Kendra Steiner Editions

November 28, 2014

CAGED HEAT (KSE #295), new poetry-and-photography chapbook from BILL SHUTE

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BILL  SHUTE

“CAGED HEAT”

KSE #295 (poetry-and-photography chapbook)

$6 US postpaid / $7 elsewhere postpaid

CAGED HEAT

Language, experience, and language-experienced….in the middle of the middle of the Middle West

CAGED HEAT collects an eight-section poem dealing with life in a moderate-sized Midwestern town and ten photographs taken at a county fair in central Kansas in Summer 2014. It’s the last poetry chapbook I’m issuing in 2014, the last of the recent series of poetry-and-photography chaps, and the last-composed of the character-driven pieces in the tradition of the ones collected on the WORRIED MEN AND WOODEN SOLDIERS spoken-word poetry album.

In the middle of the middle of the Middle West, these facts of life might be cold and hard one day, tepid and spongy another day, framed and tinted with a film of orange-yellow, not unlike the dried-on egg residue our  narrative persona scrapes off plates eight hours a day to pay the rent and keep his health insurance. On the way to work, threatened by rednecks; on the way home, harassed by gang members.

He meets Cynthia, a one-time college professor, who was asked to film her lectures (then let go by the State University) and make them “content modules” for a “flipped classroom” to be administered by a no-benefit part-time adjunct faculty member. Cynthia’s now reduced to working as an “independent contractor” representing a line of gourmet raw-dog food products at independent pet stores. Her mother’s praying for a sign.

The river increases its volume the further it flows from its source.

Those with lofts above the clouds instruct me to bring my own weather.

And we work with what we’ve got left.

EDITION OF 47 HOME-MADE, HAND-ASSEMBLED, HAND-NUMBERED COPIES. ISSUED December 2014.

paypal funds to DJANGO5722(at)YAHOO(dot) COM

and include note w/order listing what you are ordering and also your mailing address….thanks!

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other recent chapbooks available$6 US postpaid / $7 elsewhere postpaid

KSE #278 (poetry chapbook), BILL SHUTE, “Life Goes to a Party” (sound library series, volume 76)

KSE #290 (poetry chapbook), BILL  SHUTE, “Jaywalkers: Ducal Poems, Three”

KSE #287 (poetry and photography chapbook), BILL SHUTE, “The Fellowship of the Frog”

KSE #282 (poetry and photography chapbook), BILL SHUTE, “Hot Combination”

We also have an excellent catalog of NEW experimental music from cutting-edge artists from four continents (look for the “Available KSE music and poetry” page at the upper right-hand corner of the screen), but KSE began as a poetry press, so I’ll stick to promoting poetry in this post.

As always, thank you for supporting independent, non-aligned arts collectives such as Kendra Steiner Editions….REAL AND CONCRETE three-dimensional artifacts from the hand of the artist him/herself—-nothing “virtual” about them.

Language, experience, and language-experienced….distilled to their essence, then molded into energized clusters, placed in suspension into the poetic construct. In this case, CAGED HEAT

November 12, 2014

MARCUS M. RUBIO, new album “Cities Sinking Down” (KSE #291), now available!

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MARCUS  M.  RUBIO

“CITIES  SINKING  DOWN”

CDR album, KSE #291

$8 US postpaid / $11 elsewhere postpaid

payment via paypal to DJANGO5722(at)YAHOO(dot)COM

marcus cities

 

Proud to announce the first KSE solo album from Texas composer and multi-instrumentalist MARCUS M. RUBIO  (originally from San Antonio, now living and working in Austin). I caught  Marcus a number of times during his San Antonio period, both solo noise-drone shows and in groups such as the legendary Gospel Choir of Pillows. Marcus and I worked together on a poetry-and music album (ONLY THE IMPRINT OF AN ECHO REMAINS), which was quite well-received, and his recent albums on various other labels have been among the most essential releases of the last few years. The man is a hard worker, and the first time I saw him, there was a massive thunderstorm which killed the power at the venue. As this was an electronic music show, I was ready to leave, but Marcus told the audience, “give me five minutes,” and after some tinkering by flashlight, he managed to do his show ON HIS LAPTOP by battery power and through portable speakers. That kind of quick-thinking and can-do spirit, mixed with a fiery experimentalism and a deep knowledge of the tradition, and the alternative tradition, epitomizes everything MARCUS M. RUBIO does.

But none of that prepared me for CITIES SINKING DOWN!!!

This is an album that combines the deep American Primitive roots of a Dock Boggs or an Abner Jay with Marcus’s cutting edge contemporary compositional skills. My initial e-mail comment to Marcus when I first played the album was, “imagine Bill Monroe locked up for a weekend with Gertrude Stein’s “If I Told Him” and then released to do a recording session produced by “It’s Gonna Rain”-period Steve Reich.”   If that description sounds appealing (and how could it NOT?), then you need to get this album ASAP. Marcus has taken banjo-based songs and, like a glass blower, extended them into all kinds of warped and angular shapes. The pieces pause and swirl and build up momentum, and then go spiraling off into the atmosphere, but always with a hypnotic rhythm.

dockboggsdockboggs

(DOCK BOGGS)

This is a collection of fine songs but also a serious collection of minimalist composition. The pieces dig in and pull you around, as if you are on some kind of musical amusement park ride the swirls you every which way, but then releases you and thrusts you forward at high velocity. These pieces have that give and take, that lopsided elastic PUSH AND PULL. And yet, there is a beauty to the core songs which are deconstructed, and that beauty leaks through. Overall, yet another surprise from a man whose work is always surprising.

Some of you may remember that KSE’s first CDR album release was also a banjo-based album, the banjo ragas of SIR PLASTIC CRIMEWAVE on “String/Soul/Eye,” so KSE is proud to once again pay tribute to that great American instrument….

MARCUS M. RUBIO   “CITIES  SINKING  DOWN”     CDR album, KSE #291

limited edition of 130 copies

$8 US postpaid / $11 elsewhere postpaid

payment via paypal to DJANGO5722(at)YAHOO(dot)COM

  please mention “Rubio” or KSE #291 w/ your order and also provide your mailing address (which Paypal sometimes fails to….thanks)

OTHER   KSE  CDR’s  NOW AVAILABLE: 

full-sized CDR’s ($8.00 each, ppd. in US—outside US $11 )

ALL ARE AVAILABLE FOR IMMEDIATE DELIVERY

new releases for 2014:

KSE #266 (CDR), MATT KREFTING, “Recitals”

KSE #286 (CDR ), FOSSILS, “The Cardigan Hour” (limited to 48 copies, a co-release w/ Middle James Co.)

