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, July 22, 2020

Kansas City Syzygy + New & MidCoastal Releases

Today’s show features tracks from French Exit Records – Black Lives Matter Compilation, of 22 acts from the area, with proceeds donated to One Struggle KC’s Liberation Fund, a Black-led coalition of KC activists seeking to connect the struggles of oppressed communities, locally & globally.

And from: Kansas City Syzygy, a compilation of 19 songs created during the quarantine of 2020 with proceeds donated to KC Tenants, a local nonprofit organized to ensure that everyone in KC has a safe, accessible, & truly affordable home.

1. “It’s Showtime Folks”
from: Orig. Motion Picture Soundtrack All That Jazz / Casablanca / December 20, 1979
[WMM’s theme]

2. Palace Intrigue – “Recurring feat. Wennely Q”
from: Black Lives Matter Compilation / French Exit Records / July 6, 2020
[3-piece Kansas City based band, who write: “we believe in love, no race, no religion, no color, no hate…no genre. We make music for everyone.” Over the past two years the band has created and recorded 40 songs that are all posted on their SoundCloud page: https://soundcloud.com/user-870661143 . . French Exit Records launched two years ago and is an independent music label based out of Kansas City, Missouri founded by Brad Girard. French Exit Records has released albums for No Magic and Raymond, and has organized live events. The Black Lives Matter Compilation is available on French Exit Record’s Bandcamp page: https://frenchexitrecords.bandcamp.com/album/black-lives-matter-compilation. Black Lives Matter Comp is 22 acts from the area, with proceeds donated to One Struggle KC’s Liberation Fund, a Black-led coalition of KC activists seeking to connect the struggles of oppressed communities, locally & globally.]

3. Julianna Barwick – “Healing Is A Miracle”
from: Healing Is A Miracle / Ninja Tune / July 10, 2020
[From her BandCamp page: “Healing Is A Miracle” is a record built on improvisation and a close affinity to a couple of trusted items of gear, from which she spins engrossing, expansive universes. Additionally, Barwick draws on the input of three collaborators with whom she has nurtured deep friendships with over the years: Jónsi (Sigur Rós), Nosaj Thing and Mary Lattimore; who each gently nudge out at the edges of her organically-evolved sound. // Recorded in the wake of a seismic shift in her life following a move from New York—where she had lived for 16 years—to L.A. where she is now based, the title of the record came to her after thinking about how the human body heals itself, of the miraculous processes we pay little attention to: “You cut your hand, it looks pretty bad, and two weeks later it looks like it never happened… That’s kind of amazing, you know?” It’s a sentiment that feels particularly apt for the moment. From there, she conceived of the record’s simple statement title, ran it past a couple of friends, and it was settled. Like with the record itself, and all of her work, it’s about following her gut, and seeing where it takes her. // “Healing Is A Miracle” began life in spring of last year, when Barwick sat down with her vocal looping set-up and began sketching out some ideas for new solo material. “It had been so long since I had done that,” she recalls, “making something for myself, just for the love of it… it was emotional, because I was recording music that was just from the heart, that wasn’t for an ‘assignment’ or project… it brought me to tears a little”. // Part of the joy also came from a small but significant switch up to her recording process: the addition of some studio monitors—a birthday gift from Jónsi and Alex (Somers)—having previously recorded all of her music on headphones. “The first song I remember making with those was the first song on the album, Inspirit.” she explains, “When I added the bass I really felt it in my body, you know, in a way you just wouldn’t with headphones… it was kind of euphoric and fun. I got really excited about making the record in that moment, and I think that really had an impact on the sounds I ended up making.” // Excitement too came from the chance to work with three dream collaborators. Her connection to Jónsi began via producer Alex Somers, when Barwick flew to Reykjavík to record some sessions with him for her 2013 record “Nepenthe”, a trip which would begin a long-standing affinity with Iceland and the people she connected with there. “I think he has the best voice in the world,” she says, “and hearing my voice with Jonsi’s is one of the joys of my life.” Nosaj Thing—the highly respected electronic producer and stalwart of the LA scene who has worked with the likes of Kendric Lamar—had gotten in touch to express his affection for her 2011 album “The Magic Place”, and they’d since been trying to find a way to work together. Barwick and Lattimore had struck up a friendship over many years performing live together, and had moved to LA around the same time. Finding herself in the same city as all three for the first time, it felt natural to include them in her process, and added to the feeling of newness, support and friendship she had while producing the record. // Beyond her records, Barwick’s impressive live shows have gained incredible praise over the years from the likes of The Guardian—who described her performance as “exquisite in its eloquence, reflection and compassion” —The New York Times, NPR, and more. She has also supported and performed with Bon Iver, Grouper, Explosions in the Sky, Sigur Rós, Sharon Van Etten, Angel Olsen, Perfume Genius, Mas Ysa, and Nat Baldwin. // Barwick has additionally been involved in some head-turning collaborations over the years. In 2015 she took part in The Flaming Lips’s Carnegie Hall show, performing music from their reimagining of “Sergeant Pepper’s Lonely Hearts Club Band”, alongside Phillip Glass, Debbie Harry, Laurie Anderson and Patti Smith. That same year she was invited to play two shows with Yoko Ono, one at MoMA (“my favorite thing ever”) and one in Central Park. In 2012 she released a collaborative album with Helado Negro as OMBRE, and has also released a collaborative single with Rafael Anton Isarri, on the super-limited Thesis label, and most recently, the “Command Synthesis” EP, on RVNG Intl. sub-label Commend There, which employed AI to build five tracks that responded to the airborne environment outside a hotel room. In 2019 she teamed up with Doug Aitken on his nomadic art project, and created stunning performances in the Massachusett wilderness. // The album’s artwork was shot in Iceland by Joel Kazuo Knoernschild and is taken from a series of aerial films shot by drone above the country’s breathtaking coastline, which also make up the video for ‘Inspirit’.]

