Kendra Steiner Editions

April 14, 2017

NEW AND RECENT MUSIC AND POETRY RELEASES FROM KSE, now available for immediate shipment! (as of 5/29/17)

Filed under: Uncategorized — kendrasteinereditions @ 1:40 pm



UPDATED  29 MAY  2017

NOTE: ALL CDR’s  ARE NOW PRICED @ $8.00, postpaid in the US.

OUTSIDE THE USA , one album is $18.00 postpaid, first two albums are $20.00 postpaid, then $8 each postpaid after that—sorry, but it now costs almost $14 US to send one CDR overseas….you save A LOT by buying more than one—in fact, the price on an order of two or more HAS GONE DOWN!

1 album= $18, 2 albums= $20, 3 albums= $28, etc. Thanks for your understanding of this. The Post Office now charges $14.50 to mail ONE cdr without a jewel box to Europe or Asia!

Payment is via paypal, using the e-mail address   django5722(at)yahoo(dot)com   . It might be helpful for you to also shoot me an e-mail telling me you’ve sent funds and what items you want…or if you prefer, tell me what books/cdr’s you want, and I’ll send you a paypal invoice.

KSE #372, ERNESTO DIAZ-INFANTE, “Manitas” solo classical guitar


KSE #362, FOSSILS & BILL SHUTE, “Florida Nocturne Revisited”….new interpretations of Shute’s Florida Nocturne Poems


KSE #355 (CDR), MORE EAZE, “wOrk”



KSE #359 (CDR), TOM CREAN & MATT ROBIDOUX, “Blank Space”–cover art by Jennifer Baron

KSE #336 (CDR), ALFRED 23 HARTH, “Kepler 452b Edition”

KSE #351 (CDR), MASSIMO MAGEE, “Music In 3 Spaces”

KSE #350 (CDR) ANTHONY GUERRA / BILL SHUTE, “Subtraction” KSE  reissue of album originally released in 2011 on Black Petal Records, Australia 

KSE #335 (CDR album), REVEREND RAYMOND BRANCH, “Rainbow Gospel Hour…On The Air!”—a wonderful hour-long AM-radio broadcast, mastered from cassette, capturing the warmth and joy of Rev. Branch in both music (lots of it) and spoken message

KSE #334 (CDR album), BRIAN RURYK, “Actual Size…degress again” (sic)

KSE #333 (CDR album), ERNESTO DIAZ-INFANTE, “Tunnels” solo 12-string acoustic mantra guitar


KSE #318, ALFRED 23 HARTH & JOHN BELL, “Camellia”



($6 US ppd/$7 elsewhere ppd)

KSE #366 (poetry chapbook), BILL SHUTE, “Approaching The Apparent: Meditations on the Kena Upanishad”

KSE #368 (poetry chapbook), BILL SHUTE, “Find A Place To Die”

KSE #367 (poetry chapbook), BILL SHUTE, “Left-Handed Cherubs”

KSE #354 (poetry chapbook), BILL SHUTE, “Revelation In Slow Motion”

KSE #364 (poetry chapbook), LUIS CUAUHTEMOC BERRIOZABAL, “Make The Light Mine”

KSE #352 (poetry chapbook), BILL SHUTE, “Bridge on the Bayou”

Thanks for your support of KSE (now in our 12th year of operation, with over 360 releases in that time!) and all other independent, non-aligned arts organizations.

May 29, 2017

Back From Mississippi…and into Summer 2017

Filed under: Uncategorized — kendrasteinereditions @ 10:49 am

natchez 1

Just returned from a 12-day writing vacation in beautiful Natchez, Mississippi, which was both very productive and very enjoyable. I’d hoped to get five of my six-page poetry chapbooks completed, but I wound up doing SEVEN. These will come out in small home-made KSE editions over the next year (and as always, the small KSE editions are the original and intended version, with original art, original epigraphs, original formatting, etc.)….and later will be collected in book form. I also would like to record the seven pieces this summer for a spoken-word poetry album. They are titled MELTDOWN; SATORI IN NATCHEZ; THE DIFFICULTIES, THE IMPOSSIBILITIES; GUEST REGISTER; NEW JERUSALEM; TIME CRYSTALS; and ARISING, ABIDING, AND DECAY. As always, I hope you all find them interesting and worthwhile.

natchez 2

I’ve been writing and publishing a lot since last fall, though most of it (except for the chapbook FIND A PLACE TO DIE, composed in El Paso in December) has been prose. I had EIGHT pieces in the last UGLY THINGS; for many months I had an almost-weekly piece at BTC; and I did a number of film and music pieces here on the KSE blog. Thus, a lot of poetry was, to paraphrase John Lee Hooker, in there and it had to come out. Now it has…

natchez 3

KSE is open for business once again….and we will be open until JUNE 14….then we’ll be closed while in El Paso and New Mexico between JUNE 15 and JUNE 27…and then we’ll be back in business again straight through the rest of the year, if the good Lord is willing and the creek don’t rise. In July and August we have a number of exciting new albums in store, including





Stay tuned for those. San Antonio’s own DANE ROUSAY will be the first album release in that group, and Dane will also be back on tour this summer. We’ll share those tour dates later. Dane’s album should be out by July 1st. I have always loved compositions for percussion and solo percussion albums, so having percussion composition albums from both Dane and JOHN BELL in our summer schedule is exciting, and I hope you will be as excited as I am by those albums.

natchez 4

Natchez bluesman Y Z EALEY at the Rolling River Bistro 5/26/2017

natchez 5

Most of my recent poems were written at the table to the right of the door. We got some heavy rains while I was there (see the flooded street next to the river in the second photo above), so for two days I wrote on the fully-covered back porch, which you can see on the far left of the picture. Working outdoors in such a lush and rich environment—-listening to an oil well pumping away on one side of me, and on the other side right next to a large cemetery from the 1800’s—-is just what this poet needed. And what a relief from the grind of daily work the trip was…

natchez 6

As always, thanks for your support of KSE and of all independent arts organizations.

