Kendra Steiner Editions

July 27, 2015

KSE 9th Anniversary Celebration, Thursday 30 July 2015, Dallas, TX w/ Derek Rogers, Marcus M. Rubio/More Eaze, Jen Hill, Bill Shute

Filed under: Uncategorized — kendrasteinereditions @ 8:15 am

Hope to see you all at the KSE 9th Anniversary Celebration in Dallas on Thursday 30 July at THE WILD DETECTIVES, at 314 W. 8th St., from 7-9:15. It will be a mix of poetry and music, alternating between the two throughout the evening. CDR albums from each of the four featured artists will be available for $5 each and KSE poetry chapbooks will be available for 2-for-$5 while they last. We’ll also have copies of the acclaimed recent KSE album from the Gift Fig duo of Alfred 23 Harth and Carl Stone, “Stellenbosch.”

GIFT FIG STELL

KSE DALLAS

7:00-7:10 introductory comments, then poems by John Sweet

brave retreat 2

7:10-7:25 music, JEN HILL (composer and multi-instrumentalist, from Denton)

JEN..JEN pic

7:25-7:35 poetry, poems by Doug Draime

doug 3

7:35-7:55 music, MARCUS M. RUBIO / MORE EAZE (composer and multi-instrumentalist, from Austin-San Antonio)

MORE EAZE COVER..MARCUS M one

7:55-8:05 poetry, poems by Luis Cuauhtemoc Berriozabal

digging-a-grave

8:05-8:20 poetry, BILL SHUTE (San Antonio poet and KSE founder)

LINES AND FINES..BILL 2013

8:20-8:35 poetry and music, DEREK ROGERS and BILL SHUTE, duo

we will be doing a premiere performance of SATORI IN LAKE CHARLES

DEREK and BILL cdr..satori in lake charles

8:35-9:15 music, DEREK ROGERS (Dallas-based composer and multi-instrumentalist)

derek 2015..DEREK DEPTH

Kendra Steiner Editions is a San Antonio-based small press publishing contemporary poetry and small label issuing experimental music. They began in early 2006 and have since issued over 310 releases, getting attention internationally and garnering many reviews and airplay on many radio stations in North America, Europe, Asia, and Australia.

July 21, 2015

new poetry chapbook from Bill Shute, “Satori in Lake Charles” (KSE #302)

Filed under: Uncategorized — kendrasteinereditions @ 12:14 pm

BILL SHUTE

SATORI IN LAKE CHARLES (KSE #302, poetry chapbook)

this will be premiered at the KSE 9th Anniversary event next week in Dallas as part of a poetry-and-electronics set with Derek Rogers

($6 US ppd   /   $7 elsewhere ppd)

edition of 51 copies….

cover art by Justin Jackley

payment via paypal to    django5722(at)yahoo(dot)com

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

satori in lake charles

SATORI IN LAKE CHARLES was composed during a week’s stay in Calcasieu Parish, Louisiana in icy January of 2015. I spent the days soaking up the local culture and the nights watching the races at Delta Downs. Obviously, this is intended as a tip of the Mardi Gras hat to Jack Kerouac’s SATORI IN PARIS (already echoed in a KSE poetry chapbook in A. J. Kaufmann’s SATORI IN BERLIN), which I first read 35-40 years ago. I did not “get”on my first reading the particular Satori which Kerouac was offering in the book, but on re-reading a few years later, it became clear to me that the Satori was found EVERYWHERE when one opened oneself. One no longer needed the rare moment of special insight. Kerouac’s way of opening himself, IMHO, was the unflattering depiction of the narrative persona, who often came off as a jerk, an uncomprehending tourist, and someone who crippled himself by his excessive drinking. The clipped, vignette nature of the work provides a series of flashes of insight into a character (the narrative persona) who is not always insightful.

I had SATORI IN PARIS in mind when working on SATORI IN LAKE CHARLES, though of course, it’s not exactly Kerouac-like. In fact, looking it over after a number of months while getting it ready for publication, I was reminded for some reason of Federico Garcia Lorca’s POET IN NEW YORK…although he was in New York in 1929-1930, and I was in southwest Louisiana in January 2015.

Except for the first-person singular refrain appearing in sections 2 and 4 of this six-part poem, the narrative here is rooted in a first-person plural frame, WE and US, because after all, we breathe the same air, drink the same water, and face the same trials.

SATORI IN LAKE CHARLES is a series of energized poetic clusters of detail and experience, interrupted twice by existential, survival-based questions. It’s a log of the navigation of days. The epigraph on this one is from Jack Spicer: “Things do not connect; they correspond.” Indeed they do.

This one even ends on a note of hope, or should I say “possibility”…..the Satori of the title.

As always, it functions as a series of core samples, presented to the reader via the open-field poetic page.

I’m proud to say that we’ll be premiering this work as part of the KSE 9th Anniversary event in Dallas on July 30 at The Wild Detectives bookstore-bistro-performance space. Derek Rogers has composed an electronic score for the piece, and he and I will be doing a duo performance (my reading, his music) of SATORI IN LAKE CHARLES. I’m very much looking forward to that. You can get a copy of the chapbook at that reading….or, of course, direct from KSE. Ordering instructions are found above.

Let’s not forget the beautiful and evocative cover art from Austin painter Justin Jackley–always exciting to have Justin as a part of any KSE project. Be sure to check out his work online at http://justinjackley.com/Paintings.html

Grab your copy of this chapbook now–it is a limited run of 51 copies (there may be a special commemorative 10 or 12-copy edition of this available at the 9th Anniversary event, but you’ll have to be there to get that).

As always, thank you for your support of KSE (both the music and poetry sides of this operation) and of all independent low-fi/DIY artists and arts organizations, proud to be part of the so-called “no-audience underground.”

Other poetry chapbooks available (same price as above):

KSE #301 (poetry chapbook), JIM D. DEUCHARS, “Ohio Connecting Railroad Bridge” (the final installment in Jim’s Pittsburgh-Three Rivers trilogy)

KSE #297 (poetry chapbook), BILL SHUTE, “Lines and Fines,” Sound Library Series, Volume 77 

KSE #311 (poetry chapbook), BILL SHUTE, “Liars in a Strange Rainy World: Cassette Poems One”

GUIDE_20140525_0007

July 18, 2015

KSE in 2015—-gifts to the present and payments to the future

Filed under: Uncategorized — kendrasteinereditions @ 3:48 am

DEREK ROGERS, cover

When December arrives, KSE will have released 18 or 19 albums in calendar year 2015 (I won’t even mention the 6-8 poetry chapbooks we’re putting out this year). I’m not someone who likes to put limits on the future—-by definition, the future should be unlimited-—however, I can promise you that we will never again repeat that feat.