4. The Black Creatures – “wretched (it goes)”
from: “wretched (it goes)” / Center Cut Records / July 17, 2020 [remastered]
[“wretched (it goes)” was originally released on The Black Creatures 2019 album Wild Echoes. Recently released as a single in collaboration with Center Cut Records who remixed a few of the songs, and added some new vocals, and remastered the album. Although it is basically the same record, the sound quality is improved. Center Cut Records plan to release the full remastered album on August 28. The Black Creatures are Jade Green & Xavier Martin who will be our guests on the August 26 edition of WMM. “Wild Echoes” was #2 in WMM’s 119 Favorite Releases of 2019 (Albums & EPs). Since the release of ”Wild Echoes” the band has released seven entirely new songs, nearly one per month, all posted to their bandcamp page. The Black Creatures fuse dark-pop hip-hop, soul, jazz, and electronic music with elements from science fiction to tell inter-dimensional stories of love, community, life, culture, history. Xavier & Jade have made an impression in the KC music community with their live shows in clubs, galleries, record stores, and area music festivals. The Black Creatures released their debut single “Mouth 2 Mouth” June 5, 2016. They released the album, See No Evil, December 6, 2017. The duo released the singles, “Elements” February 14, 2018; “Silver Tears” June 19. 2018; “Dare” a Gorillaz cover August 8, 2019. They released the album “Wild Echoes” September 30, 2019. The Black Creatures released the singles “Turn” October 30, 2019; “Quartz (Twilight)” November 13, 2019; “SHINE” December 11, 2019; Ghost Bustin’ Dead Prezidentz” January 8, 2020; “To Whom It May Concern” January 22, 2020; “Arcade Love” February 5, 2020; and “Run Up” February 19, 2020.]

5. Betse & Clarke – “Farewell Trion”
from: Winter / Betse & Clarke / June 4, 2020
[A collection of songs and tunes, including original compositions, traditional songs and fiddle tunes, and modern songs re-envisioned. This recording was compiled during winter 2020, with a feeling of introspection. Songs under copyright were properly licensed for this digital release. Regular folks, exceptional music: This duo from the heartland (Kansas City, Missouri) has its roots in Ozark old time music, honoring traditional songs and tunes that resonate with human experience. New compositions add compelling elements to their musical tapestry. Follow up to the duo’s 2017 release, Tunes We Like released only in analog on cassette. Betse & Clarke are a traditional and future folk duo with Betse Ellis on fiddles, violins, viola & vocals and Clarke Wyatt on banjos, guitar, cello, multi-instruments. Betse & Clarke have played and toured around the world. Individually their musical roots go deep in the KC music scene. Clarke Wyatt is a founding member of Mr. Marco’s V7, and Betse Ellis is a founding member of The Wilders. Last year Betse & Clarke released ”River Still Rise,” originals and reworked traditional compositions presented “to be enjoyed as a musical adventure, much like the river exploration of the famous duo Lewis & Clark, an inspiration for the band’s name.” http://www.betseandclarke.com]

