Fifty posts. It’s been a long road to get here, and there were times I thought the day would never come. But here we are! I thought I would use this special occasion to discuss one of my favorite bands to ever come out of the Kansas City music scene: none other than that which was known as the Revolvers.
This is a band I hold dear to my local music heart, so much so that it would be out of my character were I to go one chance without heckling the former members for a possible reunion (before you get your hopes up, it has been all but confirmed as downright implausible). There have been times when I’ve gone weeks at a time with having their lone full-length on repeat in my car, singing along to every single word as though I were rehearsing for KC music karaoke. Now that I write that out, it doesn’t sound like such a bad idea.
The core of the Revolvers was vocalist Justin Petosa, guitarist Mike Alexander and bassist Chris Wagner. The three essentially grew up together, and formed a band in the mid ’90s as a youthful outlet to play Ramones-driven pop-punk with a lyrical prowess that elevated above many of the more popular bands of that era. In the years they were an active band, the Revolvers seemed to have gone through an average of one drummer a year, the previous one leaving typically for no more than artistic differences or conflicts of scheduling.
Though they experienced the same hardships and tour mishaps that any band venturing out on the road is bound to confront, they stayed a frequent name in the local music scene until early in the 21st century, when after the release of their self-titled debut CD (and two self-released 7 inches before that) they slowly sputtered out and eventually stopped playing shows altogether. By the time the members parted ways, it was difficult for a conversation to be had among them.
All things eventually pass, and with time, conversations were had once more, and friendships grew more strong than they had been in the years prior. Justin decided to bow out of music, leaving a gaping hole in the hearts of teenage-minded punks yearning for songs about girls, love and the eventual sorrow that comes from a broken relationship.
Mike, who before the Revolvers played in the Breakups, joined the final incarnation of the (at this point no longer ska) Gadjits before they became the Architects, in which he was the guitarist until parting ways to pursue other career interests, which led to he and Wagner forming Hipshot Killer in a reclamation of vigor and revival of their punk roots. In the interim, Alexander also performs with bands that play country (Starhaven Rounders), Irish rock (Blarney Stoned), and Americana (John Velghe and the Prodigal Sons).
Chris Wagner’s musical output beyond the Revolvers has included in part the previously mentioned Hipshot Killer and Prodigal Sons (wherein he performs bass), Velghe’s earlier project the Mendoza Lie (as a guitarist), the abrasive and metallic Hundred Years War (whose Jason Hall was also in The Secret Club with Wagner), indie rockers Jackie Carol (with members of The Casket Lottery, The Believe It or Nots, and Proudentall), and The Glitter Kicks (featuring a post-Frogpond Tawni Freeland, music producer extraordinaire Ed Rose, and a rotating drummer including Kliph Scurlock of Slackjaw, Craig Haning of Moaning Lisa, and Chris Tolle of The Creature Comforts).
As mentioned, the band went through a variety of drummers, but on recording had Thomas Becker on the first 7 inch. Becker was serving duty in multiple up-and-coming bands in the area, including Nuclear Family and the earliest version of The Get Up Kids, but dropped them all to attend college in California. The second 7 inch and full-length featured drumming by Jon Paul aka Buddy Lush of the Buddy Lush Phenomenon, Sin City Disciples, and The Big Iron.
Enough with the word vomit. Now we get to the point: free stuff. Below, you can find a link to download each of the Revolvers releases, ripped to the best of my current capabilities. Listen, enjoy, and share with your friends a band worth celebrating. And if you see the guys out at a bar some night, try not to heckle them too much.
Album: She’s Out Of Your Life 7″ – download here
Label: Locket Love Records
Release Year: 1996
Side A: She’s Out of Your Life / Never Said
Side B: Christmas Eve in June / Anjali
A forefront of melodic, classic pop-punk with hints of the ’60s pop the band leans toward in later recordings.
Album: Marley 7″ – download here
Label: Locket Love Records
Release Year: 1996
Side A: Marley / Marrianna
Side B: Ten Seconds Then / Far Between
You can hear the punk shell slowly begin to crack, giving way to a more musically-geared sound.