Considering that I work more-than-full time ten months of each year, that I have a family life, that I am a working poet producing a significant amount of poetry each year, and that KSE financial resources are limited, it’s stunning that we can go through all the many steps necessary to release each of the 18 or 19 albums in a year….and then get them out into the world, get the artists their copies, send out review/airplay copies, promote the releases, service individual Paypal orders, etc.

Why the deluge? Well, I can see two reasons.

1) People smarter than I am probably picked up on this sooner, but when I entered my 40’s, the realization that I did not have an infinite number of days left on this planet somehow became tangible. I FELT it. When I was younger, I could piss away days or weeks on useless activities or on cheap thrills. In terms of my creative work, I could dabble in this or that with no real focus. Circa 2004, I realized that this was my only go-round and that I’d better make my move now….or I’d never have the chance. (Of course, I was also a single parent of two for 13 years, which is more than a full time job,  but I won’t use that as an excuse because so many single parents are able to achieve so much, particularly in these sad, worker-unfriendly times in which we live, where people must work multiple jobs in order to avoid eviction, keep the car running, keep food on the table, and keep health insurance.)

2) We are living in a Golden Age in all the arts, but especially in the world of Experimental Music. Even a cursory look at VITAL WEEKLY or the WFMU playlists (not to mention 300 other sources) would show you that there are too many excellent releases out there for anyone to follow, let alone hear or own. In fact, I could probably create a label that focused exclusively on Austin or on Buenos Aires or on Mexico City or on Oslo and release an album every two weeks and not even scratch the surface. Imagine if you ran a small label in, say, the Memphis of 1955-56 or the Los Angeles or San Francisco of 1966-67. Wouldn’t you try to release AS MUCH AS POSSIBLE? You would have been in the thick of it, in a world where even the so-called third-string “marginal” artists were of a depth and power that NEEDED to find an audience. That’s what we face today, except on a global scale, with a seemingly infinite number of local streams feeding into the river. It’s not so much how can KSE release more than an  album per month; it’s how can KSE  not  release more than an album per month. There is so much amazing and original work out there, and with our low-overhead business model, we can get by with small pressings and still have funds enough to issue the next album or poetry chapbook. One thing history has shown, over and over, is that the depth and breadth of the arts being produced in any period are not appreciated at the time. The over-hyped crap promoted in THE WIRE or the pretentious and derivative poetry coming out of MFA mills and their sister “small presses” will soon be forgotten (as will be the product of anyone silly enough to label his/her own work “transgressive”), but the rich veins of independent and/or experimental work UNDER THE SURFACE and produced and issued in non-traditional ways will take hold of much more than the limited local exposure (if any) they get the first time around, and intrepid arts explorers 100 years from now will STILL be unearthing important and original works and also fine-tuning after-the-fact assessments of what exactly is going on right now in the 2010’s. We’re in the eye of the hurricane. We lack the distance and perspective to make such judgments, so why even try? Better to DO, to CREATE, to bring something new into the world and send it off onto the sea of tomorrow like the proverbial message in a bottle. As bad as the political and economic and environmental situations are now, it is a great time to be alive in terms of creativity and of the ability to transform aspects of the imagination into three- (and eventually four-) dimensional creations….and ultimately creations that transcend finite dimensions. Whenever I see a baby or a toddler, I think of how his/her world will be so much more advanced than ours and how he or she will have the potential to not screw up as badly as my generation has, to transcend us on multiple levels without even taking very high of a step….how they will look upon us as primitive and provincial and stuck-in-various-ruts the way we tend to look at previous generations. However, the contemporary arts from this period will exist (those that are stored in more than digital ways or in multiple formats, that is) to provide a kind of secret cipher handed off to our as-yet-unmet comrades in the future, to help them understand and contextualize our present thinking and experience and to provide a foundation for future creative people, the way creative giants such as, say, Gertrude Stein or William Burroughs or Cy Twombly or Paul Blackburn or John Wieners or John Cage or Morton Feldman or Sun Ra or Jean-Luc Godard or Andy Warhol provided shoulders to stand on for my generation. That is inevitable and it is good and it is what progress is all about. The hills with peaks we cannot presently see will be clearly viewed and clearly mapped in the future. We need to let go and trust that future. But right now, we need to DO… and to create…and to share those creations.

That is why KSE has issued a boatload of albums this year. We cannot do that again–we’ll have a lesser number of releases in 2016–but I am glad we’ve stretched ourselves in 2015. These artifacts exist in a real, three-dimensional sense and will continue to exist in the foreseeable future. They are gifts to the present and payments to the future.

Thank you for your support. Also, as all of our releases are limited editions, usually of under 100, you’d better grab what you want NOW that it’s in print. The early 2015 releases will be sold out soon, then out of print. Check the AVAILABLE KSE MUSIC & POETRY page to the right on this blog–that’s what is available now.

We’re already making plans for 2016, which will be KSE’s 10th Anniversary, but let’s get through 2015 first….all 18 or 19 albums of it (and don’t forget those 6-8 poetry chapbooks too!).

KSE CARD

July 6, 2015

Jen Hill, “The Shape Of It” (KSE #308), available now!

Filed under: Uncategorized — kendrasteinereditions @ 1:47 am

JEN  HILL

“The Shape Of It”

KSE #308 (CDR album), edition of 48 copies

cover painting by MP Landis 

$8 US / $11.50 elsewhere   payment via paypal to   django5722(at)yahoo(dot)com

please provide address/item ordered in a note with your paypal order….THANKS

JEN

Excited to welcome North Texas composer and multi-instrumentalist JEN HILL to the KSE family for her first album, THE SHAPE OF IT. Working out of Denton, Jen has been performing in a wide variety of genres, from noise to contemporary chamber music to deconstructed avant-pop to steel band and gamelan ensemble! Her compositions have been performed at a number of festivals and competitions across the nation, from California to Connecticut. She is also a fine cellist and composer for cello, as you’ll discover…

Since Jen does so many things well, we decided that a kind of sampler would be the best way to present her work on this, her premiere KSE album….so you get an exciting mixture of cello pieces (close-miked and featuring extended techniques), moody deconstructed pop songs, a piece (Get Out Of Bed) that’s a kind of rotating collage which morphs into shape-shifted song, and finally the long and majestic minimalist-plus composition “Theta Brainwave Entrainment Study No. 1,” which closes the album because nothing could possibly follow it. The album is programmed well, offering a number of moods and genres and building to a satisfying climax. Any of the musical forms Jen offers here could be explored on a full album (you’ll WANT to hear more of all of them), and hopefully they will be as this album opens doors for her. This is a fascinating and satisfying album, and I’d assume most listeners will feel like, “I want to hear MORE by Jen Hill,” when they finish the album….