6. Funkadelic – “Can You Get To That”
from: Maggot Brain / Westbound Records / July 12, 1972
[Maggot Brain is the third studio album by the American funk band Funkadelic, released by Westbound Records in July 1971. It was produced by band leader George Clinton and recorded at United Sound Systems in Detroit during late 1970 and early 1971. It was the final album recorded by the original Funkadelic lineup; after its release, original members Tawl Ross, Billy Nelson, and Tiki Fulwood left the band for various reasons. The album charted in the R&B Top 20. Today, it is perhaps best known for its 10-minute title track, performed by guitarist Eddie Hazel. In 2003, Rolling Stone included Maggot Brain on its list of the 500 Greatest Albums of All Time. Pitchfork named it the 17th best album of the 1970s.Funkadelic was an American band formed in Detroit in 1968 and active until 1982. The band and its sister act Parliament, both led by George Clinton, pioneered the funk music culture of the 1970s. Relative to its sister act, Funkadelic pursued a heavier, psychedelic rock-oriented sound. They released acclaimed albums such as Maggot Brain (1971) and One Nation Under a Groove (1978). The group that would become Funkadelic was formed by George Clinton in 1964, as the unnamed backing section for his doo wop group The Parliaments[7] while on tour. The band originally consisted of musicians Frankie Boyce, Richard Boyce, and Langston Booth plus the five members of the Parliaments on vocals. Boyce, Boyce, and Booth enlisted in the Army in 1966, and Clinton recruited bassist Billy Bass Nelson and guitarist Eddie Hazel in 1967, then added guitarist Tawl Ross and drummer Tiki Fulwood. The name “Funkadelic” was coined by Nelson after the band relocated to Detroit. By 1968, because of a dispute with Revilot, the record company that owned “The Parliaments” name, the ensemble began playing under the name Funkadelic. // As Funkadelic, the group signed to Westbound in 1968. Around this time, the group’s music evolved from soul and doo wop into a harder guitar-driven mix of psychedelic rock, soul and funk, much influenced by the popular musical (and political) movements of the time. Jimi Hendrix and Sly Stone were major inspirations.[9] This style later evolved into a tighter guitar and horns-based funk (circa 1971-75), which subsequently, during the height of Parliament-Funkadelic success (circa 1976-81), added elements of R&B and electronic music, with fewer psychedelic rock elements. The band made their first live television performance on Say Brother in October 7, 1969. They played a jam with songs “Into My Own Thing”, “What Is Soul?”, “(I Wanna) Testify”, “I Was Made to Love Her” (Stevie Wonder cover), “Friday Night, August 14th” and “Music for My Mother”. // The group’s self-titled debut album, Funkadelic, was released in 1970. The credits listed organist Mickey Atkins plus Clinton, Fulwood, Hazel, Nelson, and Ross. The recording also included the rest of the Parliaments singers (still uncredited due to contractual concerns), several uncredited session musicians then employed by Motown, as well as Ray Monette (of Rare Earth) and future P-Funk mainstay Bernie Worrell. // Bernie Worrell was officially credited starting with Funkadelic’s second album, 1970’s Free Your Mind… and Your Ass Will Follow, thus beginning a long working relationship between Worrell and Clinton. The album Maggot Brain followed in 1971. The first three Funkadelic albums displayed strong psychedelic influences (not least in terms of production) and limited commercial potential, despite containing many songs that stayed in the band’s set list for several years and would influence many future funk, rock, and hip hop artists. // After the release of Maggot Brain, the Funkadelic lineup was expanded greatly. Tawl Ross was unavailable after experiencing either a bad LSD trip or a speed overdose, while Billy Bass Nelson and Eddie Hazel quit due to financial concerns. From this point, many more musicians and singers would be added during Funkadelic’s (and Parliament’s) history, including the recruitment of several members of James Brown’s backing band, The JB’s in 1972 – most notably Bootsy Collins and the Horny Horns. Bootsy and his brother Catfish Collins were recruited by Clinton to replace the departed Nelson and Hazel. Bootsy in particular became a major contributor to the P-Funk sound. In 1972, this new line-up released the politically charged double album America Eats Its Young. The lineup stabilized a bit with the album Cosmic Slop in 1973, featuring major contributions from recently added singer-guitarist Garry Shider. After first leaving the band, Eddie Hazel spent a year in jail after assaulting an airline stewardess and air marshal while under the influence of PCP, then he returned to make major contributions to the 1974 album Standing on the Verge of Getting It On. Hazel only contributed to P-Funk sporadically thereafter. // George Clinton revived Parliament in 1974 and signed that act to Casablanca Records. Parliament and Funkadelic featured mostly the same stable of personnel but operated concurrently under two names. At first, Parliament was designated as a more mainstream funk ensemble dominated by soulful vocals and horn arrangements, while Funkadelic was designated as a more experimental and freestyle guitar-based funk band. The ensemble usually toured under the combined name Parliament-Funkadelic or simply P-Funk (which also became the catch-all term for George Clinton’s rapidly growing stable of funk artists). // in 1975 Michael Hampton, a teen guitar prodigy, replaced Hazel as the premier lead guitarist in Parliament-Funkadelic, and was a major contributor to the next several Funkadelic albums. Funkadelic left Westbound in 1976 and moved to Warner Brothers. Their first album for Warner was Hardcore Jollies in 1976. Just before leaving Westbound, Clinton provided that label with a collection of recently recorded outtakes, which Westbound released as the album Tales of Kidd Funkadelic. That album did significantly better commercially than Hardcore Jollies and included “Undisco Kidd”, an R&B Top 30 single. In 1977, Westbound capitalized further by releasing the anthology The Best of the Early Years.// As Parliament began achieving significant mainstream success in the 1975-1978 period, Funkadelic recorded and released its most successful and influential album, One Nation Under a Groove in 1978, adding former Ohio Players keyboardist Walter “Junie” Morrison and reflecting a more melodic dance-based sound. The title track spent six weeks at #1 on the R&B charts, around the time that Parliament was enjoying the #1 R&B singles “Flash Light” and “Aqua Boogie”. Uncle Jam Wants You in 1979 continued Funkadelic’s new more electronic sound production. The album contains the fifteen-minute “(Not Just) Knee Deep” featuring former Spinners lead singer Philippé Wynne, an edited version of which topped the R&B charts. The final official Funkadelic album, The Electric Spanking of War Babies, was released in 1981. The release was originally a double-album project, but it was reduced to a single disc under pressure from Warner Brothers. Some of the deleted tracks would appear on future P-Funk releases, most notably the 1982 hit single “Atomic Dog” which appeared on the first George Clinton solo album. // Meanwhile, the album Connections & Disconnections (re-issued on CD as Who’s a Funkadelic) was released under the name Funkadelic in 1981. The album was recorded by former Funkadelic members and original Parliaments Fuzzy Haskins, Calvin Simon, and Grady Thomas, who had left P-Funk in 1977 after disagreements with George Clinton’s management practices. This LP, notable for its heavy use of Thomas “Pae-dog” McEvoy’s jazz horn, contains the track called “You’ll Like It Too”, which came a very popular breakbeat source for the Hip hop community in the 80s. Former band member, drummer Jerome Brailey, released the album Mutiny on the Mamaship, by his new band Mutiny. // In the early 1980s, with legal difficulties arising from the multiple names used by multiple groups, as well as a shakeup at Parliament’s record label, George Clinton dissolved Parliament and Funkadelic as recording and touring entities. However, many of the musicians in later versions of the two groups remained employed by Clinton. Clinton continued to release new albums regularly, sometimes under his own name and sometimes under the name George Clinton & the P-Funk All-Stars. In the mid-1980s, the last Funkadelic album By Way Of The Drum was recorded by Clinton with P-Funk personnel and many electronic devices. The album was rejected by its record label and did not see official release in America until it appeared as a reissue in 2007. It features a cover of “Sunshine Of Your Love” by Cream. The album did not receive any publicity, but still received favorable reviews. // Clinton continued his P-Funk collective in the 1990s and 2000s, with a revolving stable of musicians, some of whom remain from the classic lineups of Funkadelic and Parliament. The rock-oriented sound of Funkadelic has diminished, as Clinton has moved towards more of an R&B and hip hop sound. In 1997 the group was inducted into the Rock and Roll Hall of Fame.]

7. LyMerrick – “Runaway”
from: Black Lives Matter Compilation / French Exit Records / July 6, 2020
[“Lay Me Down” was released February 8, 2019 and was part of WMM’s 39 Favorite Singles of 2019. In 2019 and 2018 LyMerrick released six singles and was a featured voice on two other single releases. LyMerrick also released a single in 2016. LyMerrick was born in North Carolina but grew up in KCMO since the age of 8. LyMerrick grew up listening to all types of music ranging from gospel, rap, r&b, to classic rock and metal. LyMerrick started singing in the church choir and continued singing in elementary, middle and high school choirs. After high school LyMerrick began to record remixes and eventually began to make originals which led me his collaborations with “nightSHIFT” the label that released his music.] [French Exit Records launched two years ago as an independent music label in KCMO, founded by Brad Girard. French Exit Records has released albums for No Magic and Raymond,. The BLM Comp is on French Exit Record’s Bandcamp page: https://frenchexitrecords.bandcamp.com/album/black-lives-matter-compilation. BLM Compilation is 22 acts from the area, with all proceeds donated to One Struggle KC’s Liberation Fund, a Black-led coalition of KC activists seeking to connect the struggles of oppressed communities, locally & globally.]

8. Be/Non – “Over The Moon”
from: A Valley of No: The Alternative A Mountain of Yeses / Haymaker Records / Apr. 8, 2020
[Brodie Rush is a musician, songwriter, band leader, graphic artist, actor, father and survivor. He is the Director of Animation & Motion Graphics at Crush Media. He is also the creative genius behind Be/Non, a Kansas City band that has been making music for over 20 years and released their critically acclaimed 6th album, Mystic Sunrise / Sunset Magic, on Haymaker Records on February 29, 2016, followed by Freedom Palace in 2018 that had been stuck in the studio for 12 years due to disputes with the original record label and personnel changes in the band until Brodie rescued the tapes and remastered the album for Haymaker Records. Now Brodie is back with a new release containing alternate mixes, isolated tracks and demo versions of Be/Non’s A Mountain of Yeses, was originally released May 12, 2009, was made by: Brodie Rush on vocals, guitar, bass, drums, keyboards; Ben Ruth on bass guitar; Ryan Shank on drums & percussion, and Jeremiah James on guitar, Moog & Vocals. Brodie writes: “This album is a journey into the sculpting process of creating “A Mountain of Yeses”. In contrast to the original release, this compilation contains alternate mixes, isolated tracks and demo versions. Be/Non presents a bizarro-like version of the AMOY album, showing an alternate universe what could have been if the creation of the album went on a divergent path. Behold the paradoxical serendipity of Be/Non’s unique take on constructing a space-themed story/album. A visual accompaniment to the album has been in production since 2008 and now has a 2021 release date.”]