Please go to our ordering page (a pinned post at the top of the KSE website) and try a few albums and/or poetry chapbooks which are unfamiliar to you….your life will be richer!

natchez 7

–I’ve been in most of the recent issues of UGLY THINGS Magazine, including EIGHT pieces in the latest one. You can order UT at

–My 2016 poetry book DOWN AND OUT IN GULFPORT AND BILOXI (containing pieces composed in 2015) has been getting excellent response and is available at Amazon in the USA, in Canada, in the UK, in Germany, and in France. Just check your country’s Amazon outlet and look for Bill Shute and the above title. It’s cheaper when you buy it in your local country. In the US, here is the link:

–the 42-page art-and-poetry book APPROACHING THE APPARENT, which pairs David Payne’s artwork and my poetry, just came out from A Series of Lizards in the UK. You can order this limited-run book direct from the publisher at

I will also be featured reading THREE complete poems on a new album on the German “Moloko Plus” label from Alfred 23 Harth. That will be out later this year–stay tuned!

natchez 8

natchez 9

May 16, 2017

new art (David Payne) and poetry (Bill Shute) book, APPROACHING THE APPARENT, published in the UK by A Series of Lizards

Filed under: Uncategorized — kendrasteinereditions @ 1:29 am


David Payne and I are proud to announce our new art-and-poetry book, APPROACHING THE APPARENT, a beautiful hand-crafted 42 page creation from the UK press A Series Of Lizards, edited and curated by Gary John Myles (aka Gaz). Gaz approached us about doing this because he enjoyed our previous art-and-poetry chapbook BLUES WITH A BRIDGE, which contained the dialogue of David’s art and my poetry. In this new book, we have three of my six-page poems, all the text on the right-facing pages, and eighteen newly created artworks by David, all on the left-facing pages. The art was created not only expressly for this book, but in reaction to the page of poetry which it faces!


The poems are newly edited versions of CRACK-UP 2016, ACRES, and APPROACHING THE APPARENT (Meditations on the Kena Upanishad), uniquely formatted for this page size and shape. ACRES has been a staple of my readings since I wrote it in 2009, and if you’ve heard me read since then, you will probably remember it. The three pieces are quite different from each other, but all are representative of what I feel are the best qualities of my poetry….so this would be a great entry-way if you don’t own any of my many other chapbooks. In fact, it might be THE BEST entry-way, since you are also getting David Payne’s challenging and haunting and playful art ON EVERY PAGE in dialogue with the poems.


KSE is not selling these, but you can get them straight from the publisher in the UK, A Series of Lizards, only five pounds each plus postage. Support small and innovative presses which are not extensions of MFA programs, not the recipient of some arts grant, and not bankrolled by some pretentious wanker’s rich parents…. presses which  are truly INDEPENDENT!

Here is the link for ordering:

Grab this soon as it’s a very limited run, and based on the people who’ve written me to tell me that they ordered one, the available copies may not last long. Thanks to Gaz/A Series of Lizards for inviting us to create this volume and for the great job done in editing and publishing.  It’s EXACTLY the way we hoped it would be….and maybe even better!


May 15, 2017

off to Natchez, Mississippi, for the second half of May

Filed under: Uncategorized — kendrasteinereditions @ 8:01 pm

natchez pic 7

As longtime readers know, each May or June I try to take an extended (10-14 day) “writing vacation” in a picturesque, off-the-beaten-path area rich with local culture and history. With my job amping up the workload each year and with the steady stream of KSE music releases each year, I need a block of time when I can work on nothing but poetry all day, every day. Last year I was staying on Bayou Teche in central Louisiana and had a wonderful and very productive time. This year, I have found a cottage one block from the mighty Mississippi River in beautiful and historic Natchez. I’ve been on the Mississippi Gulf Coast (don’t forget, my most recent poetry book was called DOWN AND OUT IN GULFPORT AND BILOXI!) and in Northern Mississippi, but I have not been to the Natchez/Vicksburg area, and with a lifetime of listening to Mississippi blues music and reading Faulkner and Twain and the like, I feel as though I have the area in my blood.

natchez pic 2

My drug of choice for writing is strong tea, and I wake up to a stout pot of tea and sit outdoors as the sun rises (last year on the bayou, this year next to the Mississippi River) and soak up the environment….then work on poetry for 6-8 hours, then explore the local culture in the mid-afternoon through early evening, then come back home and edit what I wrote earlier in the day. That’s the usual schedule….and since there IS NOT a racetrack nearby (I often find areas near a dog or horse racing track for my writing vacations, but not this year), I may well get MORE done this year than other years….although for me a racetrack is a great writing and editing environment.

natchez pic 3

The recent KSE album (played just this week on Free Form Freakout in Minnesota and listened to worldwide) FLORIDA NOCTURNE REVISITED, which mixes my poetry with the sound sculpture of FOSSILS, consists of pieces written in 2012 during a writing vacation in Central Florida, and this summer, I’ll be issuing an album of my reading the five chapbooks I wrote last year in Louisiana on the Bayou.

natchez pic 4

Somehow being in a different environment breaks loose the poetic plaque from my writing arteries and gets it flowing in my aesthetic bloodstream. I have notes and outlines and structural plans for each of the five extended pieces I plan to write during this getaway, so in a way the skeleton is there….I’m just fleshing it out and breathing life into it. And of course, it’s all about BREATH, isn’t it, when we are talking about poetry and the poetic line and the stanza.

