Kendra Steiner Editions

October 17, 2014

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

Filed under: Uncategorized — kendrasteinereditions @ 6:00 pm


“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

$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.


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!


$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!



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


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 #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)….


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… 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….


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.

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


SMOKEY EMERY (aka Daniel Hipolito)


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!


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


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

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


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


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


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”

ernesto album cover

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



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”



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:




various artworks etc. from Daniel H.



SMOKEY  528248_2976378655626_1384631183_n




smokey tape









August 30, 2014

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


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



“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.



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



July 22, 2014

new from ALFRED 23 HARTH, “China Collection” (KSE #275, cdr album)

Filed under: Uncategorized — kendrasteinereditions @ 5:18 pm


“China Collection”

KSE #275 (CDR album)       Mr. Harth’s 6th release for KSE!!!

$8 US postpaid / $11 elsewhere postpaid

including liner note insert from A23H describing the project and each track in detail

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

please leave a note w/ your paypal order indicating which items you want and also yr mailing address


With a 45+ year career at the forefront of the international music avant-garde, ALFRED 23 HARTH refuses to settle down or to find a predictable avant-shtick and then milk that for a comfortable living (as a number of his contemporaries are doing, paid back with a stylish airbrushed photo on the cover of THE WIRE). Harth continues to be an uncontrollable force in the 21st Century avant-garde, collaborating with people who were not even born in the 80’s when he was in Cassiber or recorded for ECM for the second time.

The ambitious and audacious CHINA COLLECTION is proof that A23H has no peers in the international underground. This 70+ minute assemblage is truly epic in scope and dense in texture, while still having room to breathe—-in the tradition of Pynchon’s Gravity’s Rainbow or Melville’s Mardi or Moby Dick, it’s got EVERYTHING in it, and something else comes into focus with each listening. It’s also full of references and allusions and mirrorings that keep the mind swimming.

Having lived and worked in Asia for nearly 15  years now, Harth and his work have grown Asian roots–initially in his Korean home base, then extending into Japan, first within Otomo Yoshihide’s ensembles (2004-2008) and then with Carl Stone (and, incidentally,  the Harth-Stone duo GIFT FIG will be performing doing a September 2014 tour in South Africa!). Since 2011, Mr. Harth has extended his Asian radius toward emerging young scenes in China, and the new CHINA COLLECTION album is a summary of those rich musical experiences.

From recontextualized slice-and-dice opera to riveting improvisational sequences to  electronics to string passages to disembodied voices to turntabling to lyrical reed passages to every imaginable permutation of a seemingly limitless collection of sound sources, the CHINA COLLECTION is a massive release, and every copy comes with a liner-note insert where Mr. Harth discusses the overall project and each track in detail. It’s not just a comprehensive “sampler” of Harth’s China-related activity the last few years; it’s also a sound-sculpture created FROM those pieces of activity,including sound sources from: Cheng Xu, Jun-Y Ciao, MaiMai, Yi Tao, A23H (Shanghai Quintet), Alok, Dickson Dee, Sherman Ho, Sin:Ned (Hong Kong), Duo Goebbels/Harth LP Frankfurt/Peking + Otomo Yoshihide’s / Ground Zero’s Revolutionary Pekinese Opera Ver.1.28 (Peking Opera Remix III), and Albrecht Kunze.  Although this is Harth’s 6th release for KSE, it is totally different from each of the others, and as someone who has been listening to experimental music since my teenage years, I can say that I’ve NEVER heard anything remotely like this. You could isolate any two minute chunk of this album and spend a day getting into its construction and its juxtapositions and the world it creates. Score another goal for number 23!

It’s a limited hand-assembled, hand-numbered DIY edition of 153 CDR’s, and nearly 1/3 of them are gone already, so get yours now while you still can.

A23H ChinaCollection

We still have a limited number of Alfred 23 Harth’s previous KSE release,  also available for $8 US and $11 elsewhere:

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

A23H China Collection cover pic


Also available from KSE:

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


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 (Mike Griffin) and Xanthocephalus (Russ Alderson)


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

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

KSE #264 (CDR), EGG, EGGS, “Off Yellow Soft Pillow” 

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

and a limited reissue of an old classic KSE 3″ mini-cdr, now on a full-sized cdr reissue

KSE #283 (CDR), SMOKEY EMERY (aka Daniel Hipolito), “Incident At Town Lake” 


July 20, 2014

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

Filed under: Uncategorized — kendrasteinereditions @ 10:01 am

“The world is in my head / My body is in the world.” — Paul Auster




KSE #287 (poetry-and-photography chapbook)

$6 US postpaid / $7 elsewhere postpaid

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

please leave a note w/ your paypal order indicating which items you want and also yr mailing address

THE FELLOWSHIP OF THE FROG combines photographs taken in Rayne, Louisiana, The Frog Capital of the World, with a new suite of complementary poems. I must also admit that this work is to some extent influenced by the Edgar Wallace crime novel of the same name along with the 1959 German film adaptation of the novel, although that influence is probably well below the surface. I was reading The Collected Poems of Paul Auster while I wrote this, and the purity and concentrated elegance of Mr. Auster’s writing in any genre can’t help but be a positive influence on any artist.