KSE #289 (CDR) A. J. KAUFMANN, “Stoned Gypsy Wanderer”

KSE #285 (CDR) SMOKEY EMERY (aka Daniel Hipolito), “Live At The Hideout Theatre”        

KSE #288 (CDR, spoken-word poetry), BILL SHUTE, “Worried Men and Wooden Soldiers: Bill Shute reads selected 2013-2014 poems,”  produced by Marcus Rubio

KSE #275 (CDR), ALFRED 23 HARTH, “China Collection”

KSE #281 (CDR), FOSSILS, “Wooly Bully” (a co-release with Middle James Co., only 20 copies available from KSE)

KSE #279 (CDR), ERNESTO DIAZ-INFANTE, “Wistful Entrance, Wistful Exit”

KSE #274 (CDR), MASSIMO MAGEE/TIM GREEN/MAX FOWLER-ROY, “Relentless Communion”

KSE #257 (CDR),  ALFRED 23 HARTH, “Micro-Saxo-Phone, Edition  IV.”

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About the compositional strategy on this album, Marcus stated that “the looping/sampling comes from a long variety of inspirational sources—a big one being the recent work of toshiya tsunoda. he does similar sampling on otherwise unprocessed field recordings that often snap back into the original sound source at a moment’s notice. sometimes, it’s even imperceptible where the loop begins and natural sound ends. essentially, I wanted to apply those same notions to pop music with it.”

More about Marcus M. Rubio can be found online at

https://marcusrubio.bandcamp.com/

https://soundcloud.com/m-rub

http://marcusrubio.com/discography/

MARCUS M one

MARCUS M two

MARCUS M three

MARCUS M four

MARCUS M six

 

KSE’s review of Marcus Rubio’s amazing album MUSIC FOR MICROPHONES can be found here:  http://kendrasteinereditions.wordpress.com/2014/07/12/marcus-rubio-music-for-microphones-cd-copy-for-your-records/

marcus mic

October 31, 2014

haunting new album from MATT KREFTING, “Recitals” (KSE #266)

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matt recitals

MATT KREFTING

“RECITALS” (CDR album, KSE #266)

issued November 2014

$8 US postpaid / $11 elsewhere postpaid

payment via paypal to DJANGO5722(at)YAHOO(dot)COM

We’re honored to be releasing a second album from cutting-edge musical renaissance man MATT KREFTING, whose previous KSE album “Sweet Days of Discipline” was widely praised and widely enjoyed. Matt is well-known in the underground for his pioneering work with SON OF EARTH, and he’s also released widely different but equally fascinating albums on such essential labels as KYE and CHOCOLATE MONK. Although record stores might be tempted to put Krefting releases in the noise/drone/bricolage/musique concrete stack (if, indeed, there IS such a stack), there is always a purity of sound, an elegance, and a kind of going back to antiquated roots in his music….hmmm, is there such a thing as rococo post-modernism?

There is always a deep conceptual base to Matt’s albums, although it’s often felt and sensed rather than explicitly stated. With RECITALS, Mr. Krefting has chosen to investigate the world of amateur music recitals, the kind of thing perhaps best exemplified by nephew Jimmy’s fourth grade performance of a Chopin piece at the elementary school talent show. There is an authenticity to such a performance, a raw rickety beauty that today’s jaded ironists often fail to catch, a fumbling yet hyper-real sincerity, and a unique quality to both the environment in which the performance takes place and the function of the audience of family members, family friends, and schoolteachers. As Matt describes it, “they are coached and prodded, then are subject to a bizarre mixture of unrealistic scrutiny and unconditional appreciation that ceases entirely to exist once they reach adulthood….There is such an amazing tension in the sweaty-palmed fumbling of the parent’s hands against the microphone of the video camera as they film their young one offering up the fruits of their labor….RECITALS is a teasing apart of these hopes and fears.”

The source material comes from a combination of found recital material, original music of Matt’s creation and commissioned material, but the pedigree of the tree matters little when the master carpenter fashions the wood into an Art Deco cabinet in his workshop, and we are in the hands of a master craftsman with Mr. Krefting.

I know, from keeping in touch with Matt over the months of this album’s creation, that a lot of thought and a lot of time-consuming re-fashioning and editing and tweaking went on after the basic album was completed, but Matt labored over the handiwork until the gongs resonated at just the right frequency, so to speak.

And the programming of the album is brilliant, again clearly the result of a lot of thought. The first two tracks (of nine total) ground us in a somewhat known reality, but beginning with track three, we are taken off the main highway, in the dark, on unlit back-country roads in an unknown territory. I dare anyone to predict where this album is headed, once it starts to kick in. Krefting is the captain of this sound-ship, and he’s taking us on a kind of magical mystery voyage into waters not found on any map. Truly, this is a HAUNTING album, an album of great beauty, a work that is sweet-and-sour, a work that has a delicious sense of melancholy. I don’t think it’s like anything else around. The world is a more interesting place because Matt Krefting is an artist working in it…and using chunks FROM IT in the creation of his work.

Also, there aren’t a hell of a lot of people around who can simultaneously be a featured artist in the Mimaroglu Music experimental music catalog AND  sing you a deep and heartfelt version of a George Jones song in a way that can break your heart…MK is one of a kind, and we at KSE are proud to offer you this haunting and unique creation, RECITALS.

Don’t delay in getting your copy, as it’s an edition of 133 copies….

$8 US postpaid / $11 elsewhere postpaid

payment via paypal to DJANGO5722(at)YAHOO(dot)COM     please mention “Krefting” or KSE #266 w/ your order and also provide your mailing address (which Paypal sometimes fails to….thanks)

MATT photo-19

photo: Jaime Pagana

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OTHER   KSE  CDR’s  NOW AVAILABLE: 

full-sized CDR’s ($8.00 each, ppd. in US—outside US $11 )

ALL ARE AVAILABLE FOR IMMEDIATE DELIVERY

new releases for 2014:

KSE #291 (CDR),  MARCUS M. RUBIO, “Cities Sinking Down”

KSE #286 (CDR ), FOSSILS, “The Cardigan Hour” (limited to 48 copies, a co-release w/ Middle James Co.)