10:29 – Underwriting

7. Lonnie Holley – “Like Hell Broke Away”
from: National Freedom / Jagjaguar / July 3, 2020
[4th release from Lonnie Bradley Holley, sometimes known as The Sand Man (born February 10, 1950 in Birmingham, Alabama during the Jim Crow era), is an African-American artist, art educator, and musician. He is best known for his assemblages and immersive environments made of found materials. He was born the 7th of 27 children during the Jim Crow era and claims to have been traded for a bottle of whiskey when he was four. From the age of five, Holley worked various jobs: picking up trash at a drive-in movie theatre, washing dishes, and cooking. He lived in a whiskey house, on the state fairgrounds, and in several foster homes. His early life was chaotic and Holley was never afforded the pleasure of a real childhood. Born the 7th of 27 children, Holley claims to have been traded for a bottle of whiskey when he was four. Before beginning his career, he spent time digging graves and picking cotton. He claims to have been pronounced brain-dead after being hit by a car. He became a father at 15 and now has 15 children. Holley also worked as a short-order cook at Disney World. He also did time at a notorious juvenile facility, the Alabama Industrial School for Negro Children in Mount Meigs. // Holley began his artistic life in 1979 by carving tombstones for his sister’s two children, who died in a house fire. He used blocks of a soft sandstone-like byproduct of metal casting which was discarded in piles by a foundry near his sister’s house. He believes that divine intervention led him to the material and inspired his artwork. Inspired to create, Holley made other carvings and assembled them in his yard along with various found objects. In 1981, he brought a few examples of his sandstone carvings to Birmingham Museum of Art director Richard Murray. The BMA displayed some of those pieces immediately and Murray introduced him to the organizers of the 1981 exhibition “More Than Land and Sky: Art from Appalachia” at the Smithsonian American Art Museum. Soon his work was being acquired by other institutions, such as the American Folk Art Museum in New York and the High Museum of Art in Atlanta. His work has also been displayed at the White House. // Holley also became a popular guest at children’s art events, bringing blocks of the foundry stone for children to carve. He gets special pleasure from sharing his experience of learning to love oneself through creative activity. // By the mid-1980s his work had diversified to include paintings and recycled found-object sculptures. His yard and adjacent abandoned lots near his home became an immersive art environment that was celebrated by visitors from the art world, but threatened by scrap-metal scavengers and eventually, by the expansion of the Birmingham International Airport. In late 1996 Holley was notified that his hilltop property near the airport would be condemned.[3] He rejected the airport authority’s offer to buy the property at the market rate of $14,000, knowing that his site-specific installation had personal and artistic value he demanded $250,000. The dispute went to probate court and in 1997 a settlement was reached and the airport authority paid $165,700 to move Holley’s family and work to a larger property in Harpersville, Alabama. // Holley’s first major retrospective, Do We Think Too Much? I Don’t Think We Can Ever Stop: Lonnie Holley, A Twenty-Five Year Survey, was organized by the Birmingham Museum of Art and traveled in 2003 to the Ikon Gallery in Birmingham, England. From May 2003 to May 2004, Holley created a “sprawling, sculptural environment” in the lower sculpture garden at the Birmingham Museum of Art as part of their “Perspectives” series of site-specific installations. The creation of the work was documented in the film “The Sandman’s Garden” by Arthur Crenshaw and in photographs by Alice Faye “Sister” Love. // Holley installed sculptural work for the exhibition Groundstory: Tales from the shade of the South, at Agnes Scott College of Decatur, Georgia, which ran at the Dalton Gallery from September 28 to November 17, 2012. That same year, he released his debut album Just Before Music, followed by Keeping a Record of It the following year. In September 2018, he released his third album MITH on Jagjaguwar.]

10. Various Blonde – “Dirty Martini”
from: 3s 1 / The Record Machine / January 10, 2020
[New 3-song release from Various Blonde. KC based experimental, rock, pop, & funk band originally formed in 2008 and currently served by founder Joshua Allen on guitar, synthesizers, & vocals; and Mark Lomas on drums. The band has been described by Mills Record Company as, “Having all the sex appeal of The Weeknd and all the grit of Rage Against the Machine–the combination makes for a performance that is explosive.”]

[Various Blonde play Lemonad(e) Park, 1628 Wyoming (NW corner of Wyoming & 17th St.), behind Voltaire, on Friday, August 7, at 7:00 PM Doors, w/ YUM and Redder Moon. – Voltaire and recordBar present a Summer Concert Series at the newly created outdoor space, LeMonad(e) Park. Only 100 tickets are available each night. VIP-Tickets allow for up to 6 guests with full table service, no waiting in bar. OPEN SEATING at eight foot tables, 4 person maximum. General Admission is Standing Room Only (you may bring your own chair). Tables & benches are distanced per KCMO Health Department regulations (actually, a little further). Food and beverage will be served by Voltaire utilizing their on-line ordering and packaged to-go by a Voltaire employee practicing Covid-19 safety procedures. If you are not at a VIP table you will pick up your order at the bar. Please distance 6 feet when queuing.]

11. The Jimi Hendrix Experience – “Manic Depression”
from: Are You Experienced? / Reprise / August 23, 1967 U.S. [May 12, 1967 U.K.]
[Are You Experienced is the debut studio album by the Jimi Hendrix Experience. Released in 1967, the LP was an immediate critical and commercial success, and it is widely regarded as one of the greatest debuts in the history of rock music. The album features Jimi Hendrix’s innovative approach to songwriting and electric guitar playing which soon established a new direction in psychedelic and hard rock music. // By mid-1966, Hendrix was struggling to earn a living playing the R&B circuit as a backing guitarist. After being referred to Chas Chandler, who was leaving the Animals and interested in managing and producing artists, Hendrix was signed to a management and production contract with Chandler and ex-Animals manager Michael Jeffery. Chandler brought Hendrix to London and began recruiting members for a band, the Jimi Hendrix Experience, designed to showcase the guitarist’s talents. // In late October, after having been rejected by Decca Records, the Experience signed with Track, a new label formed by the Who’s managers Kit Lambert and Chris Stamp. Are You Experienced and its preceding singles were recorded over a five-month period from late October 1966 through early April 1967. The album was completed in 16 recording sessions at three London locations, including De Lane Lea Studios, CBS Studios, and Olympic Studios. // Released in the UK on May 12, 1967, Are You Experienced spent 33 weeks on the charts, peaking at number two. The album was issued in the US on August 23 by Reprise Records, where it reached number five on the US Billboard Top LPs, remaining on the chart for 106 weeks, 27 of those in the Top 40. The album also spent 70 weeks on the US Billboard Hot R&B LPs chart, where it peaked at number 10. The US version contained some of Hendrix’s best known songs, including the Experience’s first three singles, which, though omitted from the British edition of the LP, were top ten hits in the UK: “Purple Haze”, “Hey Joe”, and “The Wind Cries Mary”.]

