Mike Ning Blues for Y.P. Ning and His Wife A Dedication by Mike Ning Ning Dynasty 1982

Mike Ning Blues for Y.P. Ning and His Wife A Dedication by Mike Ning Ning Dynasty 1982 CAT #001

Just recently, Mike Ning's daughter commented on a record her father was featured on here. I've since asked what other albums and work her father has done, but have yet to hear back. Reason being, I think I have several LPs featuring his work, most of which are sitting in my vinyl inbox waiting to be cleaned and listened to. I knew I had this one, so I felt obligated to pull it out.

The best part about this LP is how personal it is. All tracks are completely original and Ning gives background stories to all 5 featured on his ablum. The title track was a song he wrote in honor of his mother and father and the rest coincide with travel as a jazz musician and lover of the art form. Reading through the short stories, it appears Ning is originally from New Mexico, but at the time of this LP and apparently to this today, he was and is an active member of the KC Jazz scene.

Backside caricature drawing

He also put a drawing of his mother and father on the front cover, which I hope his parents liked, because it's there forever now. My favorite part now that his daughter has left a comment, is the caricature drawing of the Ning family on the backside showing that 1981, that was only good for one thing, Sesame Street songs, never mind a blues in D minor that the guy apparently wrote as a teenager, 'C is for Cookie' ruled the house.

The tracks were recorded with a trio and Ning leads on his piano. It doesn't sound dated or drenched in the 80's. It's enjoyable and well-done. Nothing gets too out of hand and it's pretty easy going throughout. Although, guitarist Danny Embry can go down some paths that get exciting, Overall, it's chill and easy to listen to. It also features a second version of 'Grable's Able (Milt's Abel)' which was featured on the previously mentioned KC Jazz Spectrum LP.

The Outpost Family Band How About You? Privately Released Unknown Year

The Outpost Family Band How About You? Privately Released 1982 CAT# OP-74

This appears to be the first LP by the Outpost Family Band as it gives a lengthy introduction to the band on the backside, written by Donna Wise, wife to founder of the band, Don Wise. Wasn't aware when listening to the other LP I have from the group, but Don Wise is paralyzed from the waist down due to an apparent diving accident

Although the year is unlisted, the follow up LP indicates the prior album (which I'm almost positive is this) was recorded in 1982. It's a pleasant mixture of religious, traditional and some bluegrass reworkings of old rock n' roll. Don Wise contributes a few of his own songs and they aren't half bad. It's sounds homespun and was put out by the band privately.

Blubird S/T Private 1982

Nice headband, bro

Blubird S/T Private 1982 CAT# BB101

Internet research indicates these guys are from the Hays, Kansas area. Apparently, the two main songwriters, Tony Pfiefer and Fulton Calvery, were in a 50's retro-rock band called Jimmy Dee and the Destinations (I actually have an album, just haven't gotten to it) in the late-70's and early 80's. By 1982, they left the Destinations to form this band, Blubird. In addition to putting out a private press LP, they apparently made there way throughout Kansas in places like Manhattan to play to the K-State crowd. Following this band, it appears a whole bunch of Pfiefer's started a band called the Heat that made an appearance on Star Search. There may be some of those Pfiefer's on outside of Tony on this record, but I just got photos and songwriter credits.

Mullet City was apparently Hays, KS, 1982

The cover of this is just awful...the bad 80's graphics, the terrible clothes, and seriously, all 4 guys are rocking a variation on a mullet. It certainly stinks of Western, Kansas. Outside of the look, there isn't many clues as to what the Blubird were all about. Maybe there was a lyric sheet at one point, but there's nothing indicating who or where these guys are from.

The cover is also a good lead into their sound. Not a skinny-tie, new-wave, thing, but more in the vein of Loverboy power-pop. That could mean really awful things and in parts, like a cover of "Mony Mony", it is. But, for the most part, it's not that bad. It's pleasant middle-of-the-road power-pop teetering on some AOR influences.

On albums like this the hope is for one really killer track. Unfortunately, it's not here. Some of the more power-pop tracks get dangerously close, but the band is too reliant on the AOR pomp of influences like Journey and Foreigner. Again, it's not terrible, it's just nothing stand out and far too typical for rock music in the 80's.