KSE #289 (CDR) A. J. KAUFMANN, “Stoned Gypsy Wanderer”

KSE #285 (CDR) SMOKEY EMERY (aka Daniel Hipolito), “Live At The Hideout Theatre”       

KSE #288 (CDR, spoken-word poetry), BILL SHUTE, “Worried Men and Wooden Soldiers: Bill Shute reads selected 2013-2014 poems,”  produced by Marcus Rubio

KSE #275 (CDR), ALFRED 23 HARTH, “China Collection”

KSE #281 (CDR), FOSSILS, “Wooly Bully” (a co-release with Middle James Co., only 20 copies available from KSE)

KSE #279 (CDR), ERNESTO DIAZ-INFANTE, “Wistful Entrance, Wistful Exit”

KSE #274 (CDR), MASSIMO MAGEE/TIM GREEN/MAX FOWLER-ROY, “Relentless Communion”

KSE #257 (CDR),  ALFRED 23 HARTH, “Micro-Saxo-Phone, Edition  IV.”

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and coming  later in 2014 (not available yet)….

mid-late DEC:     KSE #284 (CDR), BRENT FARISS, “Folk Song For 27 Oboes”

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note: earlier KSE releases from MATT KREFTING (all out of print now):

KSE #259, THE PRINCESS OF KNIGHT AVENUE (poetry chapbook)

KSE #220, SWEET DAYS OF DISCIPLINE (CDR album)

KSE #272, POLYMORPHOUS URBAN: POEMS FOR LOU REED (poetry chapbook, includes poems by MK, Jim D. Deuchars, Michael Layne Heath, Luis Cuauhtemoc Berriozabal, A. J. Kaufmann)

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as always, thank you for your support of independent arts collectives such as KSE…and of unclassifiable original artists such as MATT KREFTING…

October 23, 2014

FOSSILS, “The Cardigan Hour” (KSE #286/MJC #440), only 24 copies available from KSE

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FOSSILS

“The Cardigan Hour”   (CDR album)

KSE #286 / MJC #440 …..a collaboration with Middle James Co., Hamilton, Ontario

total edition of 48 copies (24 from KSE, 24 from Middle James Co.)

ONLY 24 COPIES AVAILABLE FROM KSE (the even-numbered copies, 2-48—–MJC  has the odd-numbered ones, 1-47)

On this album, Fossils were T. J. Borden, Daniel Farr, Rob Michalchuk, and David Payne.

Recorded live in Brantford and Hamilton, Ontario, and Buffalo, NY, in 2014

fossils cover cardigan

This latest installment from the ever-evolving FOSSILS crew could be described as “chamber Fossils, ” if  such a thing is possible. If you can imagine FACE TO FACE-era Spontaneous Music Ensemble with washes of electronics woven into the fabric, you might have some idea of how this sounds….then again, it’s really nothing like that! It’s largely acoustic, with instruments being played in coloristic, non-traditional ways and with subtle electronics (and found speech—an absurd yet sad phone message). The FOSSILS emphasis on texture is primary once again, but in a way that’s fresh and unexpected….and that’s pretty much true of ANY Fossils performance or album…which is why they are ESSENTIAL to the scene.

Back during my teenage years, The Clash used to be billed by their label as “the only band that matters” (let’s not forget that this is the same label that once ran the infamous “The Man Can’t Bust Our Music” ad campaign in the late 60’s). I can’t imagine Joe Strummer approving that line, except perhaps ironically, but if there ever WAS a unit deserving of the title, I’d say it’s FOSSILS, who may make a lot of noise but let the work quietly speak for itself in the marketplace (no hype, no hipster posing, no airbrushed pics in The Wire). And if there is a DIY lo-fi independent label I admire and that is an influence on KSE, it’s Fossils’ imprint Middle James Co. They are experimental without being pretentious, their music can be both witty and jarring (simultaneously), and even after dozens and dozens of releases, I can truthfully say that I have NO IDEA what their next release will be like. With so many “art edition” labels out there, and with “underground” distributors and zines seemingly forgetting the DIY/punk/Warhol-esque basis of all we do and favoring a cojones-free artschool approach to packaging and presentation, FOSSILS and Middle James are out there keeping it honest and keeping it low budget and REAL. KSE is proud to be partnering with Fossils and MJC on another release. Get it quick….only 24 copies available from us…and 24 from MJC….

(NOTE: Middle James Co./Cardinal Records will not have this in stock  until early November, but Canadians should wait until then and order from MJC/CR)

GET YOURS NOW FROM KSE.

$8  in US postpaid                              $11 outside US postpaid

payment via paypal to      DJANGO5722(at)YAHOO(dot)COM               please include note w/ order listing items ordered and address……many thanks!

Also by FOSSILS and available from KSE:

full-sized CDR’s ($8.00 each, ppd. in US—outside US $11 )

(last few copies!!!!)   KSE #281 (CDR), FOSSILS, “Wooly Bully” (a co-release with Middle James Co.)

GUIDE_20140709_0001

October 17, 2014

new album from A. J. Kaufmann, ‘Stoned Gypsy Wanderer’ (KSE #289)

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A. J. KAUFMANN

“Stoned Gypsy Wanderer”    KSE #289

AJK photo(AJK 10/2014, Photography: Karolina Fiszer, Stylization: Laboratorium Loo)

new CDR album featuring 14 original psychedelic songs from the Poznan, Poland, poet-songwriter-musician

all songs written and performed by AJK

original cover artwork by Justin Jackley (Austin, Texas)

check out Justin’s work at     justinjackley.com

$8 ppd. in the US / $11 ppd. elsewhere                        paypal funds to DJANGO5722(at)YAHOO(dot) COM

and include note w/order listing what you are ordering and also your mailing address….thanks!

a sound worthy of a big-ticket private press monster for the price of two cups of Charred-bucks coffee!!!