12. The Guillotine Choir – “In The Daylight”
from: “In The Daylight” – Single / The Guillotine Choir / July 15, 2020
[Second single this year from The Guillotine Choir who released their debut, “What Tomorrow Brings” on April 29, 2020. We premiered that track on our April 29, 2020 edition of WMM. The Guillotine Choir is an electronic rock band and the musical side project of Kimmie Queen and Cody Wyoming of The Philistines, and Justin Muschinske of The Widows Ride. Invoking the imagery of a late night journey through a cold war Berlin, the synthesizers sizzle and crash and beat against the wall, as the music searches for signs of light and freedom across dark urban landscapes. Cody Wyoming is also a guitarist with The Pedaljets. Cody went to Park Hill High and lives in Kansas City, Missouri with Kimmie Queen who he has been in a relationship with for 15 years. Cody grew up in Enid, Oklahoma.]

13. Fritz Hutchison – “Stationary”
from: Wide Wild Acres / Center Cut Records / March 27, 2020
[Debut album of Fritz Hutchison. Wild Wild Acres was written & performed by Fritz Hutchison. Produced by Fritz Hutchison and Joel Nanos. Recorded and mixed in Kansas City by Joel Nanos at Element Recording Studio. Mastered by Collin Jordan at The Boiler Room in Chicago. Multi-instrumentalist Fritz Hutchison was born May 27, 1991. A life long resident of Kansas City. Since 2008 he’s been part of multiple bands playing drums with: She’s a Keeper, Freight Train Rabbit Killer, and Grand Marquis. As a guitarist he has played along side J Ashley Miller, Lauren Krum, Miki P and Calvin Arsenia. A decade of lending an ear and a hand to the likes of fellow shredders has left Fritz poised to launch his own solo career as a singer-songwriter.]

14. Hotel Leo – “Overflow”
from: Matters / ropedog records / May 29, 2020
[Hotel Leo is the musical project of Stephen Roper a Kansas City based engineer and musician. Prior to the release of the Matters album, Hotel Leo released the singles “Our Love” on April 24, 2020, and “Diamond” on April 20, 2020. The band released their debut 4-song self titled EP Hotel Leo on October 14, 2016 with songs written by Stephen Roper. Mastered by Nathan Moody at Obsidian Sound. Album photography by Scott Roper. Album art design by Taylor Dunn.]

15. Ben Gibbard – “Life in Quarantine”
from: Life in Quarantine – Single / Barsuk Records / March 27, 2020
[The Seattle-based Death Cab for Cutie front man unveiled the new song in a video as part of local alt-weekly The Stranger’s A Message to the City series, noting “I know this is a really f—ed up and scary time for everybody, including myself, and I know that we’re all trying to figure out what to do to make it better or alleviate the suffering of someone else.” Net proceeds from the digital release of the new home-studio recording will be donated to Seattle-area relief organizations, including homelessness-support services non-profit Aurora Commons, a welcoming space for unhoused Seattle residents to rest, prepare a meal, connect to resources, and collectively create a healthy and vibrant community. Benjamin Gibbard was born August 11, 1976. He is an American singer, songwriter and guitarist. He is best known as the lead vocalist and guitarist of the indie rock band Death Cab for Cutie, with which he has recorded nine studio albums, and as one half of the electronica act the Postal Service. Gibbard released his debut solo album, Former Lives, in 2012, and a collaborative studio album, One Fast Move or I’m Gone (2009), with Jay Farrar, known for his work with Son Volt and formerly Uncle Tupelo. // Gibbard was born to Allen and Margaret (Flach) Gibbard in Bremerton, Washington. His father was in the Navy and his family moved around the country, including spending time in Northern Virginia before returning back to Washington. Gibbard spent his early life there during the grunge music explosion of the early 1990s. He graduated from Olympic High School in Bremerton in 1994, and studied environmental chemistry at Western Washington University. He was raised Roman Catholic and referred to himself as an “indoctrinated Catholic even though I haven’t been to church of my own volition in 10 or 15 years now.” While performing guitar in the band Pinwheel in 1996, Gibbard recorded a demo cassette under the moniker Death Cab for Cutie, titled You Can Play These Songs with Chords (1997). After receiving a positive response to the material, Gibbard expanded the project into a full band, with the addition of guitarist Chris Walla, bassist Nick Harmer and drummer Nathan Good. The following year, the band released its debut album, Something About Airplanes (1998), on Barsuk Records, and released its follow-up, We Have the Facts and We’re Voting Yes, in 2000.]