The narrator in FROG is a recently released parolee, attempting to get his life back together in an un-named SW Louisiana town after serving 11 months in a privately-run,  for-profit correctional facility in northern Louisiana. He’s looking to re-invent himself and get back on the merry-go-round. We’re provided with eight poetic snapshots of the progress of his fitting in, the poems nestled among twelve photographs of The Fellowship of The Frog. There’s also a refrain concluding each of the even-numbered poems, one which will ring a bell with followers of Jesus Franco’s mid-1970’s output.

It’s a strange and caustic world in which we live today, and like frogs in the proverbial pot of water gradually getting hotter,  most people are too busy trying to make a living (or to find a job!) and to not fall behind on credit card payments and rent to stop for a moment and call out the craziness. Someone such as the narrator of FROG, who has been out of circulation for a while and then attempts to step back in line, perhaps notices the change in temperature (so to speak) more than others. Those who enjoyed GUIDE DOGS AND BARTENDERS OF THE GULF COAST and HOT COMBINATION should enjoy this one too. And those who have never read anything of mine should find it a convenient entry point on the highway where you won’t get run over.

This will be the last of the poetry-and-photography/poetry-and-art chapbooks for a while. Over the next year, I’m taking on some exciting collaborative projects—-both poetry collaborations and poetry-and-music collaborations. Each one of those will require a few months (at least!) hard work. During that period, I will release some excellent (IMHO) pieces composed in late 2013 that have not yet been published, including a few volumes in an ongoing series called DUCAL POEMS.

And I will have a  spoken-word album of newly recorded readings of 2013-2014 poems, produced by Marcus Rubio in Austin in July 2014, coming out in a month or so, which I am VERY excited about…..and I hope you will be too.

THE FELLOWSHIP OF THE FROG is a limited, hand-numbered, hand-assembled, imperfectly-cut DIY edition of 48 copies. Get yours soon….or go without!

As always, thanks for your support…

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

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)

KSE #250 (poetry chapbook), DOUG DRAIME, “Dusk With Carol” (cover art by Wyatt Doyle)

KSE #249 (poetry chapbook) A. J. KAUFMANN, “Hosannah Honeypots” (Sound Library Series, Volume 72)

KSE #236 (poetry chapbook)  JIM  D.  DEUCHARS, “Thelonious Fakebook”  (Sound Library Series, Volume 71)

 payment via paypal to       DJANGO5722(at)yahoo(dot)com

please include a note w/ your order listing the items you are ordering and confirming your mailing address….

 Fellowship of the Frog 011

July 19, 2014

Wyatt Doyle’s STOP REQUESTED….pick up a copy

Filed under: Uncategorized — kendrasteinereditions @ 9:42 am

In January 2014, I reviewed Wyatt Doyle’s fantastic book of short fiction set on the buses of Los Angeles, STOP REQUESTED. You can access that review here:    I wanted to share this recent ad for STOP REQUESTED, which quotes my comments, and also to emphasize that you REALLY need to get a copy of this book. This kind of writing is EXACTLY what KSE is here to champion. We don’t publish fiction, but if we did, this is what we would publish—-and also, this writing is richly poetic. While I suppose many would compare the book to the best of Bukowski or to something like John Dos Passos’s MANHATTAN TRANSFER, or even to a forgotten name such as James T. Farrell, Doyle’s lean, sculpted prose and his use of the precise and perfectly-spun detail reminds me of poets such as Charles Reznikoff—-his early poems of 1920’s New York pack the same punch as STOP REQUESTED—-a poet of the gutter who never resorts to sentimentalism and never lapses into social-realist lecturing. Dealing with life as it is lived, the parts of life we often turn away from as we are experiencing them, and dealing with them with the proper detachment yet with the deep engagement of the artist’s eye (Mr. Doyle is also an excellent photographer, no surprise there), is one of the most difficult things for an artist in any discipline to pull off. Wyatt Doyle has pulled that off marvelously in STOP REQUESTED.

You can order a copy here:      You’ll be glad you did…


July 18, 2014

The New Untouchables presents MODSTOCK: 21st Century Club Classics, compiled by Rob Bailey (Detour Records, UK, cd/lp)

Filed under: Uncategorized — kendrasteinereditions @ 7:52 pm

The New Untouchables presents MODSTOCK: 21ST CENTURY CLUB CLASSICS

compiled by Rob Bailey for Detour Records UK                   released 24 April 2014


track listing for CD version (LP version has 5  fewer tracks, missing the tracks marked ***):