Only 48 copies, so grab yours NOW…and be sure to hear Jen in person at the KSE 9th Anniversary event in Dallas on July 30 (details below)….

jen band

(photo by Dmetri Rashaad Howell)

*~~  is the name under which Jen chooses to make “pop” music that could affectionately be referred to as “experimental.”  Below is a poster from a show featuring *~~

JEN concert

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JEN pic

visit Jen Hill   at

http://www.jenniferhillcomposer.com/

http://errantnewmusic.org/jenhill/

http://www.ericshitacre.com/  (note: I’m surprised someone hadn’t already claimed that domain name!)


 

and enjoy some more of her music at  https://soundcloud.com/jenhill

KSE DALLAS

Be sure to see Jen Hill in performance at the KSE 9th Anniversary event on July 30 in Dallas…an evening that will be alternating poetry with experimental music….Jen will have her new album available for sale…she’ll be the first musician to perform, a little after 7 p.m. Here is a tentative line-up for that evening, Thursday 30 July, at THE WILD DETECTIVES, 314 W. 8th, Dallas:

7:00-7:10  introductory comments, then poems by John Sweet

7:10-7:25 music, JEN HILL (composer and multi-instrumentalist, from Denton)

7:25-7:35 poetry, poems by Doug Draime

7:35-7:55 music, MARCUS M. RUBIO / MORE EAZE (composer and multi-instrumentalist, from Austin-San Antonio)

7:55-8:05 poetry , poems by Luis Cuauhtemoc Berriozabal

8:05-8:20 poetry, BILL SHUTE (San Antonio poet and KSE founder)

8:20-8:35 poetry and music, DEREK ROGERS and BILL SHUTE, duo

8:35-9:15 music, DEREK ROGERS (Dallas-based composer and multi-instrumentalist)

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OK, now that you are ordering a copy of THE SHAPE OF IT, which you’ll love, why not also get some of our other fine CDR albums of contemporary experimental music, all in homemade small editions:

full-sized CDR’s ($8.00 each, ppd. in US—outside US $11.50 )

see ordering instructions at top of page

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

ALL ARE AVAILABLE FOR IMMEDIATE DELIVERY

new releases for 2015:

MORE EAZE PRIZES cover

NEW FOR SUMMER 2015: KSE #310 (CDR) MORE EAZE (Marcus M. Rubio), “Accidental Prizes”

FOSSILS WITH BRIAN COVER

NEW FOR SUMMER 2015: KSE #294, FOSSILS WITH BRIAN RURYK (a joint release with Middle James Co.—-only 48 copies made, 24 from Middle James, 24 from KSE)

RAMBUTAN COVER

NEW FOR SUMMER 2015: KSE #305, RAMBUTAN, “Remember Me Now”

LISA ERNESTO COVER

NEW FOR SUMMER 2015: KSE #299, LISA CAMERON & ERNESTO DIAZ-INFANTE, “Sol Et Terra”

GARMENT DISTRICT cover

NEW FOR SUMMER 2015: KSE #296 (CDR album) THE GARMENT DISTRICT (featuring Jennifer Baron), “Luminous Toxin”

GIFT FIG STELL

NEW FOR 2015: KSE #298 (CDR album) GIFT FIG: ALFRED 23 HARTH and CARL STONE, “Stellenbosch,” live in South Africa, September 2014

MORE EAZE COVER

NEW FOR 2015: KSE #293 (CDR album) MORE EAZE (aka Marcus M. Rubio), “stylistic deautomatization”

STEVE FLATO

NEW FOR 2015: KSE #307 (CDR), STEVE FLATO, “Exhaust System”

derek 2015

NEW FOR 2015: KSE #292 (CDR), DEREK ROGERS, “Depth/Detail of Processing”

FOSSILS FLORIDA COVER

NEW FOR 2015: KSE #300 (CDR), FOSSILS & BILL SHUTE, “The Florida Nocturne Poems” (poetry and music album), cover art by MP Landis

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For more works from MP Landis, please visit the online gallery at  http://www.mplandis.com/#!art/c1r52

JEN MP

July 5, 2015

the Dog Racing tracks of the Gulf Coast: Summer 2015

Filed under: Uncategorized — kendrasteinereditions @ 2:46 pm

DOGS 1

As a lifelong aficionado of dog and horse racing, I have always tried to incorporate visits to racetracks into my travels, and in recent years, I’ve been able to catch the races and soak up the atmosphere at a number of tracks I’d never before visited. By any objective measure, the sports of dog and horse racing are in decline although they do retain strong pockets of support. Fortunately, I was able to visit THREE of those strong pockets of support this summer.

In late May and early June, I spent nearly two weeks in the beautiful Gulf Coast area between Biloxi, Mississippi and Panama City, Florida. In that area, there are three lesser-known greyhound tracks, which I’ve never seen simulcast but I know about through seeing their results posted at  trackinfo.com. Let’s take a look at each one…

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EBRO  GREYHOUND  PARK

DOGS 2

Ebro (pronounced EE-bro) Greyhound Park is located about 20 minutes north of Panama City, Florida. There’s no sign on the property which you can see from the highway, so it pretty much caters to locals who already know it’s there. I attended two weeknight racing cards and was pleasantly surprised to see that Ebro is a thriving, family-oriented place. Also, unlike some central and south Florida tracks where the dog track exists merely to keep the license needed for a poker room, at Ebro the dogs were the central activity and more people were following the races than playing poker. Most of the audience consisted of families with young children, including many young mothers. I got to chatting with the folks around me, and the kids were as into the races as the adults, commenting on the various dogs in the next race, giving their parents wagering advice, and going down to the rail to see the pre-race parade of the greyhounds. The parents were having a relaxing evening after a hard day/week  at work, and the kids clearly enjoyed being here. How refreshing to see greyhound racing as a fun family outing—-Mary Anne and I attended a county rodeo in Kansas the summer previous, and Ebro had a similar feel to that. Families coming out together for an evening, and everyone enjoying it on his or her own level.

The quality of the races was high, the trackside food was good on a track-food level and reasonably priced (as was the beer), the location in the middle of the woods is beautiful, particularly at sundown. A happy, thriving dog track such as Ebro is nice to see for a lover of the sport. Many thanks to the kind lady from the program stand who opened up the gift shop for me and found me at 2X t-shirt. My only regret is that I was not able to spend a week or two in this area. I stayed on the beach (at a nice place called Beachside Resort, a few miles away from the over-crowded main beach area of Panama City) and was able to swim each morning at sunrise for an hour or two….then walking along the beach area and having oysters for lunch….then dog racing in the evening. Alas, one cannot do that permanently….work and daily life call one back….but it was great while it lasted. If I lived in this area, I’d be there at least twice a week. Hope I get back someday….The Florida Panhandle is a really under-appreciated area.