AJK, album cover

When KSE moved beyond poetry chapbooks and into music CDR’s a number of years ago, one of the musical genres I wanted to support was contemporary psychedelia. No, not revival bands who try in a futile manner to recapture 1967, but musicians who have drunk deeply of the waters of the 13th Floor Elevators’ EASTER EVERYWHERE and/or  Bent Wind’s SUSSEX and/or Ya Ho Wa 13’s PENETRATION and who then took the baton handed to them over the decades by these artists and went on to create their own contemporary works rooted in their own higher-key experiences and their own transcendent realities. Having featured artists such as Sir Plastic Crimewave, Book of Shadows, John Stanton (Kuschty Rye Ergot), Lisa Cameron, Djin Aquarian, ST 37, and the many artists in the drone-noise vein whose works are essentially extensions of psychedelia (Derek Rogers, Parashi, Rambutan, Fossils,  etc etc), I feel we’ve been doing a good job of  keeping contemporary psychedelia alive and supporting artists dedicated to extending the boundaries of this seemingly infinite art form. Much of the poetry we publish also is an extension of the psychedelic ethos and also much of the artwork on our albums and chapbooks is equally rooted in the Warhol-esque side of psychedelia.

symbolisme

A. J. Kaufmann is well-known to followers of  Kendra Steiner Editions as a poet….he and Doug Draime have issued the largest number of poetry chapbooks of any KSE authors, and I have worked on three collaborative chapbooks with him as well as a joint chapbook, so I not only know his work well, I have worked alongside him and know HIM well. He never fails to surprise me with new angles to his work and his unique and exciting insights.   A. J. has also always been a musician and songwriter, and his earlier album SECOND HAND MAN was widely praised for its fine songwriting and eclectic mix of styles. That album was a professional studio production and even had session musicians beefing up the sound. For his second studio album, however, AJK decided to go to the other extreme…..essentially do an album of DIY home recordings featuring the songs front and center and go for a blurred lo-fi mindfry of a listening experience. AJ sent me a link to his bandcamp page, where he was going to release the album, STONED GYPSY WANDERER, digitally, knowing I’d enjoyed his previous album and wanting me to hear this one. Before the first song was half over, I’d hit the ceiling in ecstasy, and when the last track ended, I sent him an e-mail asking if the CD rights to this album had been given to any label yet because if not, IT NEEDED TO BE A KSE RELEASE….and now it is.

From the first multi-layered  seconds of the opener (which sounds like Robyn Hitchcock on steroids sitting in with Country Joe and the Fish if they’d been doing DIY recordings in 2014), we’ve got a first-rate collection of 14 new and diverse psychedelic anthems…..all with interesting chord progressions and the kind of lyrics worthy of a poet….some have a trippy singer-songwriter vibe a la Dino Valenti or John Wonderling….others offer kaleidoscopic swirling ships of sound in the “Scream Thy Last Scream” vein…and post-60s influences such as Scary Monsters-era Bowie or the Psychedelic Furs are swirled into the mix…along with the DIY genius of someone like Bobb Trimble. Yet knowing AJ as I do, I know that the album is not an assemblage of influences (he hadn’t even heard of John Wonderling when I mentioned the comparison)….it’s a songwriter and creative tour-de-force standing in the musical soil once walked on by the 13th Floor Elevators (they may have even gotten high there) and heading full tilt toward the sun. As AJ is a serious fan of Krautrock and obscure European bands of the early 70’s, I’m sure there’s some heavy Space Rock influences too, but unlike those bands, the tracks on STONED GYPSY WANDERER are relatively short and like a good 40’s B-movie that wastes no time in getting to the meat of the story and the conflict, AJ’s music starts in high gear….all killer, no filler. After getting a copy of this sent to him, Brad Kohler left a message on my voice mail saying, “This new album by AJ Kaufmann is stunning….it’s got many different styles, all equally well handled… it compares to the best things Julian Cope has done.”

STONED GYPSY WANDERER, unlike much of what labels itself  “psychedelic” today, is NOT a revival work….it SOUNDS like a 2014 recording and is forward-thinking and forward-sounding, but it has all the independent spirit and originality and everything-but-the-kitchen-sink low-budget raw production and fully-formed-style-from-seemingly-out-of-nowhere that one finds in the best and the biggest-ticket private press psych masterpieces. Had this been recorded in rural Maryland in the early 70’s and been a private pressing, it would have been pirated on a label like Psycho or Breeder and would have become “legendary.” But it’s not….it’s BRAND NEW songs that are timeless from a man who’s a major creative force….perhaps best known so far outside of his native Poland for his poetry, but soon to be equally well known for his music. And I’m told by those who partake, that the album passes with flying colors the ULTIMATE test of any psychedelic album….

And the cover features a stunning original painting from Austin’s JUSTIN JACKLEY….what’s NOT to love!

KSE #289 (CDR album), A. J. KAUFMANN, ‘STONED GYPSY WANDERER”

$8 ppd. in the US / $11 ppd. elsewhere                        paypal funds to DJANGO5722(at)YAHOO(dot) COM

and include note w/order listing what you are ordering and also your mailing address….thanks!

 

OTHER   KSE  CDR’s  NOW AVAILABLE: 

full-sized CDR’s ($8.00 each, ppd. in US—outside US $11 )

ALL ARE AVAILABLE FOR IMMEDIATE DELIVERY

new releases for 2014:

KSE #285 (CDR album) SMOKEY EMERY (aka Daniel Hipolito), “Live At The Hideout Theatre”        

KSE #283 (CDR), SMOKEY EMERY (aka Daniel Hipolito), “Incident at Town Lake”….reissue of 3″ mini CDR  from 2011

KSE #288 (CDR, spoken-word poetry), BILL SHUTE, “Worried Men and Wooden Soldiers: Bill Shute reads selected 2013-2014 poems,”  produced by Marcus Rubio

KSE #275 (CDR), ALFRED 23 HARTH, “China Collection”

KSE #281 (CDR), FOSSILS, “Wooly Bully” (a co-release with Middle James Co., only 20 copies available from KSE)

KSE #279 (CDR), ERNESTO DIAZ-INFANTE, “Wistful Entrance, Wistful Exit”

KSE #277 (CDR), URKAS, “Stamen and Pistil” (URKAS is the duo of Parashi and Xanthocephalus)

KSE #274 (CDR), MASSIMO MAGEE/TIM GREEN/MAX FOWLER-ROY, “Relentless Communion”

KSE #268    (CDR)  CATHAL RODGERS (aka Wereju) , “Instrumental Conditioning”

KSE #271 (CDR), FOSSILS/BILL SHUTE, “Diesel Fallout Dixie Stampede”

KSE #257 (CDR),  ALFRED 23 HARTH, “Micro-Saxo-Phone, Edition  IV.”