THE HEAT ON STAR SEARCH

Laverne Harvey Lord I Try Cory Records 1982

Laverne Harvey Lord I Try Cory Records 1982 CAT# C-108

Had some high hopes for this LP. Found it sealed somewhere for a dollar. It would appear to be soulful gospel, it's on a local label that released a really great kid's choir LP, and the ubiquitous cover that turns up on tons of sought after private press releases. The only hold up was the year: 1982. Not a lot of funk or soul going on in 1982, but again, for a dollar, wasn't going to pass up a possible gem.

The LP doesn't live up to the high hopes, but it's not a total loss. Laverne Harvey is a strong, soulful singer.  Had she been surrounded by the right players, this could have been great. Everything is just done up so average with little excitement, putting this into middle of the road territory. Outside of Harvey's pipes, there isn't much going on. A few organ breaks, but, nothing really exciting. Fortunately, it doesn't get all slick and contemporary like it could have in 1982. To the albums benefit, it stays pretty traditional with live instrumentation.

It was recorded at the Metropolitan Missionary Baptist Church in Kansas City, Missouri. I'm not sure of the size of the church, but I'm guessing it's large as the recording also brings this to the middle of the road territory. It goes loud to soft over and over. Even Harvey's vocals get to quiet at times. Again, not a total loss though, it's far better than white gospel and like many regional releases, there are a couple highlights worth exploring.

However, despite the middle of the road gospel. The thing that has to be mentioned is the album was arranged by Charles Love Jr. of Bloodstone Fame. Despite Bloodstone's busy touring and constant travel, Love Jr. seemed to stay grounded to Kansas City. He probably arranged the record primarily because, Laverene Harvey, was his daughter. That said, it's still pretty middle of the road, but man, this should have been amazing.

Tuffy Williams Tuffy Tuff Stuff Records 1982

Tuffy Williams Tuffy Tuff Stuff Records 1982 TS-1982-6

Some pretty boring private press country going on here.  Looking at the cover, I was hoping for cheeseball. lounge stuff at best.  And, while this does have a plethora of long winded, piano based ballads that could easily grace a lounge album, it's all pretty boring.

Had it been a bunch of covers, I would have passed.  But, Tuffy of Independence, MO, pens most his tracks, of the ten featured tracks, all but two are his own.  With private press stuff, that's what I look for; originals.  You never know what you might come across.  If you got the means and desire to put out a record on your own, there's usually at least one good track.

With this, maybe there is a standout track, but I'm not hearing it.  There is a song about fishing and stuff; it's got a guitar solo, or, there's some good piano runs on the cover of "Bad Moon Rising," maybe those are the money shots, I don't know.  The country is MOR, the ballads you can skip.  To it's benefit, it is far more routed in traditional country that what Nashville was doing in the 1980's.  Tuffy's piano gives slight western swing feel, so it's not a total train wreck.

Honestly, though, the best part about this record is the presentation.  For one, Tuffy named his label, Tuff Stuff Records...How you gonna mess with that?  Second, the home of Tuff Stuff Records is liste at 10917 Winner Road, in Independence.  C'mon, Winner Road?  That's legit.

https://www.google.com/maps/place/10917+E+Winner+Rd,+Independence,+MO+64052/@39.087675,-94.44869,3a,90y,183h,90t/data=!3m4!1e1!3m2!1sC3Dsjk0BKrwXx3Biz18TOQ!2e0!4m2!3m1!1s0x87c0fcdcd1e502cf:0x83b0163449d12591!6m1!1e1

Charlie Parker The Genius of Charlie Parker #7 Jazz Perennial Verve 1982

Charlie Parker The Genius of Charlie Parker #7 Jazz Perennial Verve 1982 CAT#UMV 2617

Yet another Charlie Parker comp I couldn't resist for the price...Maybe $1.99?  Can't be for certain, but it didn't put me back much.

This one, I'm not as embarrassed about.  This was part of a Verve reissue series that began in the 80's.  Verve founder, Norman Granz, supervised the series, pressed a number of classic Clef releases (before Verve it was Clef) in Japan and made sure the mastering was done in mono to be as true to the original as possible.  I have a few and while I'd be better versed talking about varied pressing of rock records, I'm pretty happy about the sound quality on these.

Mainly due to the mono sound.  Once stereo became vogue, Verve (and countless other labels) cranked out awful remastered stereo versions of classic albums that were still in demand and needed repressing.  When the original selections found on this compilation were first mastered, they were done so in mono, because that's what everybody had: a speaker and a turntable.