PENSACOLA  GREYHOUND  TRACK

DOGS 3

DOGS 4

Pensacola Greyhound Track is located about 15 minutes west of beautiful Pensacola, Florida, also in a lush wooded area. The left half of the facility contains the poker room, which was thriving (I attended the races on Friday night and Saturday afternoon), and the right half of the facility contains the dog racing activity. I should say at the outset that when I contacted Pensacola a few months in advance of my trip to confirm racing dates and times, I had a long and friendly phone message from a manager waiting for me the same day, and he seemed genuinely happy that I was coming! (Thank you, sir!)

Much of the wagering activity at Pensacola seems to be simulcast-related. Even once the races started (I got there a few hours early), 3/4 of the folks there were wagering on Gulfstream or on other dog tracks such as Palm Beach. In fact, in a few of the early greyhound races at Pensacola each day, there was NO payout on certain bets (such as, no win or show payout in the first place dog, no show payout on the second place dog, etc.) because no one had made those bets! Of course, seeing an “ALL” payout on an exotic bet when the longshots come in is common, but not seeing ANY money bet on a winning dog to win was new for me (note: you can see an example of that in the photo above—-there is no show payout for the first place dog and no place payout for the second place dog!). The quality of the racing was high, however. Unlike Ebro, few people went outside to watch the races although some did. There is also a small smoking area by the side entrance (you can see about 1/3 of the track from there), and a few people were always over there.

The food here was excellent, at least the seafood I had each day. My first visit, I had an oyster and shrimp plate, almost more than I could eat of hand-breaded fresh Gulf oysters and shrimp, and the next day I had 18 (!!!!) butterfly shrimp. Not those frozen things, but hand-cut and hand-butterflied and hand-breaded Gulf shrimp. A few Dos Equis or a few Stellas, delicious Gulf seafood, live dog racing in a lush wooded area in beautiful Florida….what more could one ask? The staff here were very helpful also. Not just the food service ladies in the middle (they were wonderful), but when I wanted to purchase a few souvenirs, one of the managers went back to a storage closet  to find a wider variety of offerings for me to choose from than what was in the display case.

Both days I went to Pensacola there was a good crowd, and the poker room was always hopping—-they seem to have a lot of themed events and contest and clearly know their audience well. I wish them well and hope to visit again someday.

MOBILE  GREYHOUND  PARK

DOGS 5

DOGS 6

Mobile Greyhound Park is located Northwest of downtown, not far from the Tillman’s Corner area. There is no sign out at the street identifying the track, and if I were not looking for it, I would have driven past. Again, it’s aimed at locals who know where it is. As with everything on the Gulf Coast, the area is thickly wooded and deep green. MGP reminds me of the dog tracks of my youth, most of which don’t exist anymore. The closest modern equivalent would be Southland in West Memphis, Arkansas, where Mary Anne and I visited in 1996. The races I attended were matinees, and this was NOT a place one saw families. It was mostly regular players who come out every day (one would assume they work their employment schedule, if they do work, around the racing schedule). Mobile has one of the most enthusiastic audiences I’ve ever seen….these guys (and it’s mostly men, though the women are as loud as the men) are the kind who are hooting and hollering with every race….and are fairly loud in between races too. There seems to be some kind of clubhouse on the weekend, and I can’t discuss that as I went on weekdays, but on weekdays at least, there’s next to no food service and it’s not easy to get a drink. Most of the audience WERE NOT drinking beer, so they are just naturally enthusiastic folks! I got to talking with a number of dog players at MGP, and pretty much everyone there was betting every race, and they are there to gamble. There were no souvenirs, no poker room….you come out to bet the dogs and hang out with your fellow dog-players. The track itself is perhaps the sandiest I have ever seen….it looked like the grey-white sugary sand seen on a Mobile beach! The days I attended it rained each day off and on, but that never fazes anyone on the Florida/Alabama/Mississippi Gulf Coast, and it did not affect the racing, except perhaps to make the results even more volatile. There seemed to be few strategy players at Mobile, at least among the people I observed and spoke with. Stats can be a big help with dog racing, but the regulars here (again, at least the ones I observed) were not the kind who have scoped out the races in advance and worn down their pencils with notations in the program, the kind of players I see at, say, Gulf Greyhound. If you love dog racing, though, a place like Mobile is as pure as it gets. Nobody is there to play poker or for the food or to hang out with family or to impress a date–they are there to play the dogs…and the audience itself is wonderfully entertaining. If I had a smart phone, I might have recorded the audience feedback—-just imagine the casts of a Larry The Cable movie and of Sanford and Son meeting at a dog track and drinking a few Red Bulls first. That’s my kind of  people! Since a lot of people are betting every race and there not of improvements being done at the track, I’d assume Mobile Greyhound Park is doing OK. The racing was exciting, and with the rain, things were totally unpredictable. I had a great time….

Eventually, I had to come back home to Texas, though I did get to stop at one of my favorite racetracks on the way home, Delta Downs, outside Lake Charles, Louisiana. However, since I go there a few times each year and since it’s horses not dogs, we’ll not discuss that here.

I’ve now visited in person about 3/4 of the still-operating greyhound racing tracks in the United States. Who knows how many will exist in 20 years? I hope to visit most of the remaining tracks, but I doubt I can again hit THREE I’ve never before visited on ONE trip and in the same general area, give or take a few hundred miles. So this was a special occasion for me, and I am very appreciative. I work hard most of the year, getting up at 5:50 for work each morning, taking home a few hours of work each night. A summer vacation is well-deserved, and spending that time on the beautiful Gulf Coast, swimming each morning, eating Gulf oysters and shrimp each day, and hanging out at the dog track each afternoon or evening, with a program in one hand and a beer in the other, is about as much of a Life or Riley as I could ask for….I won’t even mention that I got a lot of writing done on the trip (you’ll be seeing the chapbooks I wrote on the trip appearing over the next year).

Hope I make it back to the Alabama/Mississippi/Florida Panhandle Gulf Coast sometime….but even if I don’t, or if it takes 10 years, the memories are fresh…and all three tracks, in different ways, are vibrant places where people are enjoying greyhound racing. And that’s great to see and to experience!

dogs 7

July 2, 2015

new album from RAMBUTAN, “Remember Me Now” (KSE #305)