……………………………

and coming  in the last quarter of 2014 (not available yet)….

new CDR album releases from MATT KREFTING, MARCUS M. RUBIO, FOSSILS, and BRENT FARISS

AJK second hand

 

 

Thank you for your support of Kendra Steiner Editions and independent, non-aligned lo-fi arts organizations…the PRC Pictures of the alternative arts world…we can  release THREE albums for the cost of an ad in THE WIRE (meet the new boss, same as the old boss)…we rely on word of mouth…please tell a friend if you’ve enjoyed our various music and poetry releases…..best wishes from San Antonio, Texas…

blues for duffy power

love lions

east west train

October 15, 2014

LIFE GOES TO A PARTY (KSE #278), new Sound Library poetry chapbook from BILL SHUTE

Filed under: Uncategorized — kendrasteinereditions @ 6:55 pm

new poetry chapbook from  BILL  SHUTE

“LIFE GOES TO A PARTY–Sound Library Series, Volume 76″     (KSE #278)

$6 US postpaid / $7 elsewhere postpaid

Brenda is a busy person who believes in the Law of Attraction and does not have time to waste on poetry….but maybe YOU do? If so, why not waste 15 minutes of your life on the newest Sound Library poetry chapbook, LIFE GOES TO A PARTY, inspired by the music of Benny Goodman….

LIFE GOES TO A PARTY_0001

In Summer 2013, while in Pittsburgh, I stopped by the legendary JERRY’S USED RECORDS  and stumbled across a cache of collector-label/private-press LP’s of rare Benny Goodman material, some of which had been sitting there over 20 years! As a longtime Goodman fan and collector, I was in heaven….I bought about 40 LP’s (averaging $4 each, all mint-minus, I’d say) and shipped them back to San Antonio in two boxes via media mail. Needless to say, I spent the first few months back home savoring these Goodman sides, and it was during that period (September-October 2013) I composed the five-part poem called LIFE GOES TO A PARTY. This has been in circulation for some time among friends (with a different KSE # and a different Sound Library #—-only about 12-15 of those are in circulation) and I recorded it for my new spoken-word poetry album WORRIED MEN AND WOODEN SOLDIERS, but it’s never been officially issued before, so here it is.

Dodging divorcees while running in place on a sea of jargon….venetian-blind shadow rows stacked on the wall of tomorrow….pony-tailed shape-shifters born on third base laugh at my sprained ankle, instructing me with condescension and without eye contact to walk like a Buddha….oddly specific breadcrumb trails out of the valley…..too many generals armed with virtual models & simulations, not enough  sergeants up to their elbows in dirty dishwater from someone else’s meals….“I’ll say what you want to hear,” Brenda whispered, “but I’m a busy person, and I don’t have time for poetry.”

But maybe YOU do?      

If so, get a copy now. Edition of 49 copies. Composed September-October 2013.   Issued October 2014.

paypal funds to DJANGO5722(at)YAHOO(dot) COM

and include note w/order listing what you are ordering and also your mailing address….thanks!

pitts 1

 

OTHER  available poetry chapbooks ($6 each, ppd. in the US, $7 elsewhere…):

KSE #290 (poetry chapbook), BILL  SHUTE, “Jaywalkers: Ducal Poems, Three”

KSE #287 (poetry and photography chapbook), BILL SHUTE, “The Fellowship of the Frog”

KSE #282 (poetry and photography chapbook), BILL SHUTE, “Hot Combination”

KSE #276 (art-and-poetry chapbook), DAVID PAYNE & BILL SHUTE, “Blues With A Bridge”

KSE #280 (poetry and photography chapbook), BILL SHUTE, “Guide Dogs and Bartenders on the Gulf Coast”

KSE #273  (poetry chapbook), BILL SHUTE, “Someplace on Anywhere Road” (Sound Library Series, Volume 75)

We also have an excellent catalog of NEW experimental music from cutting-edge artists from four continents, but KSE began as a poetry press, so I’ll stick to promoting poetry in this post.

As always, thank you for supporting independent, non-aligned arts collectives such as Kendra Steiner Editions…..such organizations are the tortoises that will eventually win the race.

G 0067

October 11, 2014

new album from SMOKEY EMERY, “Live At The Hideout Theatre,” KSE #285 (CDR)

Filed under: Uncategorized — kendrasteinereditions @ 2:05 pm

DANIEL BLOG ART 8

SMOKEY EMERY (aka Daniel Hipolito)

“LIVE AT THE HIDEOUT THEATRE”

KSE #285 (CDR album)

$8 ppd. in the US / $11 ppd. elsewhere                        paypal funds to DJANGO5722(at)YAHOO(dot) COM

and include note w/order listing what you are ordering and also your mailing address….thanks!

SMOKEY LIVE

The first of KSE’s Fall-Winter 2014 music releases is a strong one from a man whose work as both musician-composer and visual artist we really believe in, DANIEL HIPOLITO. His musical alter ego SMOKEY EMERY is an important figure on the Texas drone/noise/psych scene, and his previous releases on a variety of labels have been praised widely both here and overseas. Daniel played 2 of the 3 KSE concerts in 2011-2012,  and I also worked with him on a poetry-and-electronics performance and recording, so I have seen him at close-range creating his soundscapes from a combination of tape manipulation (on multiple thrift-store decks at once) and electronics. In performance (and remember, THIS IS A LIVE ALBUM CAPTURING A COMPLETE PERFORMANCE) he reminds me of a postmodern version of a one-man percussion orchestra, someone with an arsenal of different sized cymbals and gongs and mallets, each with its proper role at the proper time in the performance, allowing for a seemingly infinite series of shades and timbres and textures….except that his weapons of choice are not cymbals and gongs, but tape players and electronics.

The six pieces here exist beyond time….starting with a longer piece puts the listener into an altered state and allows Smokey Emery to erase the blackboard of listener expectations. It’s as if we headed straight into a group of storm clouds and burst through them into an area of calm, but the area from which the storms emanated, and we hear the rumblings and scrapings and the slow-motion movement of the gears and pulleys where some Wizard of Oz was manipulating it all. This album is quite different from Daniel’s previous Smokey Emery disc for KSE, INCIDENT AT TOWN LAKE (which you can still get in its reissue form), which was largely tape-manipulation based. The arsenal has been expanded here, and most importantly, the sound sources are mixed together into a murky Texas gumbo where each element blurs into the others and the sum is richer and more flavorful than the parts. For comparison’s sake, those who enjoyed KSE’s previous albums by Urkas and Matt Krefting should also enjoy this, as it seems to exist somewhere between those worlds.

