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

Mark Meckel Volga German Pageant & Volga German Music M.D.M Productions 1976

Mark Meckel Volga German Pageant Exodus to Freedom 1763-1976 M.D.M Productions 1976 CAT #USR9624

Mark Meckel Volga German Music M.D.M. Productions 1976 CAT #USR 9150

It's taken me probably 3 months to sit through both of these albums...the first one I put on, Volga German Pageant Exodus to Freedom 1763-1976 is pretty boring, at least it seems that way. It's church music. And German. From Hays, KS. But, giving it a little more time, it is a pageant, meant to give an outline of Volga-German music, it's primarly choral, but outside of religious music, does have passed down folk music.

The other LP, Volga German Music is less boring, traditional German music with some gypsy aspects thrown in. It features a violin, organ, accordion and guitar. Not sure those were the instruments of choice back in the old Country, but you know, it works. The waltzes are nice enough.

I picked it up hoping there might be a connection to someone from the band, the Blue Things, seeing how they were also from Hays, KS. I figured I'd connect the dots with a band member, maybe even Val Stoecklien. If there is a connection to be found, I'm not enough of a sleuth to piece it together, though...so another reason I sat on these forever.

What is most interesting about the albums is the apparent rich Volga-German history that can be found in Hays, KS. The records are even copyrighted to the Volga German Centennial Association, so must have been legit. A Volga-German heritage came from Catherine the Great encouraging German immigration into Russia in 1763. The Germans moved, cultivated the land and history says kept their German identity while in Russia. In fact, they were allowed by Russia up into even the Communist era to keep their religions, language and identity. However, once Germany attacked Russia in World War II, the bargain was off. As cultural Germans, they were persecuted as an enemy.

However, that isn't how Volga-Germans ended up in parts of Kansas. Russian Czar, Alexander the II revoked the military exemption from the community in 1871. Groups left to America and arrived in Topeka, KS as early as 1875, primarily to help build railroads. Later, as farmers, they helped develop Kansas as the breadbasket introducing farming techniques used in Russia to yield high amounts of wheat and introduced a seed that could withstand the harsher climates. More amazing is that the community in Hays, KS, as late as 1976, still identified themselves as Volga-German.

***Also of note, Mark Meckel is not the musician in charge here, he appears to be more of the curator of the albums and as such is credited for the title.

Germans from Russia in Kansas

Truth of Truths Oak Records 1971

Truth of Truths Oak Records 1971 CAT# OR1001

This is a pretty extravagant and ambitious rock-opera, double LP put out in 1971 by Oak Records. It seems the main force behind the album is a Texan, Ray Ruff, who founded a couple of labels and had a few 45 releases way back when. What brings it to this blog though is the inclusion of some of Val Stoecklien's last released work. While he wouldn't take his own life until 1993 and was known to be cutting demos up until that time, none of those demos have seen the light of day. The six tracks featured here pretty much conclude his catalog along with his contributions to Ecology's Environment/Evolution as a songwriter (pulled along by Ruff).

The reason for Val's inclusion on this LP is Ruff along with arranger, Dick Hieronymus. Both Ruff and Hieronymus worked on Stoecklein's solo effort, The Grey Life. Apparently, they believed in him enough to take him along on any release he was willing to work on.

As a whole, the rock opera is surprisingly good. Again, the primary forces were the same that worked on The Grey Life, so you had pros working on a release for a small label, perhaps past their prime and a bit too willing go in any direction, it's a varied release that hops from psychedelic soul, to gospel, to some straight psych freak outs and back to commonplace pop sounds of 1971, but it works and has it's highlights. It is of course over the top religious. The album predictably separates it's story into the "Old Testament" and the "New Testament". Like most things Christian, it takes what it wants from the Torah and the Holy Bible and only sounds focused when going into the Gospels. It also features a deep voice over when G-d speaks on the album which is trite and stupid.

Album comes with a pretty nifty insert lyric sheet.

Stoecklein's tracks are interesting. His arrangement on "Joseph, Beloved Son of Israel" is jangly and very Blue Things-esque. His adaptation and arrangement of "The Ten Commandments" is bizarre and more of a filler on the LP. However, the following track, "Song of the Children of Israel (Exodus)" is stunning and beautiful, despite that the song should be a party-track (freed from Egypt, here, man) there's a definite sadness that touches on his work as a solo-artist. The following track, "David to Bathsheba" is centered around a pretty odd Biblical story and it's odd to find it somewhere like this album. The tune dripping in sappiness and works in the sense that a Eric Carmen song is kind of enjoyable, but you sense it was a track Val had put away for another purpose but  transformed into something he found in the Bible, making it a feel awkward. His track, "The Last Supper," is sparse and continues with the melancholy feel of most his tracks found here, it's also surprisingly true to the Gospels, so good job on the source materiel, Val. His final track featured on the LP is entitled "Resurrection," so you know it's near the end of the album. It's a pretty uplifting jam, arranged by someone and only written by Stoecklein, it features a bunch of horns, bells and strings along with a female lead vocalists, so it's not easy to identify it as something Stoecklien would have done, but it's solid.

Joseph, Beloved Son of Israel

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.

The Blue Things Listen & See RCA Victor 1966

The Blue Things Listen & See RCA Victor 1966 Reissue Orignail CAT # LSP-3603 (Stereo) LMP-3603 (Mono)

Here's another Kansas band that is one of best band s in a generation no one ever heard.  Hays, Kansas' own The Blue Things.

Led by Val Stöecklein this group of Kansans was in the vein of the Byrds.  Great original tunes, clever and well picked covers, the band could have easily been a national act.  Unfortunately, the bands fan base only went as far as Texas.

The whole thing is puzzling, the group's sound is very accessible.  It's folk-rock but very in line with the British Invasion sounds of the Beatles and the Searchers.  They dipped their toes into pyschedelic sounds.  And, their folk-rock feels natural, not forced like other bands doing the same thing.

The album is lost classic.  You hear their version of Dylan's of "Girl From North Country" and have to think, this version should have been a huge hit.  You hear the original tune, "Doll House," with chiming 12 string and clever lyrics and wonder why teenage girls weren't screaming for these guys.  Their Dale Hawkins cover, "La Do Da Da" and Jimmy Reed cover "Ain't That Lovin' (You Baby)" are solid ravers.  And while there is some expected 60's type filler, the album's consistency is superior to what most bands releasing on full length LPS during this time.

The band would split when Val left to pursue solo work.  It's unfortunate, as the LP is so promising as are the singles that were released around the same time.  Really great Kansas band, folk rock with a Midwest appeal and sensibility, no radicalism attached, just good music.

Doll House
Ain't That Lovin' (You Baby)
Girl From North Country

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