Filed under: Uncategorized — kendrasteinereditions @ 9:06 pm

RAMBUTAN

“Remember Me Now”   KSE #305, CDR album

$8 US / $11.50 elsewhere   payment via paypal to   django5722(at)yahoo(dot)com

please provide address/item ordered in a note with your paypal order….THANKS

Visit Rambutan at     http://rambutan.bandcamp.com/

haunting, painterly sound-explorations of memory from RAMBUTAN

RAMBUTAN COVER

RAMBUTAN (aka Eric Hardiman) has been a heavy-hitter in the drone/noise/electro-acoustic/sound-art (there’s no good name for what Rambutan does, is there? How about Rambutan music?) world for a number of years, and when you add to his Rambutan work his powerful performances in Burnt Hills and Century Plants, his work as label head for Tape Drift imprint, and his work organizing and putting on shows with the Albany Sonic Arts Collective (Albany has been a very happening place for a number of years), it’s amazing how much Mr. Hardiman single-handedly contributes to the experimental music world…BUT he’s best known for his Rambutan recordings and performances, and KSE is very proud to welcome him back to our label (he had a 3″ release, “Age of None,” in 2010) with a beautiful and diverse new album, REMEMBER ME NOW. You never know what to expect from Rambutan, master of electronics and guitar feedback and the like, but this album is quite atmospheric, using tape manipulation (in a way that’s sometimes reminiscent of Matt Krefting, and there’s no higher praise than that in my book) and subtle percussion and electronic shading, creating tracks that seem to evoke (for me at least) cold midnight landscapes in rural New York State but with a touch of alien presence. It’s very much a 3 a.m. album, perhaps enjoyed best by candlelight and with the window open. It’s also a very painterly album. Snatches of overheard, out-of-context conversation drift in and out on one track, as if a few people are walking across the landscape that is the music, fading into the scene, fading out of it. And don’t worry…there IS melting guitar feedback here (it IS Rambutan, after all), but it’s muted, in pastels–one track, “Kill The Lights,” could be a Fripp and Eno out-take (and again, as with the Krefting reference above, there’s no higher praise than that in my book). There’s also some electric bass-rooted  explorations, bringing to mind the work of Russ Alderson/Xanthocephalus.

REMEMBER ME NOW is also very well thought-out and programmed AS AN ALBUM. The various tracks come forward and pull back gradually like waves on the shore. They fit together but highlight different aspects, like a suite of 11 (there are 11 tracks on the album) different paintings on sonic display. And the title track, the last track on the album is truly heartbreaking—-not a word I use often with instrumental music (maybe, over the years, I have used the word to describe pieces by Chet Baker, or Mahler, or Paul Bley). It does use a vocal sample, but distorts/melts it in such a way that it functions as atmosphere. Suddenly, as with the first rays of pre-dawn light cracking through a distant horizon reminding us that there WILL be another day, the album is over….and you will surely be pushing the “repeat” button and playing this fine album over…and over. RAMBUTAN—-REMEMBER ME NOW

note: After I wrote the above comments, Rambutan himself provided the following comments on the album, which should be enlightening: Almost all Rambutan music has in one way or another had time as its central theme. Remember Me Now continues that tradition, but its tracks are meditations on memory. Each one has very specific personal reference points.

…………………………………

RAMB

Eric Hardiman runs Tape Drift Records, records as Rambutan, and plays in a slew of bands including Century Plants, Burnt Hills, Twilight of the Century, Location Ensemble, Mensheviks, etc. He also co-founded the Albany Sonic Arts Collective.

Honest Bagger’s 2013 interview with Eric Hardiman (Rambutan): http://honestbag.blogspot.com/2013/04/kief-with-eric-hardiman-tape-drift.html

Albany Sonic Arts Collective: http://albanysonicarts.blogspot.com/

Rambutan/Eric Hardiman at Discogs: http://www.discogs.com/artist/1139727-Eric-Hardiman

…………………………….

long out-of-print mini-cdr from KSE featuring Eric Hardiman:

rambutan

………………………

I did two poetry-and-music performances with Rambutan in 2011, one in Albany and one in Hudson, NY…

bill, east coast trip may 2011 068

……………………..

And while you are ordering the new RAMBUTAN, why not also get some of our other 2015 releases:

KSE CDR’s OF EXPERIMENTAL MUSIC NOW AVAILABLE: 

full-sized KSE CDR’s ($8.00 each, ppd. in US—outside US $11.50)

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

ALL ARE AVAILABLE FOR IMMEDIATE DELIVERY

MORE EAZE PRIZES cover

NEW FOR SUMMER 2015: KSE #310 (CDR) MORE EAZE (Marcus M. Rubio), “Accidental Prizes”

FOSSILS WITH BRIAN COVER

NEW FOR SUMMER 2015: KSE #312, FOSSILS, “With Brian Ruryk” (joint release w/ Middle James Co., only 48 copies—-we have 24, Middle James Co./Cardinal Records have 24)

LISA ERNESTO COVER

NEW FOR SUMMER 2015: KSE #299, LISA CAMERON & ERNESTO DIAZ-INFANTE, “Sol Et Terra”

GARMENT DISTRICT cover

NEW FOR SUMMER 2015: KSE #296 (CDR album) THE GARMENT DISTRICT (featuring Jennifer Baron), “Luminous Toxin”

GIFT FIG STELL

NEW FOR 2015: KSE #298 (CDR album) GIFT FIG: ALFRED 23 HARTH and CARL STONE, “Stellenbosch,” live in South Africa, September 2014

MORE EAZE COVER

NEW FOR 2015: KSE #293 (CDR album) MORE EAZE (aka Marcus M. Rubio), “stylistic deautomatization”

STEVE FLATO

NEW FOR 2015: KSE #307 (CDR), STEVE FLATO, “Exhaust System”

derek 2015

NEW FOR 2015: KSE #292 (CDR), DEREK ROGERS, “Depth/Detail of Processing”

FOSSILS FLORIDA COVER

NEW FOR 2015: KSE #300 (CDR), FOSSILS & BILL SHUTE, “The Florida Nocturne Poems” (poetry and music album), cover art by MP Landis

July 1, 2015

the collaboration that had to happen: FOSSILS, “WITH BRIAN RURYK” (KSE #312), 48-copy edition, co-release with Middle James Co.

Filed under: Uncategorized — kendrasteinereditions @ 12:28 pm

FOSSILS

“With Brian Ruryk”

KSE #312/MJC #441

a co-release of Kendra Steiner Editions and Middle James Co.