That Daniel is also an acclaimed visual artist who’s had a number of exhibitions and installations in different parts of the country (see the mural at the top of this page and then the other artworks included in this post) perhaps explains the painterly qualities of his music. In addition, this is a SITE-SPECIFIC WORK. As Daniel explains,

“The Hideout Theatre is one of the oldest buildings in Austin,  located on Congress Avenue downtown right off of Sixth street. At the time of this recording I was working there, had in the past booked several shows w/ Adam Jones there, and I  found the  sound of the small theatre in the back to be incredible, close, but big. This led me to want to record in that space but without an audience. I arranged with the owners to use the space  to do an album. Andy Hendrix (of Unmoor, who released an album on KSE) was asked if he could record material for that album tracked through his wonderful Allen & Heath mixer, all to be played and recorded live in one night.  Staying after my shift overnight one night when the theare wasn’t being used, I set up on their set for an Edward Gorey improv night, Andy setup near the edge of the stage facing me so we could communicate w/out talking during recording, as it is just the one big room. We collaborated on a seven mic setup using many different mic types and positions in the theatre:  Sm57s, russian paired stereo condensors from jon (silent land), boundry mics affixed to the walls,  among others. Every time we were recording Andy would mix these microphones live according to the music being played, which was all recorded live to a Tascam stereo digital recorder. I had already awakened at 6 that day, so by the time we wrapped up at 6 a.m.  it had been a long and interesting day, but fruitful.”

As you can see from Daniel’s comments, the pieces on this album are site-specific creations, and how could playing on an Edward Gorey-themed stage NOT affect the character of the work! This is an album that will test your speakers, but it also sounds great (and quite different) on headphones. Limited edition of 100 copies. Get yours soon….the SMOKEY EMERY experience is not soon forgotten! We’re glad to have him living and working in Central Texas…

KSE #285 (CDR album) SMOKEY EMERY, “Live At The Hideout Theatre”         $8 ppd. US / $11 ppd. elsewhere

also available from Daniel/Smokey:

KSE #283 (CDR), SMOKEY EMERY (aka Daniel Hipolito), “Incident at Town Lake”….reissue of 3″ mini CDR  from 2011

$8 ppd. US / $11 ppd. elsewhere

SMOKEY EMERY

KSE #261 (art-and-poetry chapbook), DANIEL HIPOLITO & BILL SHUTE, “Meditations on a One-Way Trail”

chapbook is $6 ppd. US / $7 ppd. elsewhere

MEDITATIONS...OTHER   KSE  CDR’s  NOW AVAILABLE: 

full-sized CDR’s ($8.00 each, ppd. in US—outside US $11 )

ALL ARE AVAILABLE FOR IMMEDIATE DELIVERY

new releases for 2014:

KSE #289 (CDR), A. J. KAUFMANN, ‘Stoned Gypsy Wanderer,” cover art by Justin Jackley

AJK, album cover

 

KSE #288 (CDR, spoken-word poetry), BILL SHUTE, “Worried Men and Wooden Soldiers: Bill Shute reads selected 2013-2014 poems,”  produced by Marcus Rubio

GUIDE_20140703_0001

KSE #275 (CDR), ALFRED 23 HARTH, “China Collection”

GUIDE_20140611_0001

KSE #281 (CDR), FOSSILS, “Wooly Bully” (a co-release with Middle James Co., only 20 copies available from KSE)

GUIDE_20140709_0001

 

KSE #279 (CDR), ERNESTO DIAZ-INFANTE, “Wistful Entrance, Wistful Exit”

ernesto album cover

KSE #277 (CDR), URKAS, “Stamen and Pistil” (URKAS is the duo of Parashi and Xanthocephalus)

URKAS

KSE #274 (CDR), MASSIMO MAGEE/TIM GREEN/MAX FOWLER-ROY, “Relentless Communion”

CATHAL RODGERS_20140117_0002

KSE #268    (CDR)  CATHAL RODGERS (aka Wereju) , “Instrumental Conditioning”

CATHAL RODGERS_20140117_0001

KSE #271 (CDR), FOSSILS/BILL SHUTE, “Diesel Fallout Dixie Stampede”

FOSSILS BILL SHUTE

 

and the last remaining copies of …


A23H  4

KSE #257 (CDR),  ALFRED 23 HARTH, “Micro-Saxo-Phone, Edition  IV.”

———————————————————————————————————————

 

SMOKEY  08.21.12 smokeyemeryclub1808alipic

 at Club 1808, photo by Ali Pharmakidis

……………………………..

SMOKEY  051812SEred702

at Red 7, photo by Alex Kacha

…………………………………………………………………………………………………………………………………………………………………

And our friends at Holodeck Records in Austin have the SMOKEY EMERY album SOUNDTRACKS FOR INVISIBILITY VOL III: QUI MAL Y PENSE available as both a cassette and a download….get your copy here:

http://holodeckrecords.com/smokey-emery-soundtracks-for-invisibility-vol-iii-qui-mal-y-pense-hd023/

hd023_tape_release_page_1

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various artworks etc. from Daniel H.

DANIEL BLOG ART 1

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SMOKEY  528248_2976378655626_1384631183_n

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SMOKEY unit

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smokey tape

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DANIEL BLOG ART 2

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DANIEL BLOG ART 3

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DANIEL BLOG ART 5

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DANIEL BLOG ART 6

August 30, 2014

JAYWALKERS: ducal poems, three (KSE #290), new poetry chapbook from BILL SHUTE

BILL  SHUTE

JAYWALKERS: Ducal Poems, Three

KSE #290 (poetry chapbook)

$6 ppd. in USA / $7 ppd. elsewhere

payment via paypal to   DJANGO5722(at)YAHOO(dot)COM

please include a note with your order telling us what are ordering and providing mailing address…thanks!

jaywalkers

The “Ducal Poems” series is an open-ended poetry chapbook series of works inspired by the compositions of Duke Ellington. JAYWALKERS  is my third chapbook in the DUCAL POEMS series, although I have not chosen to publish the first two yet (however, CIRCLE OF FOURTHS, the first of the Ducal volumes, appears on the soon-to-be-released spoken-word poetry album WORRIED MEN AND WOODEN SOLDIERS). They should come out within the next year.

