Around Hear
No moment summed up the fifth annual Klammies better than one an hour before the awards ceremony began. The members of nominated metal band Descension had just arrived in full costume, their imposing spikes and albino makeup rendering them as inviting as porcupines in war paint. Another recent arrival to the ceremonies was Buck O’Neill, the former Kansas City Monarchs first baseman and Negro League Hall of Famer who ranks among the area’s most distinguished and dignified residents. As O’Neill stepped into an elevator with Descension’s death army, both parties exchanged glances that expressed amusement and respect.
The Kansas City/Lawrence Area Music Awards exist partially to create such pairings, to bring together representatives from different facets of the music community who otherwise would never intersect. That’s not to say the event ever becomes a complete melting pot — even the most open-minded attendees sometimes use a performance by an unfamiliar artist to take a bathroom break. Still, if one more Season to Risk fan decides to check out reggae or a single Sister Mary Rotten Crotch follower admits to being “kinda into” Gerald Trimble, the festivities have served their purpose.
For that matter, if one more person watches the WB network’s sitcom Hype, Kansas City’s Steve Kramer‘s appearance as the show-opening comic was a smart career decision. Performing in front of a crowd of hundreds — which approximates his show’s weekly Nielsen showing — Kramer delivered a series of fast-paced jokes that weren’t always timely (an unreleased Star Wars song?) but at least were topical. (Most of the gags were musical numbers performed on guitar.)
If anyone was still laughing after Kramer’s departure, Jesse Jackson, sporting a prodigious Afro that comforted local fans upset by At the Drive-In‘s canceled upcoming performance, killed the comedy. After a grim recorded intro that proclaimed “Welcome to the System,” Jackson unleashed a staggering spoken-word torrent against a hectic percussive backdrop. He then soothed the stunned audience by welcoming his five-piece band onto the stage and launching into a bouncy funk tune.
The crowd wasn’t in its groove for long before being jarred by another shocking announcement. Bryan Busby, last year’s and presumably this year’s host, had phoned in his regrets the day before, citing a sore throat and strained voice. Hosting duties fell into the lap of KYYS 99.7 DJ Doug Medlock, who bellowed such applause-inciting questions as “Are you ready to party?” in his familiar smoker’s rasp. He then hyped an impending performance by world musician Trimble and members of BCR — prematurely, it turned out, because the night’s first awards were to be handed out before that ensemble took the stage. After being gently corrected by Pitch writer/backstage announcer Shawn Edwards, Medlock introduced presenters Kramer and comedy house guru/fringe mayoral candidate Craig Glazer.
Glazer offered a history lesson by listing locally based celebrities before setting up Kramer for riffs on Al Pacino, Regis Philbin and Rocky and Bullwinkle. Mild chuckles ensued, after which the duo revealed Son Venezuela as the public’s pick for Best Reggae/World Beat band. The group expressed its gratitude to fans and voters, although one member bemoaned the fact that “the chick from the Nazarene college” profiled in a recent Pitch cover story wasn’t present to share in the excitement.
DJ Roland, who was doubling as the “house band” for the evening, took the Best Electronic/Dance/DJ honors. It was only fitting that Roland was recognized at the Uptown, where, he notes, major dance-music concerts (Paul Oakenfold and the Chemical Brothers) bolstered the scene and showcased the full potential of live DJ performances.
“You’ve got the most innovative production techniques combined with the most cutting-edge lighting technology,” he says. “People always want to talk about those concerts being all about drugs — well, that’s the drug.” Roland was also encouraged to see the dance-music category make its first appearance at the Klammies. “This is the biggest musical movement of our generation, and people are finally starting to notice.”
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People might be coming around to the DJ scene, but the market for thirteenth-century compositions performed on exotic instruments remains a small one. Trimble told the truth when he informed the crowd it was about to see something “a little different, a little quieter.” He then performed a piece dedicated to the Virgin Mary, an Easter-themed gesture that allowed many in the crowd to write off attending mass the next day.
The audience treated Trimble politely, but Q-104 DJs/presenters TJ & Jackson were greeted with the night’s first heckles. “Take it off,” an insistent voice commanded TJ. There was an awkward pause as TJ caustically thanked the crowd for being so receptive on her first visit to the Klammies, and even more awkwardness ensued as Rex Hobart nearly stumbled off the stage after claiming his trophy as Best Country artist. (An amused Brendan Moreland, guitarist for Hobart’s band, the Misery Boys, later described the misstep as “appropriate.”)
Best Folk award recipient Arthur Dodge, now a Nashville resident, was the night’s first no-show, but his award didn’t go unclaimed, as a member of his band, The Horsefeathers, was present. By way of a prepared statement (which, it was noted, was plan B after “the live video feed from Nashville fell through”), Dodge expressed his amazement at being perennially nominated in both the folk and country categories, as well as his gratitude for the opportunity to nearly annually take at least one of the trophies home.
When Medlock reappeared, he commented on Trimble’s performance, noting the similarity between the bongos used by one of the BCR members and the oatmeal cans he used to bang on as a young lad. The next live act, David Basse, has earned a reputation as a stellar percussionist, but he didn’t use his drum set, bongos or discarded containers. Instead, he made his own rhythms, first by snapping, then by clapping. Basse’s rich voice soared nicely over the sparse accompaniments during the evening’s classiest set.
