Linda Rich There's More to Living Than I Know So Far Inter-Varsity Records 1969

Linda Rich There's More to Living Than I Know So Far Inter-Varsity Records 1969 CAT #LPS-03498

The cover for Linda Rich's 'There's More to Living Than I Know So Far' catches your eye with it's 60's pop-art lettering and simplicity. You turn it over, and in the upper right there's a picture of Linda Rich and she looks motherly, old even. Then you read through the back notes and it's all about Jesus and religion, now she looks like a grandma in the photo.

If you search the LP online, though, you'll find that it's sold often as "folk-psych" as well as with the Christian abbreviation, Xian. Once you listen to it, the "folk psych" thing is just hype, it's folk, but as psych as the weakest Moody Blues song. It's certainly religious, but you can figure out why there's a demand for the LP. It's well-done femme folk from the late 60's. Linda Rich's back photo must just be a bad angle, because her voice doesn't sound like an older woman, she sounds youthful. The album is Linda Rich, her guitar, and backing musicians that do their best to bring about a hippie-inspired dream session. If you can get past all the Jesus, it's a pretty solid LP. The reissue label Numero Group even featured the track "Sunlight Shadow" on a recent compilation.

The back cover gives some clues to Linda Rich, she played around colleges for Christian youth groups throughout the Midwest and apparently an awful lot in Colorado. She was from Augusta, Kansas, which is a small town about 30 minutes East of Wichita. Other than that, she did another obscure LP and it appears she was a recent college grad or current student at the time of this release in 1969.

Sunlight, Shadow

John Bayley Minstrel of the Morning... Lifetime Records 1976

John Bayley Minstrel of the Morning... Lifetime Records 1976 CAT# 2001

When I first found this I sent a photo to a friend who stated, "That cover is a constant source of conversation and inspiration." The same LP sits among some other framed LPs my friend has displayed. Looking at it, how could it not want to start a conversation? There's just so much going on in this cover. Where to even start? Is that a living room? Where'd you get that sweet tiger? What's up with the white lady and her kid? Is that John Bayley's girlfriend/wife? And dude, where did you score the killer threads?

The backside notes indicate Bayley was heavily influenced by the Jesus Music scene of the 70s, or trying to fit into it. However, the tunes are fairly secular, unless you group songs about "love" into a religious setting. Even when Bayley tries to be religious, it's a bit off. The song "It's Good To See You," states, "I've laid a thousand women, but come back to see you." So he tries to find the Jesus scene, but you can tell, the dude just likes to write tunes.

And, his tunes are a bit all over the place. If it had to be labeled, outsider folk would be the best term. However, there's elements of Indian music, jazz, singer/songwriter, rock, and a lot of reggae floating throughout. It's an interesting work and far better than most "outsider folk" private albums you'd come across. There's a fair amount of experimentation throughout the LP. Also clever, Bayley filled out the sound remarkably well with only a few players. He plays a host of guitars and does his own lead and background vocals. There's limited synth, but he found some guys to do some violins and wind instruments in addition to recording with a drummer.

The LP was also recorded in the Cavern in Independence, Missouri. Lifetime Records (Bayley's private label) shows an Independence as well, but could just as easily be a Kansas City guy. If you YouTube him, you'll find he's channeling George Clinton's fashion sense and playing experimental gospel music over in Colorado now-a-days.

Going Home Alone

Gene Clark White Light A&M 1971

Gene Clark White Light A&M 1971 CAT# SP4292

The Bonner Springs graduate, Gene Clark, put out this, which is simply, one of the best American singer/songwriter efforts ever put out.

If Clark was only architect of the Byrds' sound and quit after creating highly influential country rock with Missouri natives, the Dillards, he'd have a pretty substantial legacy. But, White Light's blend of sparse country and cosmic folk put him into place. Masterwork type stuff.

The album jacket and the actual record never state that the album is called White Light, but it was released under the title. It's fitting as the album sold poorly and is rather hard to track down now, the title just kind of screams that it should be obscure. It was recorded while Clark was still trying to find himself in L.A. almost 5 years after he left the Byrds. There is an impressive list of players featured on the LP, all of which play as if they shared Clark's vision, the album should have been a bigger deal upon it's original release.

White Light

Marguerite Thompson & Cindy Schroer Self-Titled Private 1980

Marguerite Thompson & Cindy Schroer Self-Titled Private 1980 CAT #D-1059 008080X

This is a relgious folk album from a female folk duo that appear to be out of Leavenworth, Kansas. At least the LP thanks the student and faculty at Saint Mary College in Leavenworth, KS. The duo recorded the LP in Chapman Studios in Kansas City.