Album: Revolvers CD – download here
Label: Locket Love Records
Release Year: 1999
Track Listing: All I Want to Know / Better Off Alone / There’s a Heart / Devotional / Marley / Annie / The Only One / Not Really Blue / New Depression / Standin’ Sadly / Torch / The Angel’s Share
The band’s final output, a much better production quality that features a fully fleshed out sound that is at once punk and pop, and better showcases the songwriting ability of both Justin and Mike. The album is a complex layer cake of melancholy, anger, hope, and a general malaise toward the growing up that one must eventually accept. The band’s style ranges from fast, straight to the point power-punk, to downtrodden, emotionally dejected songs that border on country. It’s a damned shame if you don’t grab this right now.
A reformed Pedaljets will be releasing their first studio album of what I assume to be brand new songs in more than two decades before the end of the year. From their first demo cassette in 1986 (which you can download thanks to a devoted fan here) through the band’s debut full length Today, Today in 1988 and the 1990 eponymous follow-up, the band’s sound matured from an artfully craggy but completely shameless take on the idolized Minneapolis punk of that era to one of their own, while still retaining an undeniable pull toward a Mould/Westerberg approach to writing. A break up occurred on the verge of breaking out (even after a stint opening for Hüsker Dü), and left the band all but forgotten outside of the area within a few years.
Followers of Lawrence music history will note that PJ was not the only time much of the lineup had played together. In 1985, there was the Von Bulows, a summer fling fronted by Lori Wray and backed by the entire lineup of the Jets at that time (Mike Allmayer, Rob Morrow, Matt Kesler, and Scott Mize) and was ’80s pop in the best, most danceable way. Though they recorded a handful of tracks, their only attainable output looks to be a contribution on the third installation of the Fresh Sounds From Middle America compilation series.
In the late ’80s, Allmayer, Morrow and Kesler played in The Catherines with Ala Mandelbaum (later of the dreampop bands Smitten and Boudoir), and released only enough material to populate a rather hard to find demo cassette. A few years after the Jets disbanded, Allmayer and Morrow (along with one-time Jet, Mark Reynolds) played together in the much more aggressive Grither, releasing a number of EPs, and a CD on MCA Records in the process. Allmayer fronted a project as equally short-lived as the Bulows in the late ’90s, under the name Missile My Doll. A single demo was released before the name all but vanished from existence.
Fast forward to 2007, and the core lineup was thrilled to get a chance to come back together and completely re-mix the sophomore Pedaljets album, laying to rest a master they were finally happy with. The resulting re-imagining was given a proper CD release on the blink-and-you’ll-miss-it OxBlood Records (a promising combination of efforts between local DJ/music snob Robert Moore and Frogpond‘s Megan Hamilton) and the band played a few shows that summer in support.
I can’t recall hearing any new Pedaljets songs at their recent shows, but then I haven’t gotten a chance to catch them live since they played with the Micronotz in Lawrence last fall. The details, and even the artwork of the new album have been kept mostly under wraps, and a tour in support of the new album is highly unlikely, but a record release show is imminent. Kesler has been performing bass duties at all of the recent ‘Notz shows (a position once held by the locally iconic and sadly departed David Dale), so one can hope a new release may be in store from them as well. As anyone who has seen them recently knows, Jay Hauptli sure as hell still has the throat for it.
There is no better downtown location in which to see a powerpop/rock show than The Brick. With the exception of the dive bar bathrooms, the venue is one of my favorite places to not only see a reasonably priced show but to eat a good meal with cheap drink specials to boot. I am lucky enough to both work and live within blocks of The Brick, and try my damnedest to patronize the location on at least a monthly basis. Although they are not operating within a very large space, I’ve noticed their sound is always exactly as it should be and have rarely encountered a night when I am unable to hear one of the musicians on stage. This past weekend, I attended live shows at the venue two nights in a row, a first for me at any venue in KC since I was a teenager and had the extra money to hang out at all-ages places such as the El Torreon a few nights a week during the summer. My double night attendance was nearly pushed into a triple night, but alas, I missed the tour kick-off of The ACB’s with headliner Someone Still Loves You Boris Yeltsin the night before.
