Rastafarian beliefs. During the popularization of punk rock in the mid-1970’s, Steel Pulse began to play punk venues such as the Hope and Anchor in London and The Electric Circus in Manchester in 1976. // Aligning themselves closely with the Rock Against Racism organization and featuring in its first music festival in early 1978, they chose to tour with sympathetic elements of the punk movement, including the Stranglers and XTC. Eventually they found a more natural home in support slots for Burning Spear, which brought them to the attention of Island Records. // Their first release for Island was the “Ku Klux Klan” single, about the evils of racism, and one often accompanied by a visual parody of the sect on stage; the song was ranked the 460th-greatest song of all time in Rolling Stone’s 2020 edition of the 500 Greatest Songs of All Time. By this time, their ranks had swelled to include Selwyn Brown (keyboards), Steve “Grizzly” Nisbett (drums), Alphonso Martin (vocals, percussion) and Mykaell Riley (vocals). Their debut album, Handsworth Revolution (recorded in 1977 and released in early 1978), was part the evolution of roots reggae outside Jamaica. However, despite critical and moderate commercial success over three albums, the relationship with Island Records had soured by the advent of their third album, Caught You (released in the US as Reggae Fever). // The band made their US concert debut at the Mudd Club in New York in 1980. // Tom Terrell, who would later serve as their manager, was instrumental in masterminding a Steel Pulse concert on the night of Bob Marley’s funeral, which was broadcast live around the world from the 9:30 Club, 930 F Street, N.W., Washington, D.C., on 21 May 1981. // In 1982 Steel Pulse formed their own label Wise Man Doctrine Records. They also reached a distribution deal with Elektra Records for the US market. They released True Democracy, distinguished by the Garvey-eulogizing ‘Rally Round’ cut. A further definitive set arrived in Earth Crisis in 1984. However, Elektra chose to take a leaf out of Island’s book in trying to coerce Steel Pulse into a more mainstream vein, asking them to emulate the pop-reggae stance of Eddy Grant.[5] Babylon the Bandit was consequently weakened, but did contain “Not King James Version”. // Steel Pulse released Babylon The Bandit in 1985, for which the band won a Grammy award. // Their next move was to MCA for State of Emergency (1988), which retained some of the synthesized dance elements of its predecessor. // Rastafari Centennial, Steel Pulse’s first live record, was recorded live at the Elysee Montmartre in Paris, over three nights in January 1992, and dedicated to the hundred-year anniversary of the birth of Haile Selassie.[6] It was the first recording since the defection of Alphonso Martin, leaving the trio of Hinds, Nisbett and Selwyn. While they still faced criticism at the hands of British reggae fans, in the United States their reputation was growing, becoming the first ever reggae band to appear on the Tonight television show. Their profile was raised further when, in 1992, Hinds challenged the New York City Taxi & Limousine Commission in the Supreme Court, asserting that their cab drivers discriminated against black people in general and Rastafarians in particular. The lawsuit was later dropped by Steel Pulse. // In 1989 the group contributed I Can’t Stand it to the soundtrack of Spike Lee’s film Do The Right Thing. // In 1994 the group headlined some of the world’s biggest reggae festivals including Reggae Sunsplash USA, Jamaican Sunsplash, Japan Splash and Northern California annual Reggae on the River Festival. In 1986, Steel Pulse contributed a version of “Franklin’s Tower” on Pow Wow Records’ Fire on the Mountain: Reggae Celebrates the Grateful Dead compilation. They recorded The Police’s “Can’t Stand Losing You” for a reggae compilation of Police tunes that appeared on the Ark 21 label. Rastanthology, a 17-song collection of Steel Pulse classics, was released on the band’s own Wise Man Doctrine label in 1996. // In 1997 the band released Rage and Fury. // Until February 2001 it had been many years since Pulse had performed in their hometown of Birmingham. They decided to perform at the Ray Watts memorial concert, which was held at the Irish Centre. Pulse shared the stage with Watts’ band, Beshara, along with other artists from Birmingham. // In 2004 Steel Pulse returned to their militant roots with African Holocaust – their eleventh studio album. With guest appearances by Damian Marley, Capleton, and Tiken Jah Fakoly (on the track African Holocaust), the album is a collection of protest and spiritual songs, including “Global Warning” (a dire warning about climate change), “Tyrant”, a protest song against political corruption, and “No More Weapons”, an anti-war song. Also featured on the album is a cover of the Bob Dylan song, “George Jackson”. // In 2007 the band released a music video for the track “Door of No Return”. The video was produced by Driftwood Pictures Ltd., and was shot on location in Senegal and New York City. The video was directed by Trishul Thejasvi and produced by Yoni Gal. The video had its world premier at the Times 51st BFI London Film Festival in October 2007. // In a 2013 interview with Midnight Raver, David Hinds indicated that a new studio album and documentary, tentatively titled Steel Pulse: The Definitive Story, would be released in 2014.[10] However, on 10 July 2014 Midnight Raver reported that, according to Hinds, both the studio album and documentary will be delayed until at least 2015. // In anticipation of a new Steel Pulse album, the Roots Reggae Library has indexed two compilation albums of the latest Steel Pulse singles. The albums are called Positivity and Jah Way, both named after tracks on the albums. // In October 2018 Steel Pulse announced their new album, the first in 14 years, Mass Manipulation, was released on Rootfire Cooperative[13] a non-traditional label which provides interest free loans and label services to independent musicians.[14] The single “Stop You Coming and Come” was released on 7 December. The album was nominated for the 2020 Grammy Awards. // On 22 March 2023 the Easy Star All-Stars released a cover of “Five Years” in collaboration with Steel Pulse, from their album Ziggy Stardub, a reggae reimagining of David Bowie’s The Rise and Fall of Ziggy Stardust and the Spiders from Mars. A music video, directed by Robert Bartolome, was released on the same day. // Former drummer Conrad Kelly died on 8 May 2024, at the age of 65. // A Grammy Award was given for their 1986 album Babylon the Bandit. Steel Pulse has also been nominated for albums Victims (1991), Rastafari Centennial (1992), Rage and Fury (1998), Living Legacy (2000). and Mass Manipulation (2019).]