Initially when I saw it, I had my hopes for femme-folk, but reviewing the songs, it's far too religious for that, this is Jesus music on the Catholic spectrum with harmonies influenced by services in the Church. Outside of the religious tracks, they do some traditional folk songs and a few originals. It's well done and Marguerite and Cindy's voices work together well. However, it's no long lost treasure, just pleasant for what it is.

What drew me in was the artwork on the front cover. There is the hands drawn all over hand written font. Looking at the words, it's just a random collection of names, thank yous, phrases, and more names. I can't seem to make sense of where the message starts if there is one, The names all over the place from Darth Vader to Bob Dylan, so it's interesting. Once I looked at the backside to review the tracks, I wasn't as interested. Bit too religious for $3 the store was asking. I almost put it back until I happened to peak in the sleeve to find two signed cards.

Initially I thought they were two hand-written cards one from each performer, turns out it's one hand-written card and a photo-copy of the same card. The card reads:

Don Raymond:
I think God made a really beautiful person in you. Thanks for the the gift of yourself! Have a very Merry Christmas and I hipe you enjoy this amateur endeavor my friend Cindy and I put together.
Yours,
Marguerite
P.S. You're a great teacher!

So, despite not being that interested in the LP based on the tracks listed, I can't resist stuff like this. It's so personal. It feels like it should never be discarded or forgotten about. I feel like I need to keep it safe until someone comes calling for it.

I researched Don Raymond, what I came across is a blurb  in the Leavenworth newspaper that he may have been a music instructor at Saint Mary College. He obviously helped influence the sounds here so I'll keep this LP safe, just in case his family ever needs to know his legacy. Also, there's an instrumental on on the second side that's pretty good.

Chuck Cowan Phonograph Record Generic Phonograph Records Unknown Year

Chuck Cowan Phonograph Record Generic Phonograph Records Unknown Year CAT# NR12966

From what can be gathered, Chuck Cowan was a native Kansan, who toured and tried his luck out West as a musician. He is a member of the rockabilly hall of fame, likely for his work with Bob Willis and the Texas Playboys, but he stretched out much further than that. He played guitar for a number of well known artists, Sammy Davis Jr., Keely Smith, Don Ho, among others.

Currently, he resides near the KC Metro. At the time of this oddball release, which the year is unknown, but would guess early 80's, possibly the late-70s, he was in and around Emporia, KS. He's got a pretty sharp sense of humor displayed on the LP jacket. For one, no label for his private press release other than stating Generic Phonograph Records of Oceanview, KS. Obviously, there is no Oceanview, KS, because there's no Ocean anywhere to view. He provides a guarantee that, "This album Is Not a Retread." And, obviously the title, not really clever, but humorous.

The music is all over the place with Chuck Cowan's humor sprinkled throughout. It's focus is primarily country/western sounds, but there's a genuine pysch-blues track and songs too rooted in folk to be country. Heck, there's even a song sung in Spanish. The variety on the LP makes it an interesting and worthwhile listen. Cowan either challenged himself not to be stuck in a single genre or just got bored with the last song he recorded. Either way, it highlights his talents and the LP never gets old after repeated listens.

Chuck Cowan Show

The Ozark Mountain Daredevils Self-Titled A&M 1973

The Ozark Mountain Daredevils Self-Titled A&M 1973 CAT# 0598

There's like a kajillion guys in this band, enough to keep them going long after this debut in some form or another. Pretty sure you can still see them play around town every month.

The group was formed in Springfield, MO, thus the band name, Ozark Mountain Dare Devil. Their Kansas City connection lies in their management, Good Karma Productions, the same that managed Brewer & Shipley, Danny Cox, and a few other locals. Further, they were discovered by Brewer & Shipely while playing the Cowtown Ballroom in KC. So there KC roots are legit.

The music is pretty Springfield, though. It's not bluegrass or hillbilly, but it uses the mountain influences. You'd probably be better off buying a Dillards LP if you want the real stuff. But, the Daredevils blended some old-time sounds into a modern pop format. Their sound played to everyone, they could open for anyone with their brand of stoner-country. Also, worth pointing out, this LP did have the minor-hit, "If You Wanna Get to Heaven," which is a pretty solid good-ol' boy tune.

Black Sky
Daredevils-LIVE. Look at these fuckin' hipsters

Lander Ballard Hightime Free Wind Records 1977

Lander Ballard Hightime Free Wind Records 1977 CAT# LB7701

As far as I can tell, Lander Ballard is still making music, much more in the new country "Merica" tradition down in his home town of Wichita, KS. You can YouTube it and see all the macho country he's doing currently.