natchez pic 5

My getaways are relatively low-budget—-for the last few years, I’ve tried to save money by going to places I do not need to fly to (and thus, also do not need to rent a car in) and renting rooms or cottages with their own kitchen so I can cook. A box or two of poetry and art books, stacks of Document Records 1920’s blues and gospel/preaching CD’s, lots of jazz, some volumes of Swedenborg’s ARCANA COELESTIA, a pile of recent issues of the London Review of Books given to me by an academic friend, and as always a volume of Paul Blackburn—-that’s all I need for my own creative cocoon. I am computer-free and internet-free (I do not have a smart phone), unshackled from the “grid” which more and more seems like something out of a William S. Burroughs or Philip K. Dick novel.

natchez pic 8

For me, poetry is a functioning construct, an assemblage made up of language-charged pieces, and if those pieces in the construction are not battle-tested and “real” and smelling and tasting of life-as-it-is-lived, then for me the end product is not going to be worthwhile. The ultimate litmus test for a poem I produce is….is this something I would want to read and spend time with and ponder and live with? In a sense, I am producing poetry which I feel NEEDS TO EXIST, BUT DOES NOT PRESENTLY EXIST. When something needs to be done, and it’s not being done–or not being done adequately–you are often forced to DO IT YOURSELF TO GET IT DONE. That’s as good a reason as any for artistic creation.

Thanks to those who have read my chapbooks or listened to my poetry and poetry-and-music albums or attended one of my readings over the years. I hope you find this year’s creations, growing out of my time in Mississippi, to be interesting and worthwhile

See you all again at the end of May.


May 11, 2017

FLYTE (Gene Clark & Chris Hillman), Live In Los Angeles, 1982

Filed under: Uncategorized — kendrasteinereditions @ 7:49 pm

FLYTE (Gene Clark & Chris Hillman)

Live in Los Angeles, 1982

Keyhole Records (UK), 2-cd set


These recordings have been circulating on Byrds-oriented websites for years, but if you’d like a physical copy that’s attractive and convenient and relatively cheap (under ten dollars), here it is….a grey-market, protection-gap UK release which looks suspiciously like it’s from the some people who do unauthorized compilations of 60’s obscure 45’s which I sometimes review. However, I’ve played both these discs at least ten times since getting this album 4 or 5 months ago, so I’d like to mention it as a number of you would love this as much as I do.

To put this band into perspective, this is Chris Hillman after the breakup of the McGuinn-Clark-Hillman band….and Gene Clark before his Firebyrd album, and one can hear elements of each of those items here. However, this is a bluegrass-based band—-essentially Chris Hillman and his long-time musical partner Herb Pedersen with Al Perkins and the added presence of Gene Clark. There is a Flying Burrito Brothers element here too, but imagine a bluegrass Burritos as opposed to a country Burritos.

Recorded at the Palomino in North Hollywood (according to knowledgeable people, on December 18, 1982, when the band was opening for Emmylou Harris), we have here two sets by the band–the first set contains two songs unique to it, and those two songs are stunners: Dylan’s Mr. Tambourine Man, which pre-figures Gene’s version of it on the Firebyrd album, and a beautiful and moving version of Gordon Lightfoot’s If You Could Read My Mind, sung by Gene, who states that it’s one of his all-time favorite songs. Based on this performance, I can hear why.  Clark fans need to hear this version. The second set concludes with a song not on the first set, One Hundred Years From Now. The shows are taken from an FM broadcast and bring back the days when one could tune in to a local FM station and hear shows from local clubs, settle back with a glass of wine, and be transported to the club while in your own apartment. I used to be able to hear a number of these in the Denver of the 1970’s.

I tend to listen to this album in the evening, while winding down from the day, and it’s like a comfortable visit from an old downhome friend. It should probably be mentioned that Chris Hillman and Herb Pedersen are the dominant musical forces in this band, with the added harmonizing (and a few solo vocals) from Gene Clark, which of course add an intriguing depth to the pieces. These performances are informal and relaxed, just the way you’d want them to be.

Chris Hillman, unfortunately, tends to be taken for granted nowadays by many. Gene Clark has finally been getting a lot of acclaim since his death, and there’s probably more Gene Clark available now than at any time during the man’s lifetime. Chris Hillman is still active, and if you consider that his pre-Byrds Scottsville Squirrel Barkers LP was released in 1963, the man has had a 54-year recording career, and is surely one of the greatest country-rock pioneers alive today, still a fine performer who still puts out excellent music. His body of recorded work is much larger than you might suspect, unless you have been collecting his many albums (and appearances on others’ albums). He is in fine form here and clearly is enjoying himself and enjoying being in the presence of his fellow band members and friends. Also, by this time, his work had a sense of depth and gravitas and a lived-in quality that cannot be faked.

Another selling point for this album is that bluegrass purists would probably NOT like it and would consider it country. I lived in rural Virginia for six years, in an area where bluegrass (or as it’s often called there “old-time-music”) was the indigenous music, and there is sometimes a very strict definition of the genre….and the revival bands who self-consciously in that vein do tend to respect those boundaries and content/style requirements. FLYTE do not.

As this is not an authorized album, feel free to download the same recordings at  .

Early Set

  1. Tomorrow is a Long Time 2:02
  2. Still Feeling Blue 2:21
  3. Train Leaves Here This Morning 3:47
  4. Don’t Let Your Sweet Love Die 2:43
  5. Runnin’ the Roadblocks 3:12
  6. Easy Ride 2:48
  7. Wheels 3:42
  8. My Uncle 2:36
  9. If You Could Read My Mind 4:57
  10. Once More 3:52
  11. Mr Tambourine Man 5:44

Late Set

  1. Intro 0:11
  2. Tomorrow is a Long Time 3:02
  3. Still Feeling Blue 2:31
  4. Train Leaves Here This Morning 4:10
  5. Don’t Let Your Sweet Love Die 2:50
  6. Runnin’ the Roadblocks 3:16
  7. Easy Ride 3:00
  8. Wheels 3:43
  9. My Uncle 3:10
  10. Once More 3:26
  11. One Hundred Years 2:48

The perfect album to put on late at night, windows open, lights out and with a candle burning, on your second micro-brew or second bourbon. The music will take you to a good place….