Even after two speakers and a turntable became standard, mono still sounded great.  Despite that, labels had to adjust levels and create effects.  Great if a band like Led Zeppelin was behind it and using it to their advantage.  Terrible for anything originally mixed in mono, it wasn't the artists or engineers intent to have some guy adjusting volume knobs to give the perceived effect of "surround" or "large", the mono mix hits you in the face all at once, it can be great and in many ways; better.

This comp particular has some moments that punch you in the gut along with standard fare, vocal tracks and Parker with strings.  It's a solid representation of the many styles Parker covered and brought his innovation, too.

Thumbs No Price On Earth Ramona Music Inc 1982

Thumbs No Price On Earth Ramona Music Inc 1982 CAT# RM2

Of the two Thumbs' LP, this is the better one.  Overall, the band still sounds lean, off balanced, and awkward.  However, the songs are bit more polished and Steve Wilson calmed down his manic vocal style.  The artiness and Velvet worship really shine through on this one too; in a good way.  It sounds more 1978 than it does 1982, probably because they were soaking up the college scene.  Locals like the Embarrassment, likely Athens based groups like REM, had shown the Thumbs how to embrace their off kilter influence into shambolic power pop tunes.

Whereas the homespun recording of their first LP almost destroys anything good about the band, No Price on Earth, is actually bettered by the Lo-Fi recording.  The song "Jennie Says" sounds like it should be your standard MOR skinny tie affair, but with the production gives it a twee sound and feel, like a teen band from the 60's.  Most of the album falls into this wanna-be raver, teen stompers, with just enough teeth to get to the power part of power pop and enough references about girls to keep them out of any sort of punk realm.

The band tries to get ultra-arty on the tune, "I'm The Jesus," using a bunch of Jesus tag-lines to sound witty and smart, it's a low point of the LP.  But, the high points like "The Coast is Clear," Out of His Mind," "It Won't Satisfy" and the surprisingly pretty, "The Payload," make the LP worth searching out for a couple of bucks.

Thumbs do the Velvets

Kansas East Sunshine Band Children's Choir Churces of God In Christ Young and Gifted Cory 1982

Kansas East Sunshine Band Children's Choir Churces of God In Christ Young and Gifted Cory 1982 CAT#C110

So, I purchased this at Goodwill.  I don't know how often everybody else shops at Goodwill, but the people that work there are always entertaining.  On this occasion, this was the only record I was purchasing.  The lady at the register grabbed it and began to look it over and thought to myself, 'Great, here we go again.'  I recalled the time I bought two Johnny Cash LPS and the cashier with knuckle tattoos looked at them, looked back at me and said, "I already have these."  Like it was some sort of competition I was suddenly involved in.  Or the countless times I've discussed with Goodwill employees how most of this "stuff" is on CD.  Or the many times I've been told, "My parents used to have records."  All that is flashing through my mind when I she says, "This is good.  It's a collector's item."  To which I replied, "What?"  "I bet it's rare," said the cashier, "you could probably sell it."  "Oh," I replied, "it's local children singing for church, I'm not sure there's a huge market for it, but yeah, it's probably rare."  I'm literally handing her the $1 and a few cents I owe her just to get out of the store and she hasn't even rung it up.  "So, have you heard it?" I asked to try and move things along.  "No, it just looks good, I wish I had a record player."  Then she rang it up and I continued on.

She was right, though.  There are amazing moments in this album.  It's soul inflicted gospel and like the cover reads, it's virtually all children.  The instrumentation is handled by the some of the older kids in the church, a 16 year old bassist, a twelve year old drummer, there are adults on saxophone and trumpet, and one of the directors leads at her organ.  But, other than that, you're looking at an all children chorus and a brilliant music directors.

The back cover reads, "This unique choir, with a membership of 200-plus children, ages 3-12, are featured on this album on this album singing contemporary gospel music music that has been written and arranged by their leaders, Mrs. Jean Henderson and Mrs. Carolyn Cofield, who have dedicated their lives to encouraging young people to develop their highest potential in all aspects of life."  These ladies were winning.  The songs and arrangements are rooted in great 60's soul.  They really got these kids to perform and I got to think, surprised anyone that would have seen them.  I mean, this is a church group, I don't think there was much time to focus children on this music, not with school, home life, etc.  Still they got amazing performances out of these kids.  Not to mention, Linda Cofield's organ is straight funky.  Admittedly, there are some cough ups throughout, but these are children performing after all.  Overall, this is incredible and will easily be one of the greatest things I hear for the rest of the year (it's still January and I'm sure of this).

The Kansas East Sunshine Band Children's Choir still performs to this day.  Appears Jean Henderson is the only one still directing.  They're still amazing, though.