11:00 – Station ID

16. Miki P – “Don’t Lose Your Hope”
from: Kansas City Syzygy / Kansas City Syzygy / July 17, 2020
[Mikala Petillo, who was born in Kansas City, KS, and performed ‘She Loves You’ at her 7th grade talent show. In 9th grade she joined a teen-band called American Slim as drummer & vocalist, and released a full-length album, Irreplaceable, in 2017, played Middle of the Map Fest, Crossroads Music Fest, Kauffman Stadium, Arrowhead Stadium, and The Nelson Atkins Museum of Art before officially ending in 2018. That year, at 21, Miki P began work on her debut solo-record, Dome of Swallows, released August 2, 2018. She then formed Miki P and the Swallowtails who released their first EP, Swallowtail in 2019 The Swallowtails include: Rachel Lovelace on bassoon, Adee Dancy on cello & vocals, and Miki P on guitar & lead Vocals. In June they’ll release a follow up. The band’s members having classical music degrees, and jazz degrees. Miki P is a self-taught musician/multi-instrumentalist & songwriter driving the Swallowtails into a creative collaboration like any other. Each member is an integral part of the Kansas City music scene, writing, arranging, performing, and collaborating original music for their own groups and several other projects in the metro. “Introspective pop music with lyric-driven folk influences, mixed with collaborative energy & an odd pairing of instruments, Miki P locked in with the Swallowtails create a moment with music written and arranged from the heart.” Miki P started playing guitar in middle school. She taught herself to play the drums, while listening to Mitch Mitchell, Keith Moon and Ringo Starr. As a teen she played drums for various groups including American Slim. She wrote songs for their full-length album Irreplaceable released in 2017, followed by a single “Queen of Hearts” released April 11, 2018. She also plays ukulele & piano, teaching herself how to play both the instruments, using them frequently in all projects she is involved in. She was a featured vocalist with The Band That Fell to Earth Bowie Tribute. She’s played Boulevardia, Middle of the Map Fest, Royal’s Kaufman Stadium, recordBar, Uptown Theater, Arrowhead Stadium, Nelson Atkins Museum, the Crossroads Music Festival and the Over 25 Kansas City-based musicians came together to create “Kansas City Syzygy,” a compilation of music created during the shutdown of the world in the Spring of 2020. “Syzygy” is a term most commonly used in astronomy and is defined as “connected or corresponding events.” Album designer JC Franco states “like planets or stars aligning, so did our lives.” The nineteen songs on the album span the entire spectrum of music. Calvin Arsenia’s “Painted Ladies” is a dreamscape sung form his voice and harp, while Seth Andrew Davis’ “No Place But Home” invokes scenes of an underground dance club. Some musicians are collaborating for the first time on this album, as demonstrated on “Abyss.” Songs like “The Virus” by KC hip-hop artist Kemet Coleman comments on the impact of the coronavirus, as well as the virus that is racial injustice in America that has received global attention during the past months. The album can be purchased from Bandcamp. All proceeds will be donated to KC Tenants, a local nonprofit organized to ensure that everyone in KC has a safe, accessible, and truly affordable home.]

11:03 – Interview with Robert Castillo

Musician & band leader Robert Castillo, joins us to share music and details about the KC Syzygy compilation of original tracks from over 25 KC based musicians who came together electronically to contribute musical recordings created during the shutdown of the world in the spring of 2020. The production was directed by Robert Castillo with J Ashley Miller mastering the raw audio files. All proceeds will be donated to KC Tenants, a local nonprofit. The album is available at http://www.kcsyzygy.bandcamp.com

The album is available at http://www.kcsyzygy.bandcamp.com

“Kansas City Syzygy” a compilation of original tracks with over 25 KC based musicians who came together electronically to contribute. All of this music was created during the shutdown of the world in the Spring of 2020.

“Syzygy” is a term used in astronomy and defined as “connected or corresponding events.” Designer JC Franco states “like planets or stars aligning, so did our lives.”

The nineteen songs on the album span the entire spectrum of music. Calvin Arsenia’s “Painted Ladies” is a dreamscape sung form his voice and harp, while Seth Andrew Davis’ “No Place But Home” invokes scenes of an underground dance club. Some musicians are collaborating for the first time on this album, as demonstrated on “Abyss.” Local electronic musician Chris Crabtree and Robert Castillo, bandleader of the groove jazz ensemble The Sextet, worked together with vocalist Audrey Chopin to create an experimental piece of EDM-adjacent music. Songs like “The Virus” by KC hip-hop artist Kemet Coleman comments on the impact of the coronavirus, as well as the virus that is racial injustice in America that has received global attention during the past months.

The album can be purchased from Bandcamp. All proceeds will be donated to KC Tenants, a local nonprofit organized to ensure that everyone in KC has a safe, accessible, and truly affordable home.

Musicians Include: Miki P, Kemet Coleman, Trevor Turla, Calvin Arsenia, Johnny Hamil, Jeff Harshbarger, Larkin Sanders, Chris Crabtree, Audrey Chopin, Robert Castillo, J Ashley Miller, John Kizilermut, Nik Douglas, Mikal Shapiro, Kadesh Flow, Tim J Harte, We the People, Chico Sierra, Terri Quinn, Adee Dancy, Seth Andrew
Davis, Chad Brothers, Matt Richey, Rob Rice, and Coleen Dieker.

Though COVID-19 may have shut down innumerable business and altered our lives forever, one thing it couldn’t stop is the creative drive and spirit in the world’s artists. Kansas City Syzygy is a glimpse into the music created in the middle of the map in the middle of a pandemic. Mastering by J Ashley Miller. Design by JC Franco. Direction by Robert Castillo

11:10

17. Rob Rice & the Devil’s Threesome – “Serial Lover”
from: Kansas City Syzygy / Kansas City Syzygy / July 17, 2020
[Lead singer songwriter Rob Rice told us that “’Serial Lover’ is based on a conversation he had with a dear friend around relationships, specifically monogamous vs. polyamorous, and opening our eyes to learn more about the others experience. This song is one of 6 that Rob is working to finish up this summer and release later this year under the album name ‘And The Devil’s Threesome’. This is a collection of six original songs Rob has composed and recorded that features a female and additional male accompaniment to showcase (hence the Devil’s Threesome…) Here is a sample of the first four tracks and the names of artists/musicians who have collaborated on this project 1. “Tiny Window” with Calvin Arsenia (Harp and Vocals) and Ezgi Karakus (Cello); 2. “There’s A Devil Inside Me” with Landon Hambright (Upright and Vocals) and Rachael Feeley (Vocals); 3. “Thinking of Another” with Teri Quinn (Clarinet and Vocals) and Stephen Roper (Drums, Electronics and Vocals); And 4. “Serial Lover” with Coleen Dieker (Violin and Vocals) and Robert Castillo (Upright Bass and Vocals). Rob Rice is finalizing the last two tracks and we are working to have rob on WMM when he is ready for the release. /// Over 25 Kansas City-based musicians came together to create “Kansas City Syzygy,” a compilation of music created during the shutdown of the world in the Spring of 2020. All proceeds will be donated to KC Tenants, a local nonprofit. The album is available at http://www.kcsyzygy.bandcamp.com.]

