Truck Stop Love

Truck Stop Love

The Pedaljets, Red Kate, Chris Tolle (acoustic set)

Fri, November 17, 2017

Doors: 7:00 pm / Show: 7:30 pm


Tickets at the Door

This event is 18 and over

Truck Stop Love
Truck Stop Love
Twenty-five years ago Truck Stop Love released their first recording – a cassette recorded by the band in the back room of Vital Vinyl, a local record store in Manhattan, Kansas. This November, the band will release three of those songs, plus 8 more previously unreleased demo tracks and never-before-heard recordings, on vinyl LP through Kansas City coop record label Black Site. Can’t Hear It: 1991-1994 captures the band’s wheels-about-to-come-off-the-rails Midwest rock twang at its most formative – when the songs were fresh, raw, and LOUD! This is the music that perked up the ears of the music industry, and helped make Truck Stop Love the first-ever Manhattan-based band to sign to a major label (much less get featured on MTV and in Seventeen magazine - tee hee).

1991 to 1994 was the key formative period for Truck Stop Love. Those years were likely even more successful for bar owners and liquor stores across the United States. When the band wasn’t out playing their music from town to town, they were writing and recording it — or "drinking," as other people might call it.

In the beginning, the band would record anywhere someone would allow them to set up their 4-track reel-to-reel machine. Later, they would favor Red House Recording in Lawrence, Kansas and its engineer Ed Rose. During the time leading up to their 1995 release, How I Spent My Summer Vacation, they would write and record some 50 songs, most under the mind-freeing influence of Old Crow and Schaefer’s beer. From the stoney drone of “Townie” to the frenetic blast of “How I Spent My Summer Vacation” to the head-slamming psych-pop of “You Keep Searchin’,” Can’t Hear It: 1991-1994 is Truck Stop Love at its wildest, sweatiest, beer-soaked best.

To give these old recordings a new life on vinyl, audio archivist and sound engineer Kliph Scurlock remastered the songs from the original analog and digital audio tapes, and Chris Muth at Taloowa Corp cut the master lacquers. With art and design from Commercial Artisan’s Jon Sholly, Can’t Hear It:1991-1994 not only sounds good, it looks good too!
The Pedaljets
The Pedaljets
The Pedaljets originated in Lawrence, Kansas in 1984 and were one of the "almost famous" alternative acts of the 1980s – a missing link between The Replacements and Nirvana. From their beginning, the Pedaljets toured the country nonstop, often opening for the likes of Hüsker Dü, Flaming Lips, The Replacements, Meat Puppets, and other usual suspects of 1980s alternative/punk America. They released two full lengths – the first, "Today Today," on Twilight Records in 1988 to great accolades, the Lawrence Journal World calling it a "regional standard" with Creem, Trouser Press and many others chiming in as well. The second LP, "Pedaljets," was released on Communion in 1989 and was rushed out as an unfinished, poorly realized "what might have been" of an LP. The "Pedaljets" CD garnered solid national attention and good reviews, despite its flaws. After six years of almost nonstop touring and born upon a deep disappointment with this second LP, the Pedaljets quietly disbanded in July 1990. Ironically, at the time they broke up, the Pedaljets' flag was flying higher than ever. They were on MTV and packing clubs around the country; even the opening montage of credits on Saturday Night Live featured a quick shot of a Pedaljets poster.

Now fast-forward to winter 2006, when rumors began circulating around KC about some kind of a quasi-Pedaljets reunion. The story was that after listening back to "baked out" masters with producer, Paul Malinowski (bass player for former KC rock titans Shiner, Season to Risk), the guys had returned to the studio after 17 years to finally "fix the mix." Turns out, the rumors were true. One of the 1980s more enigmatic bands temporarily had re-emerged to seek a sort of rock-and-roll redemption – a cathartic cleansing consisting of playing together again, drinking like they shouldn't, and correcting old mistakes, not necessarily in that order. They had discovered that the tapes were salvageable. Moreover, that first night listening back to the raw masters was a surprise to everyone – Kesler and Morrow still sounded like one of rock's great rhythm sections; Allmayer's lyrics and chord changes were still rich, hooky, and unpredictable; and Wade's lead guitar still resonated with the band's expanded vision. More importantly, the songs still sounded fresh– history meets modernity. It was time to finish it right. Meeting in the studio when they could, the boys worked with Malinowski over an entire year to polish and fix the sound, and to sharpen the arrangements.

After re-recruiting the great Archer Prewitt (Sof' Boy comic book creator and guitarist for the Sea and Cake and The Coctails) to design the cover art (Prewitt did the original film noirish color woodcut cover as well) and signing with Oxblood Records (a great KC label), the story had come full circle and was now ready for its "do-over." The LP was rereleased in 2008 and met a favorable response, Mojo calling out the lead track, "Giants of May," on its playlist: "Grungy country supplied by a Kansas City band that set out to make an album many years ago but only just got around to completing the task. You'll be glad they did."

After reuniting for a few shows around the KC area, the Pedaljets decided to return to the studio in late 2009 to record a few new songs Mike Allmayer had written. Original Pedaljet lead guitarist Phil Wade was unavailable, so this time around Malinowski assumed second guitar duties, as well as performing all recording/engineering. After recording 15 tracks in several KC studios, the band went up to Brooklyn to have John Agnello (Dinosaur Jr., Sonic Youth, The Hold Steady, etc.) mix at Headgear Studios. The results are astonishing. Each song is at once vintage midwest in-your-face rock and a totally new approach to what is timeless and resonant and beyond conventional formulaic alternative pop and rock. The guys have learned something after all these years. Enjoy the single and get ready for the LP. You'll be floored. Dig it.
Red Kate
Red Kate
RED KATE is a no bullshit, class conscious punk rock & roll band from Kansas City, MO. The band's newest release, a split with Lawrence, KS punks, Stiff Middle Fingers, is eight minutes of tight chaos packed onto 7 inches of virgin black vinyl.

The split 7" is a follow-up to the band's critically acclaimed sophomore LP, unamerican activities, released in 2016 on their coop label, Black Site. With the election of an authoritarian narcissist to the White House and white supremacy again on the rise, this hard, fast and angry polemic on the current state of affairs has turned out to be unfortunately prescient.

RED KATE formed in 2007 from the remnants of regional and national acts Truck Stop Love, Wayback Machine, Squadcar, and Goodpuss. A couple of lineup changes over the years brought in former River City Revelators guitarist, Desmond Poirier on lead, and most recently, American Catastrophe front man Shaun Hamontree on rhythm.

The band’s sound tips a cap to the beer soaked barroom floors of the 70s British Pub-Rock scene and the modern blues-punk sound that has since taken root in Midwest dive bars and basements. Hard working both on and off the stage, the band’s locale has lent its perspective in sound, lyric, and work ethic. Straight off the factory line, RED KATE hearkens back to a time when musicians played hard, stayed up late, and carried a union card.

RED KATE released its first LP, When the Troubles Come, on Replay Records in 2013 and a split 7" on Mills Record Company with fellow Kansas City punks, The Bad Ideas, in 2014.
Venue Information:
1520 Grand Blvd
Kansas City, MO, 64108