The night was kicked off at around 10:30 with opener Deco Auto, a powerpop trio who only made their debut as a performing band back in April. I would have been in attendance had it not interfered with my previously scheduled plans to be in Westport for the Middle of the Map Festival. The band played a seemingly short set that turned out to be half an hour and consisted of ten songs with only a few moments between having any kind of banter from guitarist/vocalist Steven Garcia, who later explained to the crowd that he is usually much more friendly. Few and far between were the people who watched the band play without talking to their nearby friends, and the set was only viewed by a sparse two dozen people.
It is easy to judge a young band still trying to get their footing within the music scene, even if the members are veterans of live music themselves. Deco Auto, young and fresh as the entity itself is, really don’t have far to go before they can book time in a studio and get some of the songs I heard recorded to tape. The rough edges seem to still be an ongoing process, but the combination of Garcia’s strong voice for melodic punk-influenced rock and bassist Tracy Flowers supplying an additional level of melody with her vocals, creates a kind of catchy, late ’90s pop-punk/powerpop sound that is best with rough edges intact. The rhythmic backbone from drummer Michelle O’Brien completes the trifecta of Deco Auto, her stripped down playing style taking cues from the earliest days of pop music from seminal acts like The Yardbirds and The Dave Clark Five.
The next to take the stage was another new band called The Chaotic Goods, five guys who hail from Manhattan, KS, and most of which have been active in music for nearly two decades. I was particularly looking forward to seeing this band due to the inclusion of guitarist Marty Robertson, known for his work in Frogpond, Abileen, Onward Crispin Glover and the embarrassingly unspoken of El Fontain. The band began their set strong, touching on a Danger Bob-esque approach to quirky nerd rock/powerpop, vocalist Ralph Reichert at one point exclaiming simply “we write songs about girls,” among other quips between he and a few of the more talkative members of the audience. As the band progressed, there were more and more hit-or-miss songs, some that were an outright throwback to grunge in the worst way, and some that could have been considered for inclusion on an iconic Kansas City Misery type compilation, had the band existed more than 15 years ago when the original was released.
The longer the band played, the more restless the crowd was becoming and the more their talking amongst themselves was increasing. Let it be noted, that had the band played half as long as they actually did, and cut out an equal amount of their set list, they would have been overall well-received by not only myself but the majority of those in attendance that had grown tired of some of the very repetitive songs being played. When they left the stage, I was left a little bitter that they could have been so much better had they not tried to cover so much musical ground in an hour. The vocal harmonization among Reichert, Robertson, and guitarist Ray Kristek was generally in tune and certain songs would have severely suffered had they lacked it, and I was amused with Robertson and bassist Chad Myers frequently trading instruments between songs, but I think the band was just on the wrong lineup on the wrong night.
If there is any band in the metro area that doesn’t get the respect and attention they deserve, it’s chronic room-clearers The Dead Girls. Blame it on their name (someone once told me they expected them to be a metal band) or the fact that, if headlining, they don’t begin playing until some bars and venues are having last call. Blame it on the cringe-worthy banter between guitarists/vocalists Cameron Hawk and JoJo Longbottom, but nobody can say the quartet aren’t all equally talented musicians who put on one hell of a rock show. One could only speculate why the ‘former members of’ hype doesn’t catch up to the powerpop group composed of 2/3 of Ultimate Fakebook and 1/2 of Podstar, but they still manage to play to a small but dedicated built-in audience multiple times a month between Kansas City and their home of Lawrence, KS.
Sitting at a table prior to their performance, and with a cup of hot tea at his side, Hawk explained that he was losing his voice and so their set list that night would largely consist of songs written by Longbottom, Hawk performing the necessary back-up vocals. He seemed rather unfazed upon taking the stage, playing just as hard as he would have otherwise. The band barreled through a set with songs that spanned their discography to date, including the crowd pleaser “You Ignited,” from the 2010 vinyl-only full length Out of Earshot. The band has been gradually unveiling new songs in their recent performances, preparing for the release of a 7″ EP coming out on the same label that released their last effort, as well as the vinyl issue of Ultimate Fakebook’s Electric Kissing Parties. The EP is scheduled for release later in 2011 on Rocketheart Records.