Kathy Smith 2 (1971)

It was a bit difficult to trace background information on Kathy Smith. She was part of the California folkie scene, playing at local venues and coffeehouses. A legendary venue but rather unknown was Paradox where people like Tim Buckley, Jackson Browne, Steve Noonan, the Nitty Gritty Dirt Band, John McEuen, and Penny Nichols used to play. Nobody found out about the place so it had to close down. The musicians found a new podium at the Troubadour. I am not sure around what time Kathy Smith started to share stages, and hang around with them, but especially with people like Penny Nichols, Pamela Polland and Jackson Browne (a close contact which explains how their songs ended up on her albums. Pamela Polland (also known from her album The Gentle Soul) was going to appear on her debut too). Penny Nichols, who first sang with a bluegrass band with John, Bill & Alice McEuen (until John took Jackson Browne's place in the Nitty Gritty Dirt Band), then formed a duo with Kathy Smith called the Greasy Mountain Butterballs which toured Vietnam in the fall of 1966.

Kathy Smith ‎- Kathy Smith 2 [1971] (Full Album)

Tracklist:

A1 Lady Of Lavender (Written By Jimmie Spheeris) - 3:47
A2 It's Taking So Long (ritten By C. Jackson Brown) - 4:57
A3 Rock & Roll Star (Written By Pamela Polland) - 4:00
A4 Willie (Written By Jimmie Spheeris) - 3:55
A5 Fly Off With The Wind (Written By Kathy Smith) - 4:32
B1 Seven Virgins (Written By Jimmie Spheeris) - 3:49
B2 For Emile (Written By Kathy Smith) - 3:43
B3 Travel In A Circle (Written By Kathy Smith) - 5:57
B4 Blessed Be The People (Written By Kathy Smith) - 4:57

Credits

Bass: Gerry Germont, Tony levin
Congas [Conga]: Daniel Ben Zebulon
Drums, Percussion: Bill La Vorgna, Don Alias, Donald McDonald
Flute [Flutes]: Jeremy Steig
Guitar [& Soul]: Don Sarlin
Keyboards: Jan Hammer, Warren Bernhardt
Performer [Pa Pa Umau Maus & Insanity]: Jimmie Spheeris
Engineer [Director Of Eng.]: Val Valentin
Engineer [Eng.]: Al Manger, B. Fox, John Neal, John Norman
Remix: Dave, John Norman
Producer: Mark Roth
Art Direction: Norbert Jobst
Design [Cover Design], Photography By: Mark Roth
Recorded on 35 mm magnetic film at:
R.K.O. Studios, New York / Eng. Al Manger, B. Fox
Glen Glenn Sound, California / Eng. John Neal, John Norman
Remix at Glen Glenn: John Norman & Dave
Record Company: Stormy Forest Records
Distributed By: MGM Records

Recorded At: RKO Sound Studios
Remixed At: Glen Glenn Sound
Label: Stormy Forest ‎– SFS 6009
Format: Vinyl, LP, Album
Country: US
Released: 1971

More research on Kathy Smith:

Kathy Smith was an American folk singer-songwriter who emerged during the late 1960s and early 1970s, a period rich with folk, rock, and psychedelic influences. Though not widely known compared to some of her contemporaries, she was part of the broader folk revival and singer-songwriter movement that included artists like Joni Mitchell, Joan Baez, and Judy Collins.

Smith gained attention in the late 1960s as part of the Los Angeles folk scene. Her debut album, Some Songs I've Saved (1969), was released on the Tradition/Everest label. This record showcased her introspective songwriting and delicate vocal delivery, drawing from both traditional folk and contemporary influences.

Her most notable work came with Kathy Smith 2 (1971), released on Stormy Forest Records, a label founded by folk legend Richie Havens. This album had a more polished production, incorporating elements of folk-rock and psychedelic folk. Despite receiving positive reviews, it did not achieve major commercial success. However, the album remains a cult favourite among folk enthusiasts.

Following Kathy Smith 2, her presence in the music industry faded, and she did not achieve mainstream recognition. Unlike some of her peers who transitioned into pop or rock stardom, Smith remained a relatively obscure figure. Her music, however, has gained renewed appreciation among collectors of vintage folk and psychedelic records.

Her work is often compared to the softer, poetic side of the 1960s-70s folk movement, with heartfelt lyrics and haunting melodies that resonated with the era’s introspective songwriting trends.