CDR album, edition of 44 copies (22 from KSE, 22 from MJC)

$8 US / $11.50 elsewhere   payment via paypal to   django5722(at)yahoo(dot)com

please provide address/item ordered in a note with your paypal order….THANKS

(note: some copies of this are mis-labelled as KSE #294….sorry)

FOSSILS WITH BRIAN COVER

KSE’s previous FOSSILS album (already out of print!) FOR BRIAN RURYK was a tribute to Canadian experimental guitarist/sound artist BRIAN RURYK, who has been working without compromise at his unique art since the 1980’s. We’re excited to announce that the newest entry in our short-run KSE/Middle James Co. collaborative releases is WITH BRIAN RURYK, a FOSSILS album WITH Mr. Ruryk  himself. It’s rare nowadays to say that an artist is in a league of his own and is unique—-the avant-garde and the noise scene have become SO predictable, and when people re-channel avant-garde moves that have already been done and consider themselves RADICAL on top of that, it’s truly pretentious and insufferable! However, Brian Ruryk  continues after 30+ years of work to maintain his pure outsider vision, where every aspect of the work retains a raw and original DIY EDGE. Imagine if someone swept up out-takes from Andy Milligan’s editing room floor and crudely spliced them together and submitted them to some “indie filmmakers showcase”—-imagine the outrage. That’s how radical Ruryk’s work seems when compared to the so-called underground—-it’s bracing, as they might say about a cheap and strong after-shave which could double as rust remover…

So it’s not only natural that he would be an inspiration to FOSSILS, whose aesthetic is quite similar, but it’s also natural that Fossils and Mr. Ruryk would collaborate….and here it is: FOSSILS WITH BRIAN RURYK.  For me, this is as exciting as when The Harlem Globetrotters arrived on Gilligan’s Island…or when the bodily fluids met the chemicals in Warhol’s Oxidation Paintings. The found sounds/electronic pulses/scraping/and noise action-painting of FOSSILS paired with the beyond-time, IMMEDIATE guitar work (and who knows what else) of Ruryk is an combination that can’t miss. I’m not a headphone person….I enjoy hearing music through speakers….and blasted through speakers, except for certain guitar passages, you might be hard-pressed to tell who contributed what on this album…I’d much rather let my art wash all over me than to pick it apart. As they said about some old professional wrestling movie I saw on VHS back in the 90’s, “it’s disgustingly real.”

This is the second of three short-run (under 50 copies total of each) collaborations Kendra Steiner Editions is doing with Middle James Co. in 2015. The first one, FOR BRIAN RURYK is already sold-out at KSE, but you can still get a copy through Cardinal Records in Canada: http://cardinalrecords.blogspot.com/2015/04/fossills-double-feature.html

Grab your copy now: KSE has 24 copies, and Cardinal Records/Middle James will have 24 copies. Remember, the FOR BRIAN album, just released a few months back, is already gone here at KSE….

For more information about Brian Ruryk,

here is a 2010 interview with Brian Ruryk at indieville: http://www.indieville.com/articles/20q/brianruryk.htm

some of Brian Ruryk’s past releases can be seen here: http://brianruryk.blogspot.com/

He also has an online presence and is not hard to find, if you are looking….

I don’t know who is going to win the international women’s soccer championship, but CANADA has already won the uncompromising DIY sound-sculpture championship with this album….FOSSILS (Hamilton) meets BRIAN RURYK (Toronto).

………………………………..

And while you are ordering FOSSILS WITH BRIAN RURYK, why not also get some of our 2015 releases:

KSE CDR’s OF EXPERIMENTAL MUSIC NOW AVAILABLE: 

full-sized KSE CDR’s ($8.00 each, ppd. in US—outside US $11.50)

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

ALL ARE AVAILABLE FOR IMMEDIATE DELIVERY

MORE EAZE PRIZES cover

NEW FOR SUMMER 2015: KSE #310 (CDR) MORE EAZE (Marcus M. Rubio), “Accidental Prizes”

RAMBUTAN COVER

NEW FOR SUMMER 2015: KSE #305, RAMBUTAN, “Remember Me Now”

LISA ERNESTO COVER

NEW FOR SUMMER 2015: KSE #299, LISA CAMERON & ERNESTO DIAZ-INFANTE, “Sol Et Terra”

GARMENT DISTRICT cover

NEW FOR SUMMER 2015: KSE #296 (CDR album) THE GARMENT DISTRICT (featuring Jennifer Baron), “Luminous Toxin”

GIFT FIG STELL

NEW FOR 2015: KSE #298 (CDR album) GIFT FIG: ALFRED 23 HARTH and CARL STONE, “Stellenbosch,” live in South Africa, September 2014

MORE EAZE COVER

NEW FOR 2015: KSE #293 (CDR album) MORE EAZE (aka Marcus M. Rubio), “stylistic deautomatization”

STEVE FLATO

NEW FOR 2015: KSE #307 (CDR), STEVE FLATO, “Exhaust System”

derek 2015

NEW FOR 2015: KSE #292 (CDR), DEREK ROGERS, “Depth/Detail of Processing”

FOSSILS FLORIDA COVER

NEW FOR 2015: KSE #300 (CDR), FOSSILS & BILL SHUTE, “The Florida Nocturne Poems” (poetry and music album), cover art by MP Landis

June 24, 2015

new from LISA CAMERON & ERNESTO DIAZ-INFANTE, “Sol Et Terra” (KSE #299)

Filed under: Uncategorized — kendrasteinereditions @ 10:19 pm
Tags: , ,

LISA ERNESTO LIVE

higher-key sonic alchemy of the deepest and most profound sort

the duo of LISA CAMERON & ERNESTO DIAZ-INFANTE

“Sol Et Terra”   (KSE #299, cdr album)

$8  US  postpaid / $11.50 elsewhere postpaid

payment via paypal to django5722(at)yahoo(dot)com

please provide a note with your order listing the items you’ve ordered and your mailing address….thanks!

LISA ERNESTO COVER

Lisa Cameron–percussion, electronics, lap steel

Ernesto Diaz-Infante–12 string acoustic guitar

—–

recorded by Marjorie Sturm at (Next Door to the

Jefferson Airplane Studios), San Francisco, 9/2013

Mastered by Dylan Cameron

1. Rise 2. The House at Pooneil Corners

3. Sun Psychic 4. Stars Within Stars

5. Queen of Pentacles 6.Labor and Fruits

7. Imagination Eye 8. The Daughter 

Ernesto Diaz-Infante, west-coast composer and guitar/bajo sexto visionary, and Lisa Cameron, Texas psychedelic shaman, percussionist and multi-instrumentalist,  first played together at the KSE 6th Anniversary Concert in Austin in 2012 (see poster below). Since then, Lisa has traveled out to the Bay Area a few times to work and record with Ernesto, and the rapport of these two is nothing short of musical alchemy. SOL ET TERRA was recorded at Ernesto’s home studio, and once again, these two deliver something amazing and unexpected. There is a lot of Ernesto’s hypnotic close-miked raga-like “strumming” style, and when that’s mixed with Lisa’s tribal-psych percussion and warped jagged lap-steel and various electronic treatments, it’s hard to tell the contributions of the two musicians apart. As with all higher-key sounds (think Ya Ho Wa 13 or Book of Shadows), this is music of the elements, fire-water-earth-air, and it creates a kind of rarefied sacred-space wherever you listen to it. Reference points include Ya Ho Wa 13 (minus the chanting) or Hans Reichel’s BONOBO, maybe also BEAT OF THE EARTH or the Velvets Exploding Plastic Inevitable boot. I cannot speak highly enough of the magic(k)al feel this music creates (and documents). This San Francisco-Austin axis continues to bear rich fruit. I believe this is the fourth KSE release for both Ernesto and for Lisa, and we are proud to work with this transcendent duo.