24. Maysa – “Pouring Rain”
    from: Blue Velvet Soul / Shanachie Ent. Group / June 18, 2013
    [Maysa Leak (born August 16, 1966) is an American jazz singer better known by her mononym Maysa. She is well known by fans of smooth jazz both for her solo work and her work with the British band Incognito. // Leak attended Milford Mill High School in western Baltimore County.[2] After receiving her degree from Morgan State University, Maysa headed to Southern California to perform with Stevie Wonder’s female backup group Wonderlove.[1] While with Wonder, Maysa was a vocalist on the Jungle Fever soundtrack. It was during an over-the-telephone audition in the early 1990s that Maysa became a member of the British jazz/funk/R&B band Incognito and, in 1992, she relocated to London and recorded Tribes, Vibes & Scribes, featuring the hit single “Don’t You Worry ‘Bout A Thing”. Maysa recorded her self-titled debut in 1995. Maysa has also collaborated with jazz performers such as Gerald Veasley, Rick Braun, Will Downing, Jason Miles’ Soul Summit, Rhythm Logic, Jonathan Butler, and Pieces of a Dream. Maysa continues to live in Baltimore. She has a son named Jazz.]

25. Noel Coward – “The Party’s Over Now”
    from: Noel Coward in New York / drg / 2003 [orig. 1957]

A really big THANK YOU to every one of you who donated during Wednesday MidDay Medley and our Summer Fund Drive for KKFI 90.1 FM. We had 47 individuals donate a total of $3529.00 in support of Community Radio. Special thanks go to my co-hosts and guests: Betse Ellis, Mikal Shapiro, Sandra Draper and Steve Tulipana and Lincoln Dreher!!!

Next week, on August 6 – Mark Welcomes Special Guests Day Shepherd, Paul Jesse, and Keyon Woods

THANK YOU to our incredible KKFI Staff; Director of Development & Communications – J Kelly Dougherty, Volunteer Coordinator – Darryl Oliver, Chief Operator – Chad Brothers and Shaina Littler – Office Manager Book Keeper

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:
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http://www.WednesdayMidDayMedley.org,
http://www.facebook.com/WednesdayMidDayMedleyon90.1FM

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Show #1106