One of the dirty little secrets of the adult world, one that most of us have to learn by experience since we tend to be a bit naive as we are developing, is that those who proclaim themselves to be an “alternative” to the mainstream or the status quo are just as flawed, just as corrupt, just as dishonest, just as vain, and just as power-hungry as those on the “inside.” They set up just as many hierarchies, they play just as many (if not more) games, and they are just as elitist, although in a different way. The irony is that they view themselves as “progressive” or “radical” and superior to the mainstream, which makes them often EVEN MORE pretentious and insufferable than their mainstream counterparts. They don’t realize (or maybe they do and hate themselves because of it) that they are in the same game, played on the same gameboard, as those in the mainstream whom they feel superior to. If you refuse to validate their game or if you refuse to fall into their hierarchy in the place they have assigned to you, they will crush you and your work as fast as they’d step on a roach. One sees this in politics, in the arts (the poetry “alternative” establishment is a perfect example), in many other areas of society. Meet the new boss, same as the old boss, etc. Those who want to be in power are a mirror image of those who ARE in power. How can someone be a “kingmaker” of the underground when the underground is supposed to be opposed to the concept of kings and hierarchies….

Those who seek a “third way” are forever marginalized as JAYWALKERS.

That’s what this new six-part poem is about….and also what it embodies.

This is a poetry chapbook that walks down the street looking into the windows of cafes and bistros that it can’t afford to enter…or that it is not well-enough dressed to enter.

I began this in July but wrote most of it while on the road in Kansas, western Missouri, and Oklahoma in early August. I remember standing with Mary Anne on the sidewalk of the main drag in Lawrence, Kansas,  and looking across Massachusetts St., from one side to the other, as Saturday night cruising-traffic drove by—suddenly, the image patterns for this chapbook crystallized in my brain, and finishing the work was just a matter of connecting the dots. Lawrence is a great town, by the way…..we also found William Burroughs’ old house while there, it’s a beautiful area with an interesting history (Langston Hughes lived there), and there’s a great used bookstore (The Dusty Bookshelf)…among many other things. However, this piece is NOT set in Kansas the way some of my recent pieces have been set in specific geographical areas. As in a Harold Pinter play, it’s immediate and full of real-world specifics, but given a surface universality.

It’s the same post-Blackburn, post-Berrigan open-field poetry, full of particulars to chew on like VERY chunky peanut butter, you’ve come to expect, but each piece chooses its own form, its own voice, its own speaker/persona, its own tone. It’s a piece that cries the same primal howl that the Jandeks or the Harry Partches or the Andy Milligans or the DA Levy’s of the world have cried through both their works and their example. If you are out there  masked and anonymous but feeling the same thing, it’s for you.

Hand-assembled, hand-numbered, imprecisely-cut DIY edition of 39 copies. Get yours now.

$6 US / $7 elsewhere

OTHER  available poetry chapbooks ($6 each, ppd. in the US, $7 elsewhere…):

KSE #287 (poetry and photography chapbook), BILL SHUTE, “The Fellowship of the Frog”

KSE #282 (poetry and photography chapbook), BILL SHUTE, “Hot Combination”

KSE #276 (art-and-poetry chapbook), DAVID PAYNE & BILL SHUTE, “Blues With A Bridge”

KSE #280 (poetry and photography chapbook), BILL SHUTE, “Guide Dogs and Bartenders on the Gulf Coast”

KSE #273  (poetry chapbook), BILL SHUTE, “Someplace on Anywhere Road” (Sound Library Series, Volume 75)

We also have an excellent catalog of NEW experimental music from cutting-edge artists from four continents, but KSE began as a poetry press, so I’ll stick to promoting poetry in this post.

As always, thank you for supporting independent, non-aligned arts collectives such as Kendra Steiner Editions…..such organizations are the tortoises that will eventually win the race.

August 22, 2014

Lightnin’ Hopkins, “Free Form Patterns” (3-cd box, Charly, EU)

Filed under: Uncategorized — kendrasteinereditions @ 4:05 pm

LIGHTNIN

LIGHTNIN’ HOPKINS

“Free Form Patterns”  (Charly, EU)

extended 3-cd reissue of the sessions for his 1968 International Artists LP

The late Houston bluesman Sam Lightnin’ Hopkins was a man who, at least in his post-1959 “comeback” period, had a pragmatic and somewhat jaded attitude toward recording. Perhaps reacting to being burned earlier in his career, he would in this period record a certain agreed-upon number of songs for your label, cash up front, and would do one-take of each. Lightnin’ was a professional so he could deliver the goods and did not need to rehearse, and also, as his art was based on improvisation within already existing forms (forms which he would bend and stretch and mold to his immediate needs differently in each performance), each performance would be somewhat unique, even if it was a song he’d recorded many times before. This approach seems to make sense for a man whose art was so IMMEDIATE. I have always favored those blues poets who work the details of daily life into their art. Whether the details are real or contrived makes little difference—-if they SOUND like they are woven into the performance from that morning’s or last night’s experiences, then to me this contributes to the truth-telling function that many of us appreciate about the blues as a means of expression. Artists such as Hopkins or John Lee Hooker or Robert Pete Williams (and many others) are great examples of this.

For most artists, an extended 3-cd set devoted to a classic album would feature early workouts and then multiple takes of each tune, maybe also including mixes prepared for singles, etc. Not so with Lightnin’ Hopkins—-one take of each song, then on to the next. It’s almost as if Hopkins is sculpting his blues in time—-each “song” is a three-to-four minute slice of blues-time.  What we have here is, literally, the complete session from beginning to end, a true fly-on-the-wall perspective, with album producer Lelan Rogers, who knows the tape is running non-stop, getting Lightnin’ (and sometimes ATTEMPTING to get Lightnin’) into conversations about his past and his attitudes. The original FREE FORM PATTERNS album, released on International Artists records in 1968, contained the “songs” plucked from within this sea of Lightnin’. Now we are presented with THE WHOLE THING, evidently meticulously re-configured from various tape fragments, as the complete session in exact order did not survive in one lump form.

FREE FORM PATTERNS has never been at the top many fans’ lists, but it’s always been one of my favorite Hopkins albums, and I have dozens of his albums, including the complete Prestige Bluesville box and the complete Jewel/Paula 2-cd set. There is a leisurely feel to the session, and the opening track, “Mister Charlie,” is for me one of his best performances. In fact, I echo it in my poem “Led Along.” I also think it is a great album to play for someone who is unfamiliar with Hopkins. Backed by his frequent collaborator and cousin Billy Bizor on harmonica and by 13th Floor Elevators members Duke Davis on bass and Danny Thomas on drums (and pianist Elmore Nixon on part of the sessions). Bassists and drummers never had an easy time working with Hopkins or John Lee Hooker because of their unpredictable chord changes and bar structure, so drummers had to play in a loose but supple way to provide a PULSE instead of a regular beat, and bassists had to IMPLY changes but cast the net wide enough to accommodate whatever Hopkins decided to do. It was an imperfect art, but those who could listen to Hopkins and feel along with him got to where the whole thing worked, and in fact there’s a kind of tension in the looseness which is refreshing. Mr. Davis and Mr. Thomas certainly got into the groove of what Hopkins was doing, and the result works as well as the Prestige/Bluesville sessions where he’s sometimes backed by jazz musicians, although there’s something about the mix of psychedelic musicians with a blues base jamming with actual blues musicians that I’ve always found unique and appealing. You get that here.

