Pat Metheny with Charlie Haden & Billy Higgins Rejoicing ECM/Warner Brothers 1983

Pat Metheny with Charlie Haden & Billy Higgins Rejoicing ECM/Warner Brothers 1983 CAT# ECM 1271

Usually after 3 minutes of hearing Pat Metheny noodle around, I've decided I have something better to do. I literally have a closet full of his albums on the account he's local, but I'm not sure I'll ever get it. I mean, I get that he's great at guitar and all, it's just a lot of guitar masturbation all over the place on these LPs.

Pat Metheny is a Kansas Citian, though. I think it's pretty safe to say, he's Kansas City's most accomplished guitar player. I mean the guy made a kajillion albums like this, he's been giving a ton of Grammy's, and been voted best guitarist by guitar magazines over and over. It's pretty impressive. He was born outside of Kansas City in Lee's Summit, Missouri. By age 15, his jazz guitar styling was catching the eye of teachers. After graduation, he briefly attended a school in Florida, but they apparently realized there wasn't much left to teach him and offered him a job. He would wind up taking a teaching job eventually, at one of the most prestigious music schools in the country, Berklee College of Music in Boston. There he was an assistant teacher with legendary vibraphonist, Gary Burton, leading the way. By the late 70's, he'd perform regular with Burton, from there, the guy just started recording and touring. When you look at his body of work, it looks like it must have been non-stop.

But yeah, I kind of kid on Pat Metheny. It's very good music, just not really my cup of tea. I get why people like it, as stated above, he's extremely talented. The ECM releases are great because the label was so focused on quality, typically pressed on virgin vinyl, well sleeved and tastefully designed. This album features Charlie Hayden from Iowa, but took his first paying gig nearby in Springfield, Missouri. Billy Higgins is amazing drummer who played with just about everybody important in the post-bop era.

The Calling from the album, it's most of side 2.

The Light Orchestra Raised Spirits City Light Records 1983

The Light Orchestra Raised Spirits City Light Records 1983 CAT # SRK 13429

This is actually pretty good.  The cover is pretty lame.  Then you flip to the back you see a collection of vocal jazz covers from some Kansas City locals, that doesn't help.  Then you realize it's from the 80's and it should be the third strike.

If you're brave enough to listen, you'll find it's an enjoyable take on classic-era Swing.  It does have a hokey, let's remember the KC Jazz greats thing about it, but hey, Laverne Barker plays bass for the band and he's got a legitimate resume.  The production isn't awash in 80's studio effect, it sounds live and classic.  The highlight of the album is the rough, raspy, vocals of drummer David Base.  Who, upon first listen, I wouldn't have guessed he was a skinny, white dude.  His expressive voice and it's texture when combined with the sometimes theatrical arrangements of the tracks can put the album in Tom Waits type territory with out all the cryptic poetry.

The players on this LP, especially David Basse, can be found on a handful of 80's era KC Jazz.  Apparently there was a short lived scene for this type of thing.  It'd be interesting to know how successful they were around town and how the albums fared concerning sales.

Goodbye Porkpie Hat

Kansas Drastic Measures CBS 1983

Kansas Drastic Measures CBS 1983 CAT# QZ 38733

There are worse albums than this, but, there are now albums worse than this by the band Kansas.  This is the bottom of the barrel for the band.  So long prog. rock and hello desperate attempt at over produced 80's hard rock.

The album was so lost with itself that it marks a break-up for the band.  After this, they called it quits for a brief time.  Just listen to the song, "Mainstream," you can tell the band was having trouble keeping it fresh as the lyrics describe the pressure of staying true to the band's sound, but trying to stay in touch with the pop rock trends of the day.

The band would later re-form and do a little more than just reunions.  But, they turned back to their days of 70's progressive rock.  The ideas on this album were left alone and died in 1983.  I could be a douche-y tool and make a bunch of puns with the word "drastic" or I could make snarky remarks about how awful this album is...but, it's not really worth it.  Everyone is well aware this isn't any good.

Mainstream

Micronotz Smash! Fresh Sounds Inc. 1983

Micronotz Smash! Fresh Sounds Inc. 1983 CAT# FS 206

One year after the band debuted as the Mortal Micronotz, they became simply, the Micronotz.  At this point, band featured the same line up, just a change in name.  They were still Lawrence teens, still hanging out with William Burroughs (pictured with the band on the lyric sheet), and still bored about being teenagers.

The speed through 8 songs on this release, they are a tad bit more seasoned, but still keep it juvenile and give a nod to Iggy Pop by covering "I Got A Right."  They are a punk band, but there's pop sensibilities buried in all the charging guitars and strained vocals.  Just too young to slow down at this point, no teenager wants to slow down, so it's full throttle the whole way through.  It never sounds forced, perhaps a pop song would have, but I would have loved to hear them give it a try.

Still, you get some great punk tunes.  Stand out punk in terms of the early 80's since by this point, punk had lost touch with actual "music" by going hardcore.  And, while I wouldn't call Dean Lubensky's vocals good, when compared to the scream alongs that flanked them on every side, he's a bit more emotive and well, actually sings.  The first track, "Procrastination," is where you can hear a pop song dying to get out, instead, it would have fit in fine with the SST crowd.  "Feels Like" is a super charged attack on boredom.  They take Iggy Pop's "I Got a Right" and make it a teenage garage raver.  Time should find this band gaining more street cred, in terms of 80's punk, there's really fast or really bad and most had an agenda, there weren't enough teenage rockers like the Micronotz out there keeping it raw and punk by default.