1. It’s Gonna Rain – Gentleman June Gardner

2.Too Far To Turn Around – The Sty-Letts

3. I Ain’t Gonna Take You Back – Brenda Holloway And The Carrolls

4. I Don’t Know Why – The Gass

5. Shotgun – Johnny Deen And The Deacons

6. Take A Look At Me – The Mergers    ***

7. Love’s A Workin’- Dean Carter

8. I Fell In Love (For The Very First Time) – The Undertakers

9. Line And Track – The Aquamen

10. All The Rage – Secret Affair     ***

11. Emily’s Gone – The Apemen    ***

12. Madison Agent 005 – Les Cappuccino     ***

13. The Love I Need – Frank Butler

14. Please Grow Up – Harlem Kiddies

15. Step Down – The Ranglers

16. Voo Doo Man – Quartet Tres Bien

17. Hey Hey Gypsy Woman – Teddy Mack And The Mackinteers

18. Nicky’s At The P.C.- The J.J.Band

19. Baby Shake Your Whoop Whoop – The St James Group

20. You Know You Turn Me On – The Monzas

21. The Right Place At The Right Time – The Stone Foundation      ***

(note: the tracks marked  ***  are NOT 1960’s recordings, they are recordings by still-working bands (in the case of Secret Affair, well-known as a fine band from the late 70’s/early 80’s Mod revival, a band that’s been around for decades) who are playing this year’s Modstock….these non-60’s tracks are NOT on the LP version of this release, but are bonus tracks on the CD version…if you are a purist who does not want later material in your mix, buy the LP version)



Compiled to coincide with 2014’s international MODSTOCK celebration in the UK (compiler Rob Bailey describes the album as containing “sixteen future mod club hits”), MODSTOCK: 21ST CENTURY CLUB CLASSICS is in some ways an extension of the aesthetic found in Bailey’s five-volume LE BEAT BESPOKE series, though with a more R&B/soul-jazz flavor, which perfectly fits the Mod orientation of this set and the event it is celebrating/reflecting. Think of it as existing somewhere between a MOD JAZZ comp on Ace-Kent and a LE BEAT BESPOKE comp (with a twist of the “UK Floor Fillers” series and of Acid Jazz’s “Rare Mod” series)—-that’s pretty high of a rating in my book!

As someone in South Texas who has never been east of Maine, I don’t know a thing about the British sub-culture that this album or this movement grows out of. As I do with British compilations of US “Northern Soul,” I take the advice of Berry Gordy, “It’s what’s in the grooves that counts.” And by those standards, this album works beautifully. Played loud, it turns my South Texas living room into a fantasy version of some sweaty Mod club with a pumping MAXIMUM R&B vibe. Too many Americans equate Mod ONLY with feedback-drenched Freakbeat bands such as the Who or The Creation (amazing as they are!)….they forget the Georgie Fames or the Tamla 45’s or the soul-jazz singles that were an essential core of the scene. Also, let’s not forget that any 1965 Mod worthy of the name was seeking out obscure 45’s and spinning them for friends (or having his band cover them), so Rob Bailey is just keeping that proud tradition alive!

As with his fine LE BEAT BESPOKE comps,  Mr. Bailey casts his net rather wide, pulling in tracks that are super-obscure local 45’s along with both UK and North American soul/soul-jazz/beat/R&B from a variety of sources, including Liverpool’s UNDERTAKERS (with the recently departed Jackie Lomax), but instead of using one of the band’s UK 45’s, the album uses one of the raw garage-y punk R&B sides Lomax and crew cut during their ill-fated period working for Bob Gallo in NYC. When he uses material from an artist we know, like for instance the QUARTETTE TRES BIEN, who recorded a number of fine soul-jazz piano based albums in the Ramsey Lewis/Ray Bryant vein, he chooses a rare post-Decca 45 on the “Royal Tone” label, a single I’d never heard of. We also get the Harlem Kiddies, from Sweden (although most of them are American), the Monzas, from Tennessee, The St. James Group, from France, The Aquamen, from Arizona, and little-known British combos such as The Ranglers and Johnny Deen and The Deacons (who recorded in Germany). Also included are jazz musicians Frank Butler and June Gardner and 1963 proto-soul sides from the Sty-Letts and from Brenda Holloway (on the west coast, BEFORE her Motown involvement).

Bailey’s ace DJ touch blends it all together with nice changes in tempo and mood, but never letting up the groove and the flow. The later (non-60’s) tracks are peppered throughout the album (as you can see above from the track listing), which was a wise thing to do instead of bunching them together at the end, and although most listeners will be able to spot them fairly quickly, if only because of recording quality and the equipment used by the musicians, I did not find them too intrusive, and the recent bands certainly all have the right spirit. If this is a sticking point for you and you want only the vintage material, buy the LP version instead of the CD version.

A boatload of fresh mod-flavored beat/soul/jazz/garage-rock/R&B that shows how much overlap there was and how lame categories are in the first place. It’s either got that magical “it” or it doesn’t. Grab this one now….an instant Maximum R&B Party awaits, so why wait?


You can read more about the album here at the New Untouchables website:

Let’s hope Mr. Bailey will get to work on LE BEAT BESPOKE Volume 6 soon…

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