Some of these tracks also appear in the soundtrack to the acclaimed feature film THE CULT OF JT LEROY, directed by Marjorie Sturm, and coming to a film festival near you. I should also mention that Lisa just got back from a month-long tour (with ST 37) backing ACID MOTHERS TEMPLE across North America.  SOL ET TERRA presents two contemporary masters at the top of their game….as we said above, it’s higher-key sonic alchemy of the deepest and most profound sort.

Get your copy now….$8 US and $11.50 elsewhere, postpaid. We also have a limited number of copies of Lisa’s recent Venison Whirled CDR album TETRAGRAMMATONES on the Eh! label, which you can get for an extra $8 or $11.50 with an order for SOL ET TERRA (It’s not available separately). I’ve got only 7 copies of this, so act fast.

LISA AND ERNESTO              ERNESTO AND LISA          two great tastes that taste great together!

KSE APRIL 2012 POSTER

And while you are ordering that, why not also get some of our 2015 releases:

KSE CDR’s OF EXPERIMENTAL MUSIC NOW AVAILABLE: 

full-sized KSE CDR’s ($8.00 each, ppd. in US—outside US $11.50)

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

ALL ARE AVAILABLE FOR IMMEDIATE DELIVERY

new releases for 2015:

MORE EAZE PRIZES cover

NEW FOR SUMMER 2015: KSE #310 (CDR) MORE EAZE (Marcus M. Rubio), “Accidental Prizes”

FOSSILS WITH BRIAN COVER

NEW FOR SUMMER 2015: KSE #294, FOSSILS WITH BRIAN RURYK (a joint release with Middle James Co.—-only 48 copies made, 24 from Middle James, 24 from KSE)

RAMBUTAN COVER

NEW FOR SUMMER 2015: KSE #305, RAMBUTAN, “Remember Me Now”

GARMENT DISTRICT cover

NEW FOR SUMMER 2015: KSE #296, THE GARMENT DISTRICT (featuring Jennifer Baron), “Luminous Toxin”

GIFT FIG STELL

NEW FOR 2015: KSE #298, GIFT FIG:  the duo of ALFRED 23 HARTH & CARL STONE, “Stellenbosch” (live in South Africa, September 2014)

MORE EAZE COVER

NEW FOR 2015: KSE #293, MORE EAZE (aka Marcus M. Rubio), “stylistic deautomatization”

STEVE FLATO

NEW FOR 2015: KSE #307, STEVE FLATO, “Exhaust System”

derek 2015

NEW FOR 2015: KSE #292, DEREK ROGERS, “Depth/Detail of Processing”

FOSSILS FLORIDA COVER

NEW FOR 2015: KSE #300 (CDR), FOSSILS & BILL SHUTE, “The Florida Nocturne Poems” (poetry and music album), cover art by MP Landis

June 19, 2015

now available, “Luminous Toxin” (KSE #296) from Pittsburgh’s THE GARMENT DISTRICT

Filed under: Uncategorized — kendrasteinereditions @ 12:10 pm

Jennifer

THE GARMENT DISTRICT (featuring Jennifer Baron)

“Luminous Toxin”

KSE #296 (CDR album)

a beautiful and haunting new collection of atmospheric all-instrumental pieces from Pittsburgh’s acclaimed Psychedelic musician-composer-bandleader

$8  US  postpaid / $11.50 elsewhere postpaid

payment via paypal to django5722(at)yahoo(dot)com

please provide a note with your order listing the items you’ve ordered and your mailing address….thanks!

GARMENT DISTRICT cover

We featured a piece on Jennifer Baron/The Garment District in a May 23, 2015 post (scroll down to that for some background info) as a kind of teaser for her new KSE album, but the tease is now over….LUMINOUS TOXIN is out and available. This is an album specially commissioned by KSE from Ms. Baron. When I work with a psychedelic musician (Plastic Crimewave, for instance) who is an excellent songwriter, I generally encourage them to save their great songs for a better-distributed label and to let their experimental or conceptual side run free at KSE–this is the place for them to put out their TWO VIRGINS or their SKY YEN. I’ve followed Jennifer Baron’s work for many years, through the various earlier GARMENT DISTRICT releases, and have always had the greatest respect for this amazing lady: multi-instrumentalist, songwriter, bandleader, and someone who truly “gets” the deeper aspects of the psychedelic experience. So many people today who drop the term “psychedelic” view it as a series of mannerisms or images or chord progressions–for me, it’s almost an initiation or a rite of passage one goes through, and when one becomes a member of the society of psychedelic brethren, one never needs to “announce” the term or reference the expected tropes–it’s imbued into the work, whatever the work might be. Jennifer Baron’s work of any kind—-her photography, her arts curating, etc., not just her music—reflects a certain effervescent, magical quality. Even though her music does not resemble, say, Tyrannosaurus Rex-period Marc Bolan, she shares that sparkling, mystical ineffable quality. However, LUMINOUS TOXIN is not an album that would automatically be put in the “psychedelic” section of a record store.

Instead of creating her TWO VIRGINS, as mentioned above, Jennifer Baron has created her WONDERWALL MUSIC here. No, it’s not Indian-inspired, but actually it’s atmospheric instrumental work that evokes soundtrack music. Her skill as a composer of excellent trippy songs has led her, as it led Mancini and Morricone (both also excellent writers of songs), to create soundscapes that sing, that press the buttons of the imagination. Those knowing earlier GARMENT DISTRICT music will get a pleasant surprise here….instead of reminding one of, say, The Peanut Butter Conspiracy or the Crome Syrcus, reference points for this album might include Bowie’s Low or Eno’s Another Green World….or the more melodic side of Fripp & Eno or perhaps some of David Sylvian’s things with Japan. There’s also a Krautrock element, yet if I was given this album and told it was from a John Carpenter or Dario Argento soundtrack, I could believe it.

LUMINOUS TOXIN’s instrumental soundscapes evoke a world, a world where I’d like to live! As I said earlier, all of Jennifer Baron’s many pursuits have a unity, and perhaps the best way to evoke the feel of the album might be to show you a series of photographs of hers because the album sounds the way these look:

JB PIC 1

JB PIC 2

JB pic 6

JB pic 4

JB PIC 5

and let’s not forget the beautiful cover photo, which was taken (I believe) in Las Vegas:

GARMENT DISTRICT  VegasGOLD_Photo by Jennifer Baron

The way these photographs evoke so much, have such a luminous texture and glow, similarly the new Garment District album LUMINOUS TOXIN will have a similar effect on the open-minded listener and will take him/her into its mystical world. Just to be clear, this is NOT a drone/ambient release–if you like side 2 of Bowie’s LOW, think of that as a jumping-off point. But really, it’s pure GARMENT DISTRICT, soundtracks for the mind, and of course, Jennifer Baron’s instrumentation (Rickenbacker guitar, 1980’s Roland JX-3P synth, Wurlitzer electric piano, old Hohner organ, bells and various percussion) will be familiar from her more overtly psychedelic works.

