Lilah Gillett and Harvery Prinz Play the Hammered Dulcimer Duets Happy Hammerin' Audio House 1979

Lilah Gillett and Harvery Prinz Play the Hammered Dulcimer Duets Happy Hammerin' Audio House 1979 CAT# AHKB105F79

Oh man, why not, right?  How bad could it be, right?  Well honestly, it's not that bad at all.  Lilah Gillett and Harvey Prinz throw down on their dulcimers; hardcore.  They do some traditional, some waltzes, and even throw in a few rags, one of which was penned by Kansas Citian, Charles Johnson.  I mean, keep in mind you have to like the sound the hammered dulcimer, then you have to be prepared for two hammered dulcimers going at it with each other (no dueling, though, just harmonizing).  Once you get over the fact that there is no other musical accompaniment, the arrangements are enjoyable and it's surprising how much room two of these instruments can fill.

Both these players are seasoned vets, so that's good.  Further, at the time of it's release, both were Overland Park residents.  A little research will lead you to YouTube videos with Lilah Gillett at the Dulcimer Players Convention which indicates she was a founding member in 1963 (I'd post them, but there's like 4 videos and each one is 20 minutes).  Further, the back cover lets you know she was once a teacher of the instrument.

Harvey Prinz was such a fan of the instrument, he ran a small Overland Park business making them himself.  His maker skills were even commissioned by the Walnut Valley Association of Winfield, Kansas, for use in their festivals.  Research shows though, that Harvey's true passion however was the Lutheran Church as he was an acting Reverend.  Nevertheless, his love of the instrument allowed him to record this album (there's apparently two others, both of which also feature Lilah Gillett).

Anyway, I'm not saying it's the best hammered dulcimer album I've ever heard, but I am saying it's the only album to focus solely on the hammered dulcimer I've ever heard.  Strange record, though.  I can't really put my finger on it's purpose.  Audio House didn't fund it as they were a custom label, they recorded and put your music on vinyl for a set fee.  So these two footed the bill in a custom press apparently to advertise Prinz's handcrafted dulcimers and lessons taught by Gillett.  No doubt, I'm sure there were some family and friends that scooped up the album as well.

Rodd Rivers and the Big Action Sound Sing a Happy Song B/W Any Way You Want It Jay Bird Records (Unknown Year)

Rodd Rivers and the Big Action Sound Sing a Happy Song B/W Any Way You Want It Jay Bird Records (Unknown Year) CAT# JB 1010

Rodd Rivers is not from Kansas, in fact, this guy's name isn't even Rodd Rivers.  His given name was Rodney Keith Eskelin who primarily performed under the name Rodd Keith.  He was born in California and spent most of his musical career recording song poems for various labels.

A few years back, PBS put out a documentary entitled, Off the Charts: The Song Poem Story, which tells the story better than I could.  But, to paraphrase, song poems were a scheme.  These small labels would place adds in the back of comic books, catalogs, and magazines, telling you to send in your songs or poems to be recorded.  The ads indicated talented song writers may earn royalties or find entry into the music business.  People sent their lyrics then the label would send a response indicating the song had been "chosen" and all the author had to do was send back some money to cover recording costs.

In the 60's and 70's the label would put out a 7" or a compilation LP and send the author back a copy of the hastily put together song or songs.  Later, and even today, tapes and CDs.  Obviously, to remain lucrative the label put out a very small amount of a physical copy.  To also save costs, the recordings were done hastily.  Sometimes using the same tracks to records several different songs, it's usually very amateurish and dull, but that is what makes these songs interesting to collectors who seek it out, occasionally, something blows minds.

That's where Rodd Rivers comes in, as a multi-instrumentalist, the label only need hire him to the cut the tracks, he'd pump out a tune and play all instruments, sing the lyrics and collect a check.  Most these song poem labels existed in Nashville and Hollywood, yet, here's this Jay Bird Records from Parsons, Kansas.  Checking the discography and listed ad, it appears many of the tunes were credited to an Al Monday, the same that's credited here.  So, I'm not sure what to make of the label or it's existence as it didn't put out a substantial amount of records.  The music here is on par with the genre, though, just slapped together and hastily recorded.  The B-Side is kind of loose and creepy, the harmonies are bizarre.  Placed it below and apologize about the sound quality, not trying to blow minds here and the record is pretty beat up.

The Royalaires Accordionly Yours Cavern Custom Recordings 1971

The Royalaires Accordionly Yours Cavern Custom Recordings 1971 CAT# USR 3854

The Royalaires were a 22 piece teen orchestra from Belton, Missouri.  That's not strange, except that most these kids play the accordion.  It's pretty much an accordion orchestra, which I didn't know could exist until I found this at a Goodwill.  Props to them, though, because in a moment of absolute brilliance, the album is titled Accordionly Yours...seriously, I giggle every time I look at it.

The Royalaires were led by a Carl A. Jesse, who must have been the best accordion instructor in all of Missouri as he was able to convince kids to play the instrument, convince people that putting out an album was worth while, and he does an amazing job of adapting standards for orchestra and pop hits of the day for the accordion.  The pop hits include, "Close to You", "The Immpossible Dream", "Music to Watch Girls By", and in a stunning display of bravado, the "Overture" from the Who's Tommy; on accordion.  The back liners were written by Jesse and he admits the following, "We do not pretend that this recording is the ultimate in musical perfection."  So needles to say, as novel and as fun as the idea may seem at first, it's tough to get through the entire thing in one sitting, it's kids playing a bunch of accordions.  I'm not sure people ever wanted to hear more than 10 professional adult accordion players simultaneously, let alone an army of children.  It was recorded in Independence's Cavern music studio, so the numerous accordions sound great and have natural echo...but, again, it's a lot of accordions.

So, that's kind of where I'm at with this LP.  This was put out in 1971 in Belton which is right outside of the Kansas City.  How did all these teenagers get hooked on accordion and not guitars?  It's not an instrument played in school bands, or at church, or anywhere but Oktoberfest.  I mean, the guy who ran the local Belton music store must have had a banner year when 20 or so kids decided to force their parents to buy an accordion.  And, Jesse, had to be the only guy teaching accordion in town, he likely cleaned up as well.

As no logical explanation can exist, I started to think that maybe this band is owed to a short-lived Belton religious cult.  For family fun, the cult played accordion or something.  Having little or no access to the outside world, the kids thought accordion was "cool."  But, that can't be as there are no religious tunes on the LP and they cover the Who; the kids were hearing rock and roll.  Then I thought, maybe there's a large German population in Belton, MO., Germany is down with the accordion, right?  Nothing verifies any sort German culture in Belton.  No little German Town, no famous Oktoberfest, nothing.  Besides, cultural based neighborhoods were a thing of the past by 1971.  So yeah, I'm stumped.  But, props to this Jesse guy for pulling this off, I bet he's the guy that owned the music store in town.