May 10, 2017

SKI FEVER (Austria-Yugoslavia 1966), directed by Kurt Siodmak, starring Martin Milner and Claudia Martin

Filed under: Uncategorized — kendrasteinereditions @ 2:15 pm


SKI FEVER (aka Liebesspiel im Schnee)


starring Martin Milner, Claudia Martin, Vivi Bach, Dietmarr Schonherr

directed by Kurt Siodmak

I vaguely remember the short theatrical run of this film in 1969, and I vaguely remember seeing it listed in TV Guide as playing once in the middle of the night on a day when I had to be up for school at 530 a.m. I’ve always been on the lookout for it ever since, and when offered a cheap DVD-R of it recently, I had to take the plunge. It was well worth it.

Imagine an Austrian-Yugoslavian attempt at a frothy “Palm Springs Weekend”-style frolic set at a ski resort, with music and songs by AIP’s Hemric and Styner duo who did the music for the beach party films, and imported American stars Martin Milner (post-Route 66, pre-Adam 12) and Claudia Martin (Dean Martin’s daughter)…no one has ever reviewed it at the IMDB…

It would be easy to lampoon something like this—-indeed, it was screened once during the satirical mid-80’s TV show “The Canned Film Festival” which presented campy/cult films in a manner like Joe Bob Briggs or Elvira (in other words, they’d talk between the breaks, which I don’t mind,  NOT over the movie as is done in MST3K, which I don’t like). However, I don’t think this can qualify as a “cult” movie as it’s never been available in any video format, so few have seen it. The copy I have is NOT from Canned Film Festival (sans satirical comments) but seems to be taken from a 16mm TV print.

Another way to describe the film is that it’s like a European take on a mid-60’s Elvis film, minus Elvis. There are a number of songs in it. The title song (which I can’t get out of my head) is sung by its co-writer Jerry Styner, Claudia Martin sings a song, and there are a number of songs sung in a heavy German accent by co-star Dietmarr Schonherr. Claudia Martin, daughter of Dean Martin, is an attractive and pleasant presence. She’s in the role that might be played by, say, Mary Anne Mobley in an Elvis film, although Ms. Martin’s persona is more reserved and “classy” than the spunky persona Mobley often projects. She had a number of TV credits and appeared in the films FOR THOSE WHO THINK YOUNG in 1964 (which I would bet got her this role) and GHOST IN THE INVISIBLE BIKINI in 1966, the same year this was made…

There’s nothing like screwball comedy that’s dubbed….it’s surreal….Martin Milner is a strong enough presence to carry the film, as the American ski instructor who’s a bit of an outsider to the European instructors who have a kind of clique and who have tasteless “contests” to see who can seduce the females in their ski classes first. Milner does not go along with this and thus is not accepted. Coincidentally, the character played by Vivi Bach has a huge crush on the instructor played by Dietmarr Schonherr, who is initially not interested, and Milner helps Bach to learn to ski better so she can attract him more. Simultaneously, Schonherr has an interest, not returned in Martin and….well, you know how these silly romantic comedies set in Florida or Catalina Island or wherever work out. Just change the setting to an Austrian ski resort, and you’ve got it.

There is A LOT of skiing footage here, and it’s quite imaginatively photographed—-director Kurt Siodmak has more credits as a writer (for instance, the original WOLF MAN with Lon Chaney, Jr.) than as a director, with BRIDE OF THE GORILLA, THE MAGNETIC MONSTER, and CURUCU, BEAST OF THE AMAZON being his best-known credits as director. He also directed 7 episodes (which would be the majority of them) of the interesting 13 DEMON STREET Swedish TV show with Lon Chaney, Jr. Some of these were cut into the patchwork feature THE DEVIL’S MESSENGER, which did well on the American drive-in circuit in the early 60’s and was also seen widely in TV horror packages on indie and UHF stations. The full run on 13 DEMON STREET episodes were made available on a series of SWV dvd-r’s many years ago, and it was a fascinating Twilight Zone-esque anthology horror-mystery series which should be better known. Siodmak directs a LOT of lowbrow humor here and also musical sequences, which are certainly genres he’s not associated with. It’s all as well done as, say, a PETTICOAT JUNCTION episode (that’s meant as a high compliment, by the way), and the film’s REAL locations and modest budget make it actually a much more interesting viewing experience than, say, PALM SPRINGS WEEKEND, which seems to be what it’s aiming for, but with a ski resort setting.

ski 2

This was not released in the USA until 1969, when Allied Artists released it on the drive-in circuit. AA was putting out a number of films in this pre-Cabaret era, more than I remember. You can look at their release schedule here:    There are a lot of gems here, especially the imports. However, they also handled interesting domestic product in this period such as THE END OF THE ROAD with Stacy Keach and the made-in-Florida sci-fi epic MISSION MARS with Darrin McGavin and (in one of his last performances) Nick Adams (and also featuring during the credits the wonderful psychedlic music of THE FORUM QUORUM, which certainly put ME in the right frame of mind to appreciate the film, although others often slam their music in the context of the film)….as well as fellow-Floridian William Grefe’s gritty THE HOOKED GENERATION (aka Alligator Alley), starring Jeremy Slate and Steve Alaimo.  Interestingly, while it was released AFTER Milner hit pay dirt a second time in television with ADAM-12 (surely a motivating factor in its domestic release), the poster highlights Milner’s appearance in VALLEY OF THE DOLLS (!!!). He was certainly good in that film, but is there anyone who thinks of it as a Martin Milner vehicle?