13. GAV7D (Johnny Hamil & Jeff Harshbarger & Sylvain Rabbath) – “Eastwood Stayed Skinny Travolta Got Fat (Pt. II)”
from: Kansas City Syzygy / Kansas City Syzygy / July 17, 2020
[Johnny Hamil told us that this “was the last track he wrote and recorded while in Paris before the lockdown. Johnny has been going to Paris every year to study and to record. This year he was recording the GAV7D – Video game Solo Bass record with Sylvain Rabbath. This song is Johnny’s love of 1980s metal shred so he broke out some old school chops to compose the song….it is a solo bass record so why not? While recording the song Jeff Harshbarger called Johnny and said he wasn’t going to come to Paris as planned, due to the virus. Johnny told him everything was fine in Paris and he should come… something that Johnny now really regrets saying, however it was fine at the time. Johnny’s trip was wonderful as always and we were making this wonderful song. So Jeff did come and we were finishing the track so Johnny just put Jeff in the vocal booth to make sonic the hedgehog type sounds and sing the ending “Parisian scooter death ride” lyrics. Jeff sang five part harmonies in just a few tales! It was another example how amazing he is. Also the keyboards on this track are amazing as well. Sylvain Rabbath recently acquired a new analog keyboard, to add to his collection of hundreds of keyboards. This keyboard from the 1980s has a lot of a “Miami Vice” sound. In regard to the “Parisian scooter death ride” story, in order to get to and from the studio it is easier to ride on Sylvain’s scooter as taking his car takes too much time in a city like Paris. Since Sylvain was born and raised in Paris, he goes through cars, alleys, gutters, sidewalks, and it’s terrifying! Thus Johnny feels like you will never know the true Paris until you have had that experience. If you listen closely enough at the end fade out you will hear the shrieking vocals. Jeff Harshbarger had to stay with Johnny for a month due to mandatory quarantine for travelers. Johnny and Jeff did a few online shows during that time. They played a duet version of this tune. It was the first time Johnny was able to perform with another musician and it was such a blessing! Johnny felt this heavy weight be lifted off of himself. Both shows are still on Johnny’s Facebook pages and got shared quite a bit. As Johnny is finishing up the entire album this track stands out, so Johnny is glad it is the first song to formally get released. Johnny will be releasing the last two GAV7D albums this year as they are done. They both got delayed from the pandemic. The Exotica Freejazz Record is really just another amazing journey that includes musicians: Mark Southerland, Annie Elliot, Amado Espinoza, Chris Fugitt, Arny Young, Tina Billberry, Clarke Wyatt, Julia Othmer, and so many more. // /// Over 25 Kansas City-based musicians came together to create “Kansas City Syzygy,” a compilation of music created during the shutdown of the world in the Spring of 2020. The album can be purchased from Bandcamp beginning July 17, 2020. All proceeds will be donated to KC Tenants, a local nonprofit organized to ensure that everyone in KC has a safe, accessible, and truly affordable home.]

19. Shay Estes & Trio All – “Under The Milky Way feat. Jeff Harshbarger”
From: Despite Your Destination / Independent / 2009
[Shay Estes and Trio ALL — ALL being an acronym for the last names of players Zack Albetta on drums, Mark Lowrey on piano, and Ben Leifer on bass. Lowrey told INK that they, “We’re trying to cross over into the realm of modern jazz by writing arrangements of songs that aren’t staples in jazz repertoire.” The album title comes from the lyrics of “Under the Milky Way,” originally by new wave band The Church. That track was the first arrangement Estes and Lowrey worked on together in 2004, and features guest vocals from Jeff Harshbarger.]

11:35 – Underwriting

20. Bijuu – “Body222”
from: WEEP NOT / Bijuu / April 17, 2020
[4-song EP from Kansas City based producer and vocalist who specializes in electronic maximalist pop music. Bijuu released the singles “Wet Blood” May 7, 2018, and “Mushygoo” April 20, 2018. There are a multitude of other tracks at Bijuu’s Soundcloud page.]

21. MARCOTTE – “History”
from: History / MARCOTTE / October 1, 2019
[For singer-songwriter duo Jordan and Sasha, soul is the term that most embodies the emotional transparency they commit to in the music they compose and perform together as MARCOTTE. The duo met in Kansas City, MO in 2013. They quickly discovered that collaboration came naturally and what they could do together surpassed any success they were able to achieve separately. Sasha and Jordan partnered together to create and perform original songs for their friends’ weddings –music that honestly and affectionately communicated the love story of the bride and groom. Soon finding their own love story in the midst, the pair has successfully translated that same honesty and affection to the art they create together. Though the stages and audience have grown in size and number as MARCOTTE continues to experience acclaim, the Pop-R&B duo has been able to keep the intimacy and clarity they’re known for while performing for live audiences.]

[Marcotte play ULAH Live Sessions Hosted by You Found Music on Thursday July 23, 7:00 PM to 9:00 PM at ULAH, 4707 Rainbow Blvd., Westwood, KS. Limited seating for 12. Doors at 7:00, show at 7:30. Social distancing measures will be in place. Masks will be required upon entry, and while moving about the store. Ticket information at http://www.eventbrite.com/e/ulaj-live-sessions-marcotte-tickets%5D