This LP is far better than what you can find online. He put out this LP in 1977 and a second a decade later on his own Free Wind Records label. While I haven't heard the 1987 LP, this is worth searching out and is relatively cheap. It's pretty low-key singer/songwriter stuff that takes moves from Billy Joel and other popular songwriters of the 70's as well as all that slick yacht rock that was going on. It's not as smooth or as polished as the yacht rock hits of the late-70's, it's just got the overriding influences.

If it it has to be categorized, it's hippie-folk. Ballard was into some new-age mysticism (and probably marijuana) and it shows throughout the album. The song "Ch'i (Natural Energy)" kind of speaks for itself. That song actually kind of sucks, but there are some definite highlights. The Joel influenced "Song for an Aging Minstrel" is pretty fun as is "Rock and Roll Man." The rest is uptempo, gentle melodies, that Ballard sings over the top of with a soft set of pipes. For a private LP out of Wichita, production is surprisingly good. Packaging is also top-notch, cover art is kinda cool and there's a nice little lyric book included.

Merrill Staton Choir Kansas' First 100 Years in Song Columbia 1961

Merrill Staton Choir Kansas' First 100 Years in Song Columbia 1961 CAT #XTV 68571

The only real attraction to this LP is the cover. The iconic John Brown painting right there on the front. Talk all you want about Kansas' Old West history, but John Brown would kill you for the right reason. He was a bad-ass and not be crossed.

As for the music and the Merrill Staton Choir, it's okay. Vocal renditions of songs that are historically linked to Kansas. The state song, "Home on the Range", is obviously here. The rest is a little less known. It's all vocal choral work. It gets a bit Broadway at times, there is some instrumentation here and there, but there's probably very few that are interested in this type of thing anymore.

It's hard to place the actual choir. Initially, it appeared as this was a Columbia Records Special release and the Merrill Staton Choir was a canned group of studio singers pumping out these type of albums for all state centennials. A quick major-label cash grab type of thing. However, the Merrill Staton Choir has a discography, often covering Western music. It does appear there is some connection to Kansas here. The choir recorded for Epic and Columbia and apparently was based somewhere in the state.

Beth Scalet It's A Living... Wakarusa Records 1981

Beth Scalet It's A Living... Wakarusa Records 1981 CAT# WR 5181

Two things that are great about this LP that don't have much to do with the actual tunes: First, love the label, Wakarusa Records, can't be much more Lawrence, KS than that. By all indications, Wakarusa is a private label for Scalet. Second, the LP is pressed on virgin vinyl and was mastered at half-speed, nice on the audiophile aspect.

As far as the tunes, Beth Scalet is a good songwriter. There isn't anything that jumps out and screams put me on mix tape, but she's got a bluesy voice, she's a proficient musician and grabs from a wide range of influences to base her folk tunes. You hear a lot of 70's blues and country rock making their influence heard on the LP. This was her first collection of songs and would serve as a promising debut.

She played locally throughout the 70's in Kansas City and Lawrence. Her bio indicates she's originally from Ottawa, KS, but not a lot going on there if you want to get yourself heard. Her folk-based originals gathered her local attention and did allow her to open for some major artists in the area.

It is a bit surprising that all that came out of Beth's performances was this private-press release and a cassette release years later. After hearing it, you'd think a major label would have loved to a give a strong female songwriter a chance, albeit her folk based tunes were a bit out of season by 1981. Honestly, Scalet's sound is very similar to Melissa Etheridge and came out 7 years prior to Etheridge's debut. It makes you wonder if Etheridge was one of the spectators at one of Beth Scalet's early coffeehouse or big-time opening act shows.

Loman D. Cansler Folksongs of the Midwest Folkways 1973

Loman D. Cansler Folksongs of the Midwest Folkways 1973 CAT# FH 5330

Loman D. Cansler was an archivist, historian and collector. He recorded a number of collections of Midwest folk songs that were focused on Missouri. He collected and found these tunes, recording them for the Folkways label as a way to archive them. His day to day, at least per the booklet supplied with this LP indicates Cansler was in the education field. At the time of this LP's release he was a counselor at North Kansas City High School. Prior to that, he was performing, archiving, and writing articles on Missouri folk music around the St. Louis area.