I’d love to know what would have been on the other half of an Allied Artists double-bill with this, but in judging the quality of the film, I ask myself….what if I’d seen this after a long work-week at a drive-in in Stillwater, Oklahoma or Lexington, Nebraska or Alice, Texas? Well, I think I and most viewers would be quite satisfied. It’s got an interesting and visually attractive setting with a lot of location footage, it’s got a number of songs (and the title song will stick in your head for days), it’s got the kind of couples-mix-up shenanigans that have been successful with audiences since the days of Leon Errol comedy shorts, it’s got lowbrow humor, and it’s got an attractive lead couple in Milner and Martin. Also, Martin Milner was born with screen presence and also a self-deprecating sense of humor, something which always wins over audiences.

I’d rate it a winner. However, please be aware that you are watching a dubbed (the two American stars do their own voices, thankfully, as do the two other stars in their charmingly accented English) Austrian-Yugoslavian attempt at an Elvis film, but with no Elvis. If that’s appealing to you the way it is to me, go for it!

ski 3

April 27, 2017

new album from ERNESTO DIAZ-INFANTE, “MANITAS” (KSE #372)

Filed under: Uncategorized — kendrasteinereditions @ 7:03 pm


uninterrupted solo classical guitar performance, 44:25

ernesto manitas

It’s always an honor to bring out a new album from West Coast guitarist and composer ERNESTO DIAZ-INFANTE. I grew up listening to the mind-bending guitar experimentation of Sonny Sharrock, Derek Bailey, Fred Frith, Hans Reichel, savoring and studying their albums. KSE hopes to keep that tradition alive for today’s listeners by featuring new creations from Ernesto on the West Coast and Tom Crean on the East Coast.

We brought Ernesto in from San Francisco in 2012 for the KSE 6th Anniversary Concert in Austin, and while his performances (he did both solo and trio sets) were stunning, what was perhaps most impressive to me at that show was his amazing virtuoso abilities as a performer. He would do a piece that would last for fifteen or more minutes, that was incredibly EXACT in every way and at a fever pitch. The stamina and self-discipline involved made my jaw drop. Many of his more athletic pieces have had that effect on listeners–I know that having seen Cecil Taylor do three nights of solo piano in 1977, and having seen Sarah Hennies do long uninterrupted intricate percussion performances of her demanding and long compositions in the 2008-2011 Austin period, that Ernesto is for me in that same category.

And speaking of Cecil Taylor, he was an inspiration for this new MANITAS album. Let’s let Mr. Diaz-Infante explain about the album:

“Manitas” means ‘little hands’ in Spanish—on one hand a personal reaction to the political climate of Trump, and in another sense this idea of our hands working away at what we love. It’s a 44 minute structured improvisation of solo classical guitar. It was inspired by listening to Cecil Taylor’s ‘Air Above Mountains’. It’s a spectral way of playing I have been developing, of avoiding melodies or harmonies, and using extended techniques, strumming, free-form fingering and picking, that verges on noise. I’m interested in automatism, letting the unconscious mind take control.–Ernesto Diaz-Infante

Every album by ERNESTO DIAZ-INFANTE tackles a new compositional and performance challenge, and MANITAS is the latest in the artist’s fascinating journey.  On past albums he has brought out the inherent possibilities of the Bajo Sexto and the 12 String Guitar, on MANITAS, he uses the rich tonal palette of the nylon-stringed classical guitar–a beautiful, resonant, full-bodied sound.   Get your copy now!


Payment is via paypal, using the e-mail address   django5722(at)yahoo(dot)com   . It might be helpful for you to also shoot me an e-mail telling me you’ve sent funds and what items you want…or if you prefer, tell me what books/cdr’s you want, and I’ll send you a paypal invoice.

All CDR’s are $8.00, postpaid in the USA.

OUTSIDE THE USA , one album is $18.00 postpaid, first two albums are $20.00 postpaid, then $8 each postpaid after that—sorry, but it now costs almost $14 US to send one CDR overseas….you save A LOT by buying more than one—in fact, the price on an order of two or more HAS GONE DOWN! Suggestion: if you are ordering from overseas, why not get Ernesto’s previous KSE album TUNNELS (KSE #333) as your second album (for just $2 extra from the cost of 1 album because of the odd international postage rates!). Only $20 postpaid outside the US for BOTH Ernesto Diaz-Infante albums. Or any two available KSE albums.

1 album= $18, 2 albums= $20, 3 albums= $28, etc. Thanks for your understanding of this. The Post Office now charges $14.50 to mail ONE cdr without a jewel box to Europe or Asia!



KSE #362, FOSSILS & BILL SHUTE, “Florida Nocturne Revisited”….new interpretations of Shute’s Florida Nocturne Poems


KSE #355 (CDR), MORE EAZE, “wOrk”



KSE #359 (CDR), TOM CREAN & MATT ROBIDOUX, “Blank Space”–cover art by Jennifer Baron

KSE #353 (CDR), FOSSILS, “Camelot Towers”

KSE #336 (CDR), ALFRED 23 HARTH, “Kepler 452b Edition”

KSE #351 (CDR), MASSIMO MAGEE, “Music In 3 Spaces”

KSE #350 (CDR) ANTHONY GUERRA / BILL SHUTE, “Subtraction” KSE  reissue of album originally released in 2011 on Black Petal Records, Australia 

KSE #335 (CDR album), REVEREND RAYMOND BRANCH, “Rainbow Gospel Hour…On The Air!”—a wonderful hour-long AM-radio broadcast, mastered from cassette, capturing the warmth and joy of Rev. Branch in both music (lots of it) and spoken message

KSE #334 (CDR album), BRIAN RURYK, “Actual Size…degress again” (sic)

KSE #333 (CDR album), ERNESTO DIAZ-INFANTE, “Tunnels” solo 12-string acoustic mantra guitar

As always, many thanks for your support.

