Bjam Records

...What began as a daydream eventually became Bjam Records, but the roots go much deeper than 1990. Around 1991 or 1992 I began thinking seriously about recording audio. The idea did not come out of nowhere. It had been forming for decades. My musical life began in 1965 in a neighborhood band called The Turks. We were bonded by friendship and by music. We listened to KXOK and KATZ, the pop and R&B AM stations in our part of town. The Beatles were taking over the world. No one struck a richer vein in R&B than Motown. Something was shifting culturally and musically. Even if we could not name it, we felt it. The country was moving away from the tight collar feel of the 1950s. The beat poets and the bohemian culture had already cracked the foundation, though at thirteen years old I knew nothing about that. What I knew was that I wanted in. Being in a band was the doorway. I recruited Stanley Fuller on drums, Harry Stefa...

A Place in Time Our independent record label, Bjam Records, operated under the simple idea of paying it forward in the way it was structured. We viewed the label not as a rigid structure, but as a living organism, an orchard where the beauty of the harvest was inextricably linked to the necessity of decay. Our aim was to earn enough from each project to provide a payday for the bands, and then pass the remaining resources on to the next recording artist. So breaking even was success. That's all the partners wanted. It wasn't anti-capitalism per se it was more pro-scene. Invest, return, invest, and continue the cycle. It is the same rhythm found in the wild: a plant reaches its peak of beauty only to eventually wither, dropping its seeds into the very soil enriched by its own passing. By allowing one project to "decay" into the next, we ensured that the resources weren't hoarded, but were instead composted back int...

BJAM RECORDS: LEGACY Promotion of Local Talent Bjam Records provided visibility for local musicians in a competitive music landscape. By producing and distributing recordings, the label helped artists reach new audiences while maintaining creative independence. Community Building Collaboration among bands, shared performances, and regular appearances in local venues strengthened the bonds within the music community. These connections created a supportive environment where creativity could flourish. Influence on Emerging Musicians The achievements of Bjam artists encouraged younger musicians to pursue their own creative paths. Experienced performers often shared knowledge and guidance, helping new artists develop their skills and confidence. Cultural Legacy The music released through Bjam Records contributed to the identity of St. Louis as a center for independent music in the Midwest. Festival appearances, recor...

Reflections on the Diversity of St. Louis Independent Music During the Bjam Era Contributions Bjam Records played a meaningful role in promoting independent music talent in St. Louis during its years of operation. The label served as a platform for artists whose work reflected the character, grit, and originality of the local scene. Local Scene The St. Louis music community during the Bjam era was diverse and energetic, shaped by musicians who drew from blues, country, rock, funk, and alternative traditions. Bjam Records documented and supported that diversity, helping local artists reach listeners beyond neighborhood venues. Releases The label produced a range of recordings that showcased the many styles within the independent music spectrum. These releases captured performances that might otherwise have been lost, preserving the sound of a particular time and place in St. Louis music history. Legacy Though the label event...

Missouri Blues Old And Evil "Great Dream" When asked the question... "...What kind of music do you play?" Their reply was... "...We play music like nobody's business, and that's exactly what it is." A Typical Sheikish Response The Geyer Street Sheiks made a splash with their 1993 debut album, Great Dream . Released on BJAM RECORDS , a small independent label in St. Louis, the record resonated deeply with fans throughout the Midwest. The band’s talent wasn't a secret. With the powerhouse vocals of Alice Spencer (formerly of Three Married Widows ), her voice found a perfect home alongside these accomplished musicians. Sixteen Tons Great...

Belle Starr "Far As The Wind Blows" Belle Starr was an Americana band from St. Louis, Missouri. Active in the 1990s, their sound blended country and rock with a "low-key, deceptively easy-going" feel that fused genres seamlessly. Slowing To A Stop Vocals by Lynne Reif The Band Spencer Marquardt — Drums Lynne Reif — Vocalist / Songwriter John Horton — Guitar / Lap Steel Fred Teutenberg — Bass Kip Loui — Singer / Guitar / Songwriter Hook Line & Sinker Country Standard Time Review • Considered one of the strongest debuts of 1996. • A "delightfully low-key" collection that grows with each play. • Successfully recalls the country-rock fusion of the late 60s and early 70s. • Kip Loui is identified as a s...

Out Of The Gate Again Sixteen More From The Grain Belt The Artists Junk Box "Need To Explain" Bass: Dave Melson / Drums: John Baldus / Guitar: Jeff Adams / Vocals: Cheryl Stryker / Vocals & Guitar: Richard Newman New Patrons Of Husbandry "Too Busy Cryin" Drums: Sean Anglin / Guitar & Vocals: Jeff Swift / Violin: Mary Dee Brown / Vocals: Jenny Stuckenschneider / Bass: Greg Lamb / Lead Guitar: John Horton Kamikaze Cowboy "Your Sweet Face" Bass: Mike Martin / Drums: Mike Enderle / Lead Guitar: John Horton / Acoustic Guitar & Vocals: Bob Reuter Eldon Boons "Conductor" Bass: Will McGill / Drums: Mike Martin / Guitar & Vocals: Pat Boon / Lead Guitar: Steve Eldon Caution Horse "P M" Bass: Mike Herrmann / Drums: John Lindner / Guitar &...

Funkabilly "What's That Smell? Live At The Venice Cafe" The Process GOT LIVE IF YOU WANT IT. Funkabilly was a St. Louis, Missouri band that regularly played at the Venice Cafe during the 1990s. Recorded live at the Venice Cafe over four days in June 1994. There are no over-dubs on this recording. The Band Dominic Schaeffer Tracy Wynkoop Angelo Ranzini Benet Schaeffer Fo Jammi The Venice Cafe Recorded At: The Venice Cafe, St. Louis, MO Mixed At: Icon Studio, St. Louis, MO Pressed By: Disc Manufacturing, Huntsville, AL BJAMRECORDS@GMAIL.COM COMMENTS ☮ ſíot͡ʃáin

FulmAr The two known members: Alexander Darling Carlos Stellar Shrouded in mystery and media-shy, some speculate they were fugitives from trouble back in the UK. Drifters of the maritime trade and the Delta alike, they busked at every stop along their journey, carrying the raw energy of Hobo Rock to every port of call. The Song: “32.20” • Recorded: Summer 2002 • Studio: Level Three Mania (St. Louis, MO) • Label: Bjam Records • Style: Psychedelic / Blues-Rock Production Notes Influences drawn from Robert Johnson and John Hammond, transmuting the original blues narrative into a protest statement. Bjam Records on Discogs Click To Contact bjamrecords...