As a performer, he's pretty simple. The album is just Cansler and mostly just his guitar, some tunes due have minimal accompaniment, an organ or piano show up here and there. His vocals are plain, simple and pleasant. He doesn't embellish the tunes with guitar, he just uses it to establish the melody. The songs selected on the LP deal with religion, hardships, and religion. Typical Midwest stuff. Cansler provides a brief history of each song in the albums booklets as well as the lyrics. Like any old Folkways record, it's educational and presented as archival material. Worth picking it up if you see it.

Bureman & O'Rourke Strawberry Pickin's Pearce Records 1974

Bureman & O'Rourke Strawberry Pickin's Pearce Records 1974 CAT# 42550

This is a solid LP put out by Pearce and, like most Pearce Recordings, it was done in the Cavern Studios of Independence, MO. The band's later release was discussed here, but this is the more sought after of the two. The LP has sold for hefty amounts thanks to buzz terms like "Rural Folk," "Psych Folk", and "Acid Archives" in which the album is discussed, however, it's a little more basic than all that. It's a well done country rock album, a bit more rural than something like the Eagles, and a bit more mellow than the stuff the Byrds were doing in the 70's. It's value is probably also aided by the Pearce label which collectors have seemed to latch onto.

On the top of the back cover, Bureman & O'Rourke indicate to the listener that the songs featured here are were selected by fans at Putche's Strawberry Patch (clever title now, right?) in Kansas City. It's a collection of some well thought out covers and decent original material. Like other bands that frequented the Strawberry Patch, they do play through some bluegrass at speed, but these guys keep it pretty mellow otherwise. The original song, "Genevieve", is a good example of what the two were capable of. Solid harmonies, haunting melodies, and desire to story tell with their songs.

Other highlights include the cover of "Fox and the Run" as a bluegrass number. The adapted version of "K.T.A." by the group with Kansas towns thrown in throughout is fun. The band's tune "86 Proof" is a spirited attempt at a rock song, it's amusing but falls a bit short. They get all yacth rock with a Kenny Loggins "Love Song," which isn't as bad as it should be, kind of pleasant. Their original tune, "Chanson de L'Oiseau", has some teeth to it and one of their strongest original tunes on the LP, despite the idea of the song being about the middle finger.

Genevieve

The Mad-Hatters Self Titled Unknown Year

The Mad-Hatters Self Titled Unknown Year CAT# LP-01

The Mad-Hatters are a female folk duo that somehow managed to get the green light from the Greene County Tuberculosis Society to do an album spreading respiratory disease awareness, specifically, tuberculosis.

Based on the cover and the musicianship, these gals appear to be actual nurses that did music as a hobby. The two rework a number of traditional folk tunes and children's songs to spread awareness on respiratory disease and it's prevention.  To fund research for the diseases, the gals recommend you purchase "Christmas Seals" as the best way to help the cause.

What's tough to figure out is if these girls were performing from venue to venue with a heap of Christmas wrap and a pile of albums to obtain funds for medical research. The Christmas stuff, that makes sense, people buy that. The performances, yeah, that's reasonable. The songs are pleasant enough, the Mad-Hatters knock down each well-known melody down to a minute or two and it's just the two girls signing with one playing guitar, the songs are humorous and it wouldn't appear these girls were taking this too seriously, so yeah, playing a goofy, make-shift performance to get people over to you, that makes sense. But, selling an album? That's where things get strange.

Who threw down money, even for a good cause, two hobbyists singing about emphysema and TB sounds awful. And while the tracks won't offend anybody for being awful (again, kind of pleasant) they aren't good or something you'd want to play again and again. It's obvious some folks watched the performances and said, "You gals should put out an album," but that shit was out of politeness. The Mad-Hatters ran with it and requested the funds apparently. There is 19 songs on this album with titles like, "Chronic Bronchitis", "Pneumonoultramicrospicsilicovolcanokoniosis", "I Had Tuberculosis", and "TB Girls".  Who would buy that?

Needless to say, out of politeness, a few people did. And who knows, maybe the album made some money for research.  It's just strange that stuff like this exists.

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.

Danny Cox Sunny Pioneer 1968

Danny Cox Sunny Pioneer 1968 CAT# W4RM-4559

Danny Cox was originally from Cincinnati, Ohio, but moved to Kansas City a year before recording this album for local coffee shop owner and manager, Stanley Plesser.  Years before, Cox released an album entitled At the Seven Cities.  That collection of tunes and shows what interested Plesser and ultimately got Cox to move to Kansas City.

Plesser is best known in Kansas City for managing the career of Brewer & Shipley.  Like Brewer & Shipely, he convinced Cox to make KC his home, to which he still remains.  Plesser is an interesting KC figure as he ran a coffee shop called, the Vanguard Coffee House, and was able to successfully manage touring acts from here in the heartland.  He was obviously very focused on the folk sound happening in the late 60s and early 70s, it's what you find on this LP.  He even gets credited as the albums producer and the album is on his label.