Please note that KSE WILL BE CLOSED MAY 15-MAY 30, 2017–no orders shipped during that period…and no internet access, as I’ll be deep in rural Mississippi, one block from the Mississippi River.

April 15, 2017

Mission In Morocco (UK-Spain, 1959), starring Lex Barker

Filed under: Uncategorized — kendrasteinereditions @ 10:37 am

mission 1


also starring Julie Reding and Fernando Rey

directed by Carlos Arévalo and Anthony Squire

released on VHS in the USA by Republic Pictures Home Video in the 1990’s

mission 3

I have always valued a terse, succinct approach to the arts and entertainment. Yes, there is certainly a place for an epic scope and a large canvas, but one must admire efficiency and concision, particularly in popular entertainment. The 60-minute B-crime-or-mystery feature film is one of the greatest expressions of this aesthetic, in my humble opinion. Recently I’ve been watching the wonderful early 60’s UK-made Edgar Wallace mystery feature films, running about 59 minutes and done on 22,000 pound budgets. There is not a wasted detail or line or shot–every piece is calculated to work as part of the whole, and there is no filler. They don’t waste my time, nor do they waste the time and resources of the makers.

I just recently acquired a DVD-R of the 1959 British-Spanish co-production MISSION TO MOROCCO, starring Lex Barker—-which I reviewed on the IMDB in 2004 from a VHS release—-and watching it, while it’s no classic, I appreciated its modest aims and more-than-adequate achievement of those aims. The Brits were masters of lean B-crime/mystery films, and even a production such as this possessed the echo of that film-making skill. MISSION TO MOROCCO is not well-known or well-loved. I’m the only person to have reviewed it on the IMDB, and the other references I’ve seen to it in English describe it as a “dog” and “slow-moving.” I’d challenge the “dog” designation, but it IS a film that takes its time. Honestly, I think that the producers felt that the Spanish and Moroccan locations could do a lot to “sell” the film, and having an American action-adventure star such as Lex Barker walk through the film could somehow ‘close the sale’ for the viewer….and also help in European markets where Barker was a big name.

mission 2

As this was released on VHS by Republic Pictures Home Video, I always assumed it was a very-late Republic theatrical release–after all, in 1958 and 59, Republic was issuing mostly foreign pick-ups, reissues of their older product (often re-titled), and independent productions, some of which fell somewhat short of Republic’s usually reliable professional production standards. However, in researching the film online, I can see no evidence of a US theatrical release, so Republic’s owning the rights to this film in the US must have come from including it in an NTA television package at one time. According to Wikipedia, by the late 1980’s ” NTA had bought the name and trademarks of the old Republic studio and renamed itself Republic Pictures, and the home video arm was renamed to Republic Pictures Home Video.” And serial fans will be forever in debt to that company for their fine 2-VHS sets of much of the Republic serial library in beautiful, well-restored editions. Republic Pictures’ choice of features to reissue on VHS was not that logical or predictable. They put out the poor WHEN GANGLAND STRIKES (which was discussed here a few months ago), and they put out MISSION TO MOROCCO. It’s nice to know the company felt that Lex Barker had enough US fans to justify such a release!

mission 4

Let me share my 2004 IMDB review of the film:

This British/Spanish co-production stars Lex Barker as an oil company executive working out of Spain who learns that one of his colleagues on a secret mission in Morocco is killed. The films starts off well with a number of children playing on the beach finding the body, and Barker and his fiancée Juli Reding (perhaps best known from TORMENTED). There is some nice location photography (in crisp B&W), and the minimal sets should not bother any low-budget film fan. The overall feel of the film is not unlike the “international co-production” crime-spy TV shows of the 1950s or the typical 1950s b&w Euro crime/mystery film with an American star such as George Raft or Lloyd Bridges or Cameron Mitchell. Barker is required to look handsome, act concerned, and win a few fights, all of which he does well, while Juli Reding (with her wide-set eyes, she’s a very distinctive looking lady, vaguely reminiscent of Jayne Mansfield) does not get to show the dramatic range here that she did in TORMENTED–she’s mostly playing the traditional “girlfriend of hero” role. The great Fernando Rey is also featured in a large supporting role. While this is no all-time classic, it certainly does not deserve the two-star rating it currently has here on the IMDb. The script does not contain any overly clever plot twists, but it’s a competent piece of work that should hold its own alongside any of the TV episodes or Euro genres mentioned above. Barker is always worth watching to his fans, and he is well-presented here, and Ms. Reding’s filmography is so small that any fan of TORMENTED will want to see her here. This was issued in the US in the early 90s on a Republic Pictures Video VHS tape that is widely available used and as a cutout for a few bucks. I paid $2 for mine, and it was a pleasant way to spend 85 minutes after a long week. And next to the crap at the local multiplex or reality-TV shows, Mission in Morocco looks pretty darn good!

mission 5

It’s interesting that the copyright to the film is held by the Spanish co-production partner, HISPAMER FILMS, a name well-known to  and well-loved by the peplum and Eurowestern fan—-that would lead me to believe that Spain was the dominant partner in the production, and indeed, it plays more like a Spanish film than a British crime film. It’s a film that does not shout, but instead takes its time and uses the Spanish and Moroccan exteriors and cultural details well.