Despite his well-received performance, Basse proved unable to strike while his iron was hot; minutes later the Malachy Papers walked away with the Best Jazz award, for which Basse was contending. However, the classy vibe continued as Buck O’Neill and Grand Emporium owner Roger Naber took the stage as presenters. Offering valuable tidbits of information as they announced each nominee’s name, they made a convincing case for matching presenters with categories in which they’re actually knowledgeable instead of playing mix-and-match with local celebrities. Regardless, Naber and O’Neill handed the recently renamed Sonny Kenner Blues Award to members of Kenner’s family, who accepted it on behalf of the late blues legend and, after thanking the community for its support, reminded everyone that “he deserved it.”
After giving the crowd a minute or two to revel in that genuinely moving exchange, onwardcrispinglover chased away the sentimental bliss with a charged, high-volume set that ended with singer/guitarist Byron Huhmann climbing the drum set and drummer Billy Johnson, not to be outdone, winging a drumstick into the crowd. While the buzz from that frenzied finale died down, Medlock introduced former Royal Al Fitzmorris and KRBZ 96.5 DJ Valorie Knight, the unlikely choices to crown the new kings and queens of the Punk/Ska and Metal/Hardcore categories. Fitzmorris endured a flurry of jabs from the crowd, replying, “Don’t try heckling me — I played ball in New York.” He praised Sister Mary Rotten Crotch for its colorful name, then got a chance to see the group up close when it snatched up the punk prize. The band unveiled new bassist Jon Barker, who raved about the joys of playing with older women. “And experienced too,” added drummer Amy Farrand, pointing at singer Liz Nord‘s pregnant belly.
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Season to Risk displayed vintage metal aggression after being announced as the winner, with bassist Billy Smith kicking over a chair on the way to the stage. However, once Smith and singer Steve Tulipana approached the mic, they morphed into teddy bears, praising the scene, citing Recycled Sounds owner Anne Winter‘s contributions to local music, reminding all that “music isn’t a competition” and telling the members of Descension, “You’ll be up here someday.”
Next came the most appropriately named act on a night to celebrate musical diversity, Common Ground. In addition to mellowing out the crowd with some smooth reggae grooves, this expansive ensemble delivered the evening’s second genuine Afro. Get Up Kid Jim Suptic‘s sizable shag didn’t quite approach Afro proportions, but he was nonetheless embraced with hearty applause as he accepted bandmate Matt Pryor‘s trophy for Best Male Vocalist. “I’m the other singer in The Get Up Kids,” he announced. “Matt can eat it.” Sister Mary swallowed another award, with Nord seizing the Best Female Vocalist title. She thanked her Sisters in eloquent terms, referring to them as “poets and great musicians.”
The members of the Malachy Papers then made a case for themselves as the latter, unveiling a multi-instrumental avant-jazz set that justified their earlier award. (The Papers were the only group to both perform and take home a trophy.) Subsequently, The Gadjits‘ Brandon Phillips became the only musician to both perform and take home a Wave Runner when he won a raffle for the nautical prize. After quizzing Phillips on his knowledge of water sports (apparently, it’s wading-pool deep), Medlock welcomed Shawn Edwards to the stage, and the radio-ready speakers prepared to announce the evening’s final winners.
Edwards claimed the Best Hip Hop/R&B award was the “hottest” of the night, and it certainly provoked the hottest tempers. After Tech N9ne was named the winner, crashing furniture and loud cries of dismay resounded from the floor as the other nominees bemoaned their fate. One of Tech’s Rogue Dogs accepted the award for him, but later the multiple-Klammy winner appeared (he was “caught up in traffic”) to jokingly urge voters to “give someone else a chance.” It was a half-hour from Easter by the time he gave his belated speech, but he refrained from invoking last year’s catch phrase, “It’s all Jesus.”
As bystanders assessed the aftermath of the Hip Hop award presentation, Edwards teased, “If you thought that was drama…,” implying that things would get even crazier. And as Jade Raven rose to accept its Klammy in the hotly contested Best New Band category, members of Big Jeter stormed the stage Ol’ Dirty Bastard-style, dancing to Roland’s upbeat selection. The group’s prankster Bo even tricked a good portion of the audience into believing he’d wet himself — with the use of cleverly positioned water balloons. The excitement died down, and Jade Raven guitarist/ bassist Eric Cornwell finally gave his speech, modestly attributing all the group’s success to singer Holly King. “She’s the band,” he proclaimed.
Now somewhat gun-shy, Edwards noted the “circus environment” that had suddenly overtaken the event. But little controversy accompanied The Get Up Kids’ victory in the Best Pop/Rock category, and when one of the Kids shared, “Our band is so proud to be from Kansas City,” the earlier antics were quickly forgotten. Interestingly, although the group has amassed an enormous international following, The Get Up Kids still have plenty of space in their trophy case. Outside the unofficial Klammies after-party at the Pyro Room, Suptic revealed that the Klammies were the band’s second and third awards ever, after one nod from a New York-based organization.
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Also appearing at Pyro were the Gadjits, who torched the still-formally dressed faithful with rollicking rock. The group gave after-partiers a taste of things to come when it churned through its dynamic “We Were Right All Along” and a spirited version of The Who‘s “My Generation” at the close of the Klammies ceremony, and though an unfortunate number of attendees had already cleared out, the remainder were visibly impressed. Perhaps the group was preaching to the choir at that point, but maybe a few stragglers who had never heard its soul-cleansing tunes before stuck around to be saved.