It's a promising album and begs the question why Cox couldn't find huge success with his soulful renditions of folk songs and originals.  He's got this amazing baritone with huge range and again, it's folk orientated, but with a ton a soul.  The song selection is fantastic to boot, Bobby Hebb's "Sunny" is pretty spectacular.  There's a an "everybody's doing it" Beatles cover, I guess by default.  But, Cox also takes on Dylan and Joni Mitchell.  Shel Silverstein's, "Hey Nellie Nellie," seems a bit odd, but it's obvious Cox and Plesser were hip dudes at the time and Silverstein is only weird if the only reference you have is children's poetry.

The production lacks a little focus, probably not Plesser's forte, but again, it's strange this version of Cox didn't catch on.  Years later, he found moderate success going full-on soul.  Instead of folk with soul tendencies, his major label albums were soul with folk tendencies (but, in their own regard, also worth seeking out).

Danny Cox Recent Live Performance

Missouri Woodland Signing Our Lives Away Private 1978

Missouri Woodland Signing Our Lives Away Private 1978 NO CAT#

Missouri Woodland was the duo of Royal Scanlon and Gary Paredes who formed in Kansas City.  Royal Scanlon states on the band's Facebook page, he left KC in the 70's to be a Chicago folkie, upon his return to KC he met Paul Martinson and the duo was born.

The tunes featured on their sole album aren't half bad.  People throw the LP up on eBay as "rural folk", but it's a bit too pop oriented for that.  It certainly has a folk appeal and doesn't lack a country twang, but it's pretty pop orientated.  If you start thinking Brewer & Shipley, you wouldn't be far off.

The two are talented players and the album is extremely polished and well down.  They attempt some Doobie-esque laid back white-boy funk on the tune "Chi-Tune Blues."  Also features a solid country tear jerker in the tune, "Faded Love."  But, most the album is filled with sentimental ballads with great harmonies, some nifty finger playing, and 12 string guitar.  Also nifty, this LP is completely private press.  The band didn't even attempt a label front, just threw it out there and hoped for the best.

Researching the band, apparently the duo still get together and do sets...and not just your standard open mic night at a bar and grill, they play around town at legitimate venues.

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Buddy Bohn Take a Letter Maria B/W Sweetwater Happy Tiger 1970

Buddy Bohn Take a Letter Maria B/W Sweetwater Happy Tiger CAT # HT 524 1970

The performer, Buddy Bohn , is not local to Kansas.  The thing to note here is the songwriter on the B-Side, Val Stoecklein.  He continued on as a songwriter after the break up of the Blue Things and the failure of his solo release.  He wrote some tunes for the label that put out his solo release, Dot.  Oddly, he later wrote some B-Sides for the religious indie label, Happy Tiger, in the late 60's into the 70's.  He also contributed to a fairly obscure psych LP entitled Environment/Evolution by Ecology and contributed to a rock opera entitled, Truth of Truths.  I used to have Truth of Truths but pitched prior to the idea for this blog and because it's religious pap.

The performer, Buddy Bohn, is some sort of travelling troubadour who has played all over the world street corner style.  He gives Stoecklein's tune a very outsider folk feel.  It's decent, but certainly not a hidden gem.

Val Stöecklein Grey Life Dot 1968

Val Stöecklein Grey Life Dot 1968 Cat#DLP 25904

I haven't talked about the Blue Things, yet.  And, I probably should prior to talking about this release.  But, I just picked it up today in a trade and wanted to get it out there.

Val Stöecklein cut this record after leaving the Blue Things.  It was supposed to be a smash, a sure thing.  If you've heard the Blue Things, you'd understand why, Byrds-esque folk rock with that country tinge you can only find in Kansas and here's the guy from that band, the songwriter.  Despite a booked tour and money behind this LP, Val refused to promote it.  Needless to say, it flopped.  Now, it is a record of debate; compared either to Skip Spence's cult favorite album, Oar or just another MOR folk album from the 60s.

Truthfully, I tend to fall towards the MOR folk.  It's pleasant at times, but it's not drug riddled and strange like a Syd Barrett or the Skip Spence album.  The second side does contain some haunting tracks that stand apart from the rest.  It just doesn't hold together well and falls apart as an album.  It seems as if Val was being pushed to move in directions he didn't want to go.  Thus the reason he never wished to promote it--probably never felt like his.

Say It's Not Over