Much more recent performance

Shooting Star III Wishes Virgin/Epic 1982

 Shooting Star III Wishes Virgin/Epic 1982 CAT #FE 38020

Shooting Star is a fairly successful Kansas City band that played the AOR/Studio Rock card in the late 70's into the early 80's.  They are a footnote in music history for being the first American band signed to Virgin Records.  The bios state they formed in Kansas City, MO.  However, the founding members were Shawnee Mission South Alum, so their roots are in Kansas.

Apparently, this isn't the place to start with this band.  Which in a way is good, because it's awful.  It's just MOR studio rock.  I've read that this album was desperate attempt to have a hit album and they drew influence from the likes of Journey, Loverboy, and probably Toto.  I guess prior to this LP, they were closer to Foreigner rock than Journey?  I don't know, shit all sounds the same to me.  It's still a little too heavy to be yacht rock, but moments aren't far off.

The first song isn't much different than what would later be accepted as heavy metal with the likes of Poison, Bon Jovi, Warrant, etc.  It's a shame they didn't grow out there hair until 1987 and just play to that crowd, they had the skills to do that.  However, they quit that good time hard rock sound almost immediately on this album in favor of slow tempo ballads and soft rock meant to appeal to high school age girls.

It's all pretty trite.  Due to their success locally and the fact that their Alma Mater is literally a block from my house, it's pretty easy to find their LPS for a dollar, I'm hoping their earlier releases are far more enjoyable.

The Mortal Micronotz S/T Fresh Sounds, Inc 1982

In about 3rd Grade, my mother gave me a book for the holidays entitled Stairway to Hell the 500 Greatest Heavy Metal Albums in the Universe by Chuck Eddy.  At the time, I was into ear splitting metal bands, Megadeath, Anthrax, that type of thing.  Chuck Eddy's book was not, so it was shelved.  However, occasionally I would thumb through the book.  As I got older, I started reading the reviews and started to understand that Chuck Eddy wasn't talking about "metal" at all, just ear splitting rock n' roll.  Throughout junior high and high school I was looking through the book for something new about once a month.  There's tons of obscure titles within his work.  The best of which is the Lawrence, KS punksters, Mortal Micronotz, who get the honor of #421 in his book.

The Mortal Micronotz S/T Fresh Sounds, Inc CAT# FS 201 1982

Well, this means a lot more to me than it does Eddy, for one, I’m from Kansas.  Two, I went to college in this band’s hometown.  Lawrence, KS, home of the Jayhawks and the best small music town in the nation.   Three, they hung out with William Burroughs, he even wrote some lyrics for this LP.  I went to William Burroughs house when I was in high school, and found out the same thing the Micronotz did, Mr. Burroughs liked high school age boys, which is creepy, but you throw that all way because he wrote Naked Lunch and Junkie.

Keeping on the same tip, one issue I do have with Eddy’s review is refers to the band as from the ‘burbs.  Well, that’s not true at all.  Lawrence is a college town.  Living in Lawrence for as long as I did, I always envied the high school kids in Lawrence, because I did grow up in the ‘burbs.  College townies have access to art (in this case the home of William Burroughs), a local music scene, cool record stores, and beer.  I think Chuck Eddy mistakes suburban boredom for kids begging for more.  Bored is when you grow up in Olathe, Kansas and go to the 711 every Friday night until the cops send you down the road.  Wanting more, would be having liberal college professors for parents and access to punk rock.  The best punk rock has anger, spite, angst, and is from an area where "the man" is out to get you.  Judging by lyrical content, the Micronotz lived a pretty normal life and "the man" was never out to get them, even if they tried.  However, we must also take into account when the band cut this record, they were still in high school.  And seriously, we’re all little embarrassed looking back at our world outlook when we were in high school, right?

As far as the punk rock moves, the Micronotz have them.  They must have had the coolest fucking record collection of any high school kid, ever.  This ain't your Washington, DC, angry at the government (because my parents work for it) white kid hardcore.   It’s got moves.  It owes a little to the Brits, the dance rockers like Stranglers, The Fall and Gang of Four, but overall, it’s got a nice early American punk feel.  Too dirty and loud to sound like the Talking Heads, more on par with trashy New York Dolls rhythms and some Ramones repetition thrown in.  They've got a lot of pop to them and you just sensed if they were to ever cross the nation as a band, they would've had the hooks to sound like the Replacements.  Best comparison, and almost an identical situation, would be Squirrel Bait.

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