Lex Barker’s last American feature film was made in 1957, the 1958 FEMALE FIENDS was made in Britain, and by the end of 1958, he was working exclusively in European films, which he would continue to do, with just minor exceptions, until his passing in 1973. He’d already made a few films in Italy-Spain before making MISSION IN MOROCCO, and by 1968 he’s starred in some 40 (!!!) films in Europe.

As a footnote, in 1954, soon after leaving the role of Tarzan after the film TARZAN AND THE SHE-DEVIL (which I reviewed at BTC a while back), he made two films back-to-back in Italy, one of which (BLACK DEVILS OF KALI) was awkwardly dubbed and padded with clunky narration, and then released by REPUBLIC PICTURES in 1955 as MYSTERY OF THE BLACK JUNGLE (the “Jungle” reference no doubt cashing in on his fame as Tarzan)….and released in black and white (it had been shot in color). I’d love to see the Italian originals of the two films he made in Italy in 1954, but I’ve never seen English-subtitled versions available. The American release, MYSTERY OF THE BLACK JUNGLE, is available, but alas I cannot recommend it.

MISSION TO MOROCCO would have been perfect entertainment at 3 a.m. on a small-market UHF station back in the 1970’s. One night they could show an Eddie Constantine film, the next night they could show MISSION TO MOROCCO. As Joe Bob Briggs says, “check it out”….if you’re so inclined!



A Lex Barker film that actually WAS released theatrically by Republic Pictures

April 10, 2017

La magnifica sfida (aka Falcon of the Desert), starring Kirk Morris (Italy-Spain 1965)

Filed under: Uncategorized — kendrasteinereditions @ 8:02 am

La magnifica sfida (aka Falcon of the Desert, aka El halcón del desierto)

Italy-Spain 1965, starring Kirk Morris, Aldo Sambrell, Dina Loy, Franco Fantasia, Red Ross

produced by Osvaldo Civirani, directed by Miguel Lluch

falcon 1

PROLOGUE (written on screen after credits): One of the most powerful states of the Arab Peninsula in the Eleventh Century was the Sultanate of Semares. The city stood in the heart of the desert in the midst of a vast expanse of burning sands that had to be crossed by journeying for days and days without encountering the refreshing coolness of an oasis or the relief of a welling spring.

FALCON OF THE DESERT came along very late in the cycle of sword and sandal films, being released in Italy in September 1965…and even later in Spain (1966) and France (1967!!!). Being set in the Arabian Peninsula and NOT in Greece or Rome perhaps gave the film some novelty value, and since no one appears shirtless and muscle-flexing in this, it should probably be classified as “Arabian adventure” and not peplum or sword and sandal.

When I first heard of the title 10-15 years ago, I wondered if it might be an alternate name for one of Kirk Morris’ other films, such as TERROR OF THE STEPPES or ATLAS AGAINST THE CZAR or DEVIL OF THE DESERT AGAINST THE SON OF HERCULES or HERCULES OF THE DESERT…..but no, the poster made clear this had a different cast and credits, and now that I own the film (which has NOT been reviewed on the IMDB), I can attest that this is a completely different film. All of Kirk Morris’s adventure films of 1965 (again, VERY late in the sword and sandal cycle) have exotic settings, such as THE CONQUEROR OF ATLANTIS and MACISTE, AVENGER OF THE MAYANS (the latter being cobbled together with footage from two other films), and this one completes the sequence.

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The film I was initially reminded of when watching FALCON OF THE DESERT was the 1944 Columbia serial THE DESERT HAWK, starring Gilbert Roland, but these adventures set in a homogenized “Arabic” desert setting go back to the days of Valentino, and even something like LAWRENCE OF ARABIA could have inspired the producers to tap into that vein when looking for an “exotic” project in which to star Kirk Morris to compete for the remaining liras or francs or pesetas available in the dwindling sword-and-sandal market.

My copy of this, which was duplicated from an obscure Dutch VHS release, is somewhat letter-boxed, though not fully, but even in that altered form, the vast expanses of sand and sun look impressive, and when mixed with the clanking of swords and the pounding of hoofbeats, create a delicious fantasy world. The booming musical score (which seems borrowed–some passages I know from earlier films, one of which I know used a re-purposed score, so this would be its THIRD use, at least….these low-budget Italian peplum films from late in the cycle sometimes use music from earlier films) also helps to create a dynamic sense of adventure.

falcon 3

Director Miguel Lluch (not a name one would soon forget!) seems to have worked exclusively in Spain on projects I don’t think ever got dubbed and exported to North America. I follow Spanish films of the 1960’s, and I had not heard of any of them.

As for producer-writer Osvaldo Civirani (also credited as director of photography on this film, and the desert landscapes and battle scenes are impressively photographed), he is a familiar man to fans because of his peplum (Hercules Against The Sons of the Sun, Kindar the Invulnerable), western (Rick And John, Conquerors of the West; Return of Django), and spy (The Beckett Affair, Operation Poker) work. I would make a point of watching anything with his name somewhere on it.