22. D’Angelo & The Vanguard – “1000 Deaths”
from: Black Messiah / RCA – Sony / December 15, 2014
[Black Messiah is the third studio album by American singer, songwriter, and multi-instrumentalist D’Angelo, credited to D’Angelo and the Vanguard. It was released on December 15, 2014, by RCA Records, bringing an end to his 14-year hiatus that followed his 2000 album Voodoo. The album was produced and mostly written by D’Angelo, who collaborated with musicians such as percussionist Questlove, bassist Pino Palladino, guitarist Isaiah Sharkey, and horn player Roy Hargrove. He pursued a largely analog and murky funk sound for the record, lending it comparisons to the 1971 Sly & the Family Stone album There’s a Riot Goin’ On. Black Messiah was among 2014’s most highly anticipated albums and was released to widespread critical acclaim, later being ranked as one of the year’s best albums. The album debuted at number five on the US Billboard charts and number one on the US Top R&B/Hip-Hop Albums, selling over 117,000 units in its first week. Black Messiah was promoted with the release of the single “Really Love” and a tour called The Second Coming. // D’Angelo’s subsequent solo work was extensively delayed.Production for a full-length follow-up to Voodoo was stagnant, as he was working on and off mostly by himself during 2002. D’Angelo attempted to play every instrument for the project, striving for complete creative control similar to that of Prince. Russell Elevado described the resulting material as “Parliament/Funkadelic meets the Beatles meets Prince, and the whole time there’s this Jimi Hendrix energy”. However, those who previewed its songs found it to be unfinished. In the years that followed, D’Angelo’s personal problems worsened, descending to drug and alcohol addiction. In January 2005 he was arrested and charged with possession of marijuana and cocaine. Various mugshots began circulating around the time, showing the singer looking overweight and unhealthy, in stark contrast to the muscular D’Angelo seen in promotion for Voodoo. In September 2005, a week after being sentenced on the drug charges, he was involved in a car accident, and was rumoured to be critically injured. However, a week after the crash a statement was issued by D’Angelo’s attorney stating that he was fine continuing to say “He is anxious to finish the recording of his soul masterpiece that the world has patiently awaited. // No more was revealed on the new album until 2007, when Questlove, D’Angelo’s drummer and producer, leaked an unfinished track on Triple J Radio in Australia. Entitled “Really Love”, the track was an acoustic flavored jam with a laid back swing feel. The leak apparently soured relations between the two. In 2009, D’Angelo’s then-new manager Lindsay Guion, revealed plans for a new album, including collaborations with artists including Prince, Kanye West, Busta Rhymes, and John Mayer, and a summer tour, saying “He’s able to smile again and he’s ready to connect [with fans], he’s coming back. And he looks great, by the way.” As with the previous year, no tour or album materialized. In early February 2010, a new track called “1000 Deaths” appeared on the Internet, but was swiftly removed due to a copyright claim by Michael Archer, D’Angelo’s legal name. The song seemed unfinished, and it is unclear how recent the material actually is, as the same song was mentioned in the same interview (see above) with Russell Elevado, in 2007. Around the same time, an article began to circulate on the Internet, which seemed to be an apparent review of ‘James River’, with detailed descriptions of individual songs, track listing, and segments of lyrics. This caused much discussion regarding the authenticity of the article, or whether it was an elaborate hoax. // In January 2011, Russell Elevado updated the status of the album development on his website and stated that “Pino Palladino and James Gadson have joined D’Angelo […] in New York City to finish cutting tracks for the upcoming album (yes, “THE” upcoming album!). We are officially making our way to finishing this record! I don’t need to tell everyone that this will be an amazing album. D’Angelo fans will be extremely happy to know, the wait will be over soon and it will surely be a future classic” Russell Elevado updated the status of the album again on his own website. “Since my last post I have continued sessions with D’Angelo. We’ve just finished up 5 months of recording. D has been doing vocals and guitars and we’ve had Pino Palladino back in for some more bass tracks. Also ?uestlove came in to jam with D and Pino. They’ve finally reunited after 7 or 8 years (lost track how long really). We’re taking a few months break while I take care of some other projects that have been on the back burner.” // In December 2011 Questlove said the album was 97% done and that D’Angelo was “finishing his lyrics now.” He went on to compare the album to a “black version of Smile – at best, it will go down in the Smile/There’s a Riot Goin’ On/Miles Davis’ On the Corner category. That’s what I’m hoping for. There’s stuff on there I was amazed at, like new music patches I’ve never heard before. I’d ask him, “What kind of keyboard is that?” I thought it was some old vintage thing. But he builds his own patches. One song we worked on called “Charade” has this trombone patch that he re-EQ’d and then put through an envelope filter and then added a vibraphone noise on top and made a whole new patch out of it. He’s the only person I know that takes a Herbie Hancock approach, or Malcolm Cecil and Robert Margouleff—the two musician/engineers who programmed all of Stevie Wonder’s genius-period stuff—approach. That’s the last time I ever heard of somebody building patches. We’ll see if history is kind to it.” In 2012, D’Angelo returned to performing live with his Occupy Music Tour and prepared his third studio album, whose recording had D’Angelo return to Electric Lady Studios. // Michael Eugene Archer (born February 11, 1974), better known by his stage name D’Angelo (pronounced di-Angelo), is an American singer, songwriter, multi-instrumentalist and record producer. D’Angelo is associated with the neo soul movement, along with artists like Erykah Badu, Lauryn Hill, Maxwell, and collaborator Angie Stone. // Born in Richmond, Virginia, the son of a Pentecostal minister, D’Angelo taught himself piano as a child. At eighteen, he won the amateur talent competition at Harlem’s Apollo Theater three weeks in a row. After a brief affiliation with hip-hop group I.D.U., his first major success came in 1994 as the co-writer and co-producer of the song “U Will Know”. // His debut solo album, Brown Sugar (1995), received positive reviews and sold over two million copies. His next album, Voodoo (2000), debuted at number one on the US Billboard 200. Its lead single “Untitled (How Does It Feel)”, entered the R&B charts and won a Grammy for Best Male R&B Vocal; likewise, Voodoo won Best R&B Album. D’Angelo was hailed as the next Marvin Gaye by GQ in 2014. // Following this period, D’Angelo became more than uncomfortable with his growing status as a sex symbol. This was followed by numerous personal struggles including alcoholism, and a fourteen-year long musical hiatus. D’Angelo released his third studio album, Black Messiah, in December 2014. The album was met with critical acclaim and fared well on music charts, peaking at number five on the US Billboard 200. D’Angelo also contributed to the soundtrack for the 2018 video game Red Dead Redemption 2, performing the song “Unshaken”.]

23. Daniel Gum – “Tired Saint”
from: Black Lives Matter Compilation / French Exit Records / July 6, 2020
[Daniel Gum is a 23 year old singer-songwriter from Kansas City. Since the age of 12, he has spent the majority of his time writing and recording songs by himself in his room. His most recent project, Moon, on the other hand was recorded by someone else in another room while Daniel was by himself in yet another room. The Moon EP was released December 7, 2019. It was engineered by Mike Crawford and Daniel Gum and mixed by Daniel Gum with piano and accordion by Cole Crawford. Daniel Gun released his EP i’m not dead October 25, 2017, and his 10-song album Reorient on July 31, 2015, with all songs written, recorded and mixed by Daniel Gum who also performed all vocals guitars, drums, piano, bass. harmonica, and programming.] [French Exit Records launched two years ago as an independent music label in KCMO, founded by Brad Girard. French Exit Records has released albums for No Magic and Raymond,. The BLM Comp is on French Exit Record’s Bandcamp page: https://frenchexitrecords.bandcamp.com/album/black-lives-matter-compilation. BLM Compilation is 22 acts from the area, with all proceeds donated to One Struggle KC’s Liberation Fund, a Black-led coalition of KC activists seeking to connect the struggles of oppressed communities, locally & globally.]

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

11:58 – Community Voices

Next week on Wednesday, July 29, singer songwriter activist Una Walkenhorst joins us to talk about her 2020 EP Woman Of The Year. We will also share more tracks from the new Kansas City Syzygy compilations, and even more from the French Exit Records compilation release Black Lives Matter.

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

Black Lives Matter

Show #847