Basically, the first CD here is the original FREE FORM PATTERNS album (sounding better than ever, by the way…the original release and the earlier reissues were a bit muffled sounding) and a track from the sessions that appeared on the old EPITAPH FOR A LEGEND compilation.

The exciting news here is the 2nd and 3rd cd’s, which are the complete session recordings, from set-up through the conversations with Lelan Rogers. I can’t imagine any Hopkins fan, or any fan of REAL blues in general, not getting excited about this fly-on-the-wall perspective. Hear Lightnin’ counting the songs he’s recording, making sure he’s not giving any more than he’s getting paid for. Hear Lightnin’  the raconteur telling various tales of his exploits or details of what he did that morning or referring to some old business in the neighborhood that’s long gone. Hear him negotiating w/ the producer and the other musicians. Hear him reminisce about shared experiences with his cousin Billy Bizor. Hear him take a drink in between tunes. Hear him discuss working with the young Jimi Hendrix. Hear him essentially holding court with his followers. Lightnin’ knew that  everyone here looked up to  him, and this was a self-conscious performance, even if he did not know that every word was being recorded for posterity. The second half of CD 3 consists of conversations between Lightnin’ and producer Lelan Rogers, and what a treat it is to hear Hopkins loosened up and talking about his first recordings, about various small towns in East Texas, about his marriage, and much more. It’s quite different from the interview he did with Samuel Charters for Prestige/Bluesville, and it’s a treasure, a true piece of Texas history.

I’ve listened to the 2nd and 3rd discs twice each so far, but I look forward to putting them on “repeat” in the future while I’m working and getting to know them well. This is, basically, a front-row seat at a complete Lightnin’ Hopkins session (two, actually). Nowadays, everyone’s got portable devices to record EVERYTHING, but in 1968, that was not the case. Those of us who love Lightnin’ Hopkins’ work and treasure every new discovery will be ecstatic about the 3-cd extended reissue of the Free Form Patterns sessions. It’s a revelation. I don’t know what prompted Charly to take on this project, but I’m sure glad they did. For me, this is THE vintage blues release of the year. Pure Texas blues as it’s being created, on the spot. Pure 100 proof Lightnin’ Hopkins. All I can say is “aaaaaahhhhhhhh……..”

Get your copy now….a Lightnin’ Hopkins session live in your living room! Who would NOT get excited about that….sip some Bourbon or some cheap rye along with Lightnin’ and you are there…

It should be added that the liner notes and historical research provided with this package are stunning….so many rumors about the sessions and the album are actually NOT TRUE and interviews with those present have provided a number of new insights. In an attractive hard-cover digi-box, it’s an incredible document….and I predict that it will come to be regarded as a blues classic and something unique in blues recording history.

lightnin

………..

Disc 1
1. Mr. Charlie
2. Give Me Time To Think
3. Fox Chase
4. Mr. Ditta’s Grocery Store
5. Open Up Your Door
6. Baby Child
7. Cooking’s Done
8. Got Her Letter This Morning (AKA: She’s Almost Dead)
9. Rain Falling
10. Mini Skirt
11. Black Ghost Blues

Disc 2
1. Chat 1 – I’d Like To Get In Tune With The Boys
2. Song 1 – Give Me Time To Think
3. Chat 2 – Harmonica Players
4. Song 2 – Miniskirt
5. Chat 3 – Lelan: Is Billy A Hippy?
6. Song 3 – Got Her Letter This Morning
7. Chat 4 – Drinking Chat 1: No No, I Don’t Fool With Nothin’ But What I Fool With
8. Song 4 – Mixed Up [Previously Unreleased]
9. Chat 5 – Band Direction / Billy
10. Song 5 – (Mr. Dillon’s) Grocery Store Blues
11. Chat 6 – You Know Mr. Dillon?
12. Fox Chase False Starts / Band Direction
13. Song 6 – Fox Chase
14. Chat 7 – Drinking Chat 2 – I’m The Best Person In The World When I’m Drinking
15. Song 7 – Lord Have Mercy [Previously Unreleased]
16. Chat 8 – Drinking Chat 3 – Don’t Think It Ain’t Got Something In It

Disc 3
1. Song 8 – Rain Falling
2. Chat 9 – Argument Over Songs
3. Song 9 – Cooking’s Done
4. Chat 10 – Sweet Lil’ Woman, But You Ain’t Got No Hair + Chat
5. Song 11 – Mr Charlie
6. Song 12 – Straw Hat [Previously Unreleased]
7. Chat 11 – They Got 100 Songs
8. Song 13 – Green Onions [Previously Unreleased]
9. Chat 12 – Vietnam Song Snippet / Oh Oh Lyric
10. Song/chat – Poppa Was A Preacher Rehearsal/chat
11. Chat 13 – That Had The Feeling, Finishing Session
12. Conversation 1 – Trouble In Crockett Tx
13. Conversation 2 – Whiskey On Prescription
14. Conversation 3 – Musician’s Hours: Tommy Hall / Stacy Sutherland
15. Conversation 4 – Where`d You Pick Up The Name Lightnin’
16. Conversation 5 – You Not Gonna Mess With Elmore (Nixon) Anymore?
17. Conversation 6 – Centreville Tx
18. Conversation 7 – Politics

Release date 21 April 2014 

 

Sam “Lightnin” Hopkins, guitar, vcl

Billy Bizor, harmonica

Duke Davis, bass

Danny Thomas, drums

(on disc 3, Elmore Nixon on piano)

recorded 3-4 January 1968 and 9 February 1968 in Houston, Texas

Free Form Patterns [3CD boxed set]

August 1, 2014

Back From the Kansas/Oklahoma trip…

Filed under: Uncategorized — kendrasteinereditions @ 8:09 am

update, August 17: We’re back and filling orders again….

had a wonderful time in Oklahoma, Kansas, and western Missouri

KansasCitySigns

 

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