Aldo Sambrell (unforgettable in his brutal role in NAVAJO JOE, the man who does the vicious scalping before the title credits) has a large role in this film, as Kames, a complex man who is working for the corrupt ruler of Semares, named Atatur, and who befriends Kadir (Kirk Morris), when Kadir saves Kames from a certain death as Kadir happens to be travelling through the area near Semares. This is another film with the plot of someone who is returning to his homeland after many years/decades away and finds that the place has degenerated and come under the rule of a brutal tyrant. This brutal tyrant, Atatur, is interesting in that he talks about his control strategies to his underlings, almost as if he is proud of his Machiavellian machinations and wants everyone to know how creative and imaginative he is in his nefarious scheming. While he does have the usual trappings of the cliched evil ruler, his soliloquies on the management techniques of brutal enslavement seem like a distant relative to something out of David Mamet.

falcon 4

KIRK MORRIS (though not from this film)

Kirk Morris has always been an interesting screen presence, and when one looks at his body of work, it’s clear that his projects are often off-the-beaten-track in terms of concept and setting. He certainly projects authority, in that post-Steve Reeves way one expects in the peplum genre, but he also has a boyish face and radiates charm. Morris (real name: Adriano Bellini) had a film career lasting 11 years. In that period, he appeared in 15 films that could be fit into the general peplum / sword & sandal / historic adventure category, and then he worked in other popular Italian film genres such as westerns, war films, and sci-fi. In my discussion with other fans of the peplum/sword and sandal genre, Morris is always a favorite, and with a number of his films picked up by AIP-TV for North American television in the 1960’s (in dubbed, pan-and-scan versions), his is a name well-known and well-loved among those who saw his work on Saturday or Sunday afternoon slots devoted to “Hercules”-style films or at 3 a.m. on UHF or indie TV stations.

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KIRK MORRIS (in later years)

I’ve sometimes wondered if the popularity of these films internationally (and they played all over the world) had to do with their archetypal quality–they were fictional “legends” that existed outside of time, and like paraphrases of Old Testament stories which left inconvenient specifics behind in their quest for allegorical truth, these films were both simple entertainment and archetypal projections of political intrigue and social unrest and elemental human emotions….and they were timeless, beyond any particular era or any particular place because they were existing in no actual location. Yes, there are a handful of these films which deal with a specific Roman ruler or historical situation, and we can discuss one of those elsewhere (I probably have discussed one or more elsewhere on this blog), but something like this, despite the miles of desert sand, the generic “Arab” costumes, and the dropping of the name Allah into the conversations, takes place in an Arabian Nights fantasy world, a storybook setting. Because the characters and situations here exist in no actual place, they can became mirrors of ANY place or time. Also, the dubbing, with its stilted and somewhat formal tone, helps to capture the feel of a “great Bible stories” book or film short….or an old-fashioned “literary” reading aloud of Washington Irving’s Tales of the Alhambra. At least, that’s how a film like FALCON OF THE DESERT strikes me.

The many battle scenes, all featuring swordplay on horseback in the desert, are impressive, the court intrigue and the philosophizing of dictator Atatur are fascinating and surely were an important element to the writer of the film, and each actor creates a vivid impression, despite the dubbing (and remember, an Italian film such as this was shot without sound, MOS, so ALL versions were dubbed, even the native Italian version), of his/her character, playing the role in a manner where each functions kind of like a chess piece.

FALCON OF THE DESERT is not the easiest film to find, but for fans of this genre, it’s a novel and interesting and entertaining experience, and a precious example from the final year of the sword and sandal genre, when chances were being taken and boundaries were being expanded. By 1966, the next year, the genre would be over in terms of active film production (though the films were distributed overseas for a few years after that, and of course have had decades of life on television and video….and from what I understand, are STILL being shown in the middle of the night on European cable TV networks as filler). I’ve acquired some other obscure 1965 peplum titles in recent months and hope to discuss some of those over the Summer. Stay tuned…

April 8, 2017

DEVIL RIDER aka Master’s Revenge (Florida, 1970)

Filed under: Uncategorized — kendrasteinereditions @ 1:42 pm


DEVIL RIDER (aka Master’s Revenge)

written, produced, and directed by Brad F. Grinter

photographed by Barry Mahon, made in Florida, starring Sharon Mahon

released 1970-71 (poster above shows a 1971 release date through Goldstone)

watch the trailer at

Great to discover that you can watch for free a virtually unknown, Florida-lensed biker film written, produced, and directed by Brad Grinter (of FLESH FEAST and BLOOD FREAK fame), photographed by the legendary Barry Mahon, starring Mahon’s daughter Sharon, featuring great psych-garage music from “The Heros (sic) of Cranberry Farm,” and shot on location in 1970 South Florida.

devil rider frame

Florida had one of the most interesting regional exploitation-film industries of any state, with any number of curious and unique film-makers at work. Grinter and Mahon are two of the best-loved among fans (of course, William Grefe was the king of Florida independent film-makers, in my humble opinion).

Devil Rider (20)

This is a grungy Deep South biker film that is colorful, full of regional detail, unpleasant, and everything you’d want a low-budget regional Southern biker film to be. Open your windows on a hot night, get a six-pack of cheap poor-quality beer, and smoke some poor-quality ragweed, and you can imagine YOU are at a Florida drive-in, feeling rebellious because you are watching an “outlaw” film like this. It sure was not made by a major film studio, not even AIP or Crown International, and that is exactly what its appeal was then and is now.

devil rider

If you liked Mahon’s rock and roll film “Musical Mutiny” (and who didn’t?) or Grinter’s “Blood Freak” starring former unauthorized-Tarzan Steve Hawkes or “Flesh Feast”  starring Veronica Lake (and I can’t imagine any fan of oddball low-budget regional exploitation films not loving those), then your life is incomplete without seeing DEVIL RIDER. Want a window into a world that’s both long gone and yet painfully still with us but never mentioned? Watch this downer of a film….as Mickey Spillane used to say about a certain beer in a famous commercial, “it’s got everything you want in a beer….and less!” I was totally entertained by this film. It delivers the goods. Check it out if you are so inclined. Here’s the link:

ENJOY!   Thank you Barry Mahon and Brad Grinter. If only someone would discover Grinter’s 1974 film NEVER THE TWAIN, which combines Mark Twain and the 1974 Miss Nude World competition. I have a feeling that won’t be shown at the Mark Twain House in Hartford (a great place, by the way, to visit if you are a Twain fan) anytime soon….

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