A wonderful and magical new creation from a major talent from one of my favorite cities, PITTSBURGH.

THE GARMENT DISTRICT were featured in the Silver Studio Sessions of the Andy Warhol Museum, and you can catch those performances here:   http://www.warhol.org/connect/silverstudiosessions/The-Garment-District/#.VYGaovlViko

And here is a 2014 interview from TINY MIX TAPES: http://www.tinymixtapes.com/features/the-garment-district

You can score a digital copy of the 2011 Garment District cassette album Melody Elder here:  https://thegarmentdistrict.bandcamp.com/

The Garment District is music by multi-instrumentalist Jennifer Baron, a founding member of Brooklyn’s The Ladybug Transistor (Merge). Her debut tape, Melody Elder, was released on Night-People in late 2011 and her latest 7″ on La Station Radar features a remix by Sonic Boom. In Summer of 2014, The Garment District’s debut full-length LP was released (vinyl + digital formats) on Night-People.  We are honored to welcome THE GARMENT DISTRICT and Jennifer to the KSE family. There’s no one like her, and we appreciate her spending months on LUMINOUS TOXIN, an original creation made especially for Kendra Steiner Editions. Get your copy NOW!

And while you are ordering that, why not also get some of our Spring 2015 releases:

KSE CDR’s OF EXPERIMENTAL MUSIC NOW AVAILABLE: 

full-sized KSE CDR’s ($8.00 each, ppd. in US—outside US $11.50)

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

ALL ARE AVAILABLE FOR IMMEDIATE DELIVERY

new releases for 2015:

MORE EAZE PRIZES cover

NEW FOR SUMMER 2015: KSE #310 (CDR) MORE EAZE (Marcus M. Rubio), “Accidental Prizes”

FOSSILS WITH BRIAN COVER

NEW FOR SUMMER 2015: KSE #294, FOSSILS WITH BRIAN RURYK (a joint release with Middle James Co.—-only 48 copies made, 24 from Middle James, 24 from KSE)

RAMBUTAN COVER

NEW FOR SUMMER 2015: KSE #305, RAMBUTAN, “Remember Me Now”

LISA ERNESTO COVER

NEW FOR SUMMER 2015: KSE #299, LISA CAMERON & ERNESTO DIAZ-INFANTE, “Sol Et Terra”

GIFT FIG STELL

NEW FOR 2015: KSE #298, GIFT FIG:  the duo of ALFRED 23 HARTH & CARL STONE, “Stellenbosch” (live in South Africa, September 2014)

MORE EAZE COVER

NEW FOR 2015: KSE #293, MORE EAZE (aka Marcus M. Rubio), “stylistic deautomatization”

STEVE FLATO

NEW FOR 2015: KSE #307, STEVE FLATO, “Exhaust System”

derek 2015

NEW FOR 2015: KSE #292, DEREK ROGERS, “Depth/Detail of Processing”

FOSSILS FLORIDA COVER

NEW FOR 2015: KSE #300 (CDR), FOSSILS & BILL SHUTE, “The Florida Nocturne Poems” (poetry and music album), cover art by MP Landis

,,,,,,,,,,,,

SUMMER 2015 will bring SEVEN new releases: in addition to THE GARMENT DISTRICT, we’ll have new albums from LISA CAMERON & ERNESTO DIAZ-INFANTE, FOSSILS, RAMBUTAN, FADENSONNEN, MORE EAZE (Marcus M. Rubio), and JEN HILL. Stay tuned….

….

….

June 14, 2015

ABC SOUL DIAMONDS (Buried Treasure CDR, France)

Filed under: Uncategorized — kendrasteinereditions @ 3:21 pm

various artists, ABC SOUL DIAMONDS (Buried Treasure, France, CDR, 21 tracks)

ABC Soul Diamonds

Few things satisfy (me) as much as a stack of obscure soul 45’s. As someone who actively collected 45’s from the early 70’s through the mid-to-late 90’s, I remember well the thrill of bring home various random 45’s by artists unknown to me…or unknown records by artists with whom I was familiar. The recent SOUL DIAMONDS compilation series provides that same thrill now that most sources of 45’s have been picked clean by collectors and most junk stores and flea markets are connected to Ebay. One good thing about this series is that it specializes in labels, not producers or cities, and the major labels featured so far (MERCURY, DECCA, and EPIC) tended to license in a lot of material rather than focus on in-house productions with a set “house” band and house style. Thus, you get a wide variety of styles and sounds (and on this album, a time range of about 15+ years), so the end result is like some amazing radio station in your dreams that focuses on obscure 45’s. For me, that’s musical ecstasy.

So what’s here? Well, lesser-known tracks by artists who are better-known for their work on other labels (Baby Washington, Maxine Brown, Dee Dee Ford, The 5 Royales); lesser-known tracks by ABC artists such as Ray Charles (a duet with Jimmy Lewis), O.V. Wright, The Tams and Lloyd Price; tracks where the composer is familiar (Rudy Toombs, Earl King, Dee Irvin, George Kerr) but the record unfamiliar; tracks with well-known producers such as Willie Mitchell or Clyde Otis; and performers new to me, such as Demetriss Tripp, Harry M and The Marvels, and Betty O’Brien. Most of the material dates from the 1960’s…although Lloyd Price’s “Just Because” was released in 1957, and O. V. Wright’s “Slow and Easy” dates from 1976 (although Wright could sing the phone book and remain deep and soulful, so don’t be put off by the late date)…and a wide range of styles is found. Again, as ABC-Paramount (and later just ABC) was a major label, these were all professional recordings and surely artists who had been only popular regionally may well have thought that a record on ABC—-the label of BB King and of Ray Charles, after all—-might be their ticket to national success. There were a lot of great records competing for slots in the coveted R&B Top 40, and back in the days when regional charts had so much variety, there could literally be 100+ songs on the R&B “charts” in any one week….so think about how many OTHER singles of quality were aiming at those 100 slots. Ten or twenty for every one that made it? That’s why compilations such as these can be so rich yet have so much material obscure to the non-fanatic.

As always for the Soul Diamonds series, the album is compiled by serious soul collectors, so except for the Lloyd Price and O.V. Wright tracks, you are not likely to own many or any of these 45’s, and also, the compilers know how to mix the material so it’s like something programmed by an ace club DJ spinning his/her rarities.

If the various soul compilations on Ace-Kent, Outta Sight, Goldmine Soul Supply, P-Vine etc. are not enough for you, or if you need an hour of fine and varied 45’s running the gamut of styles within “soul” music, then you should grab this (and the Mercury and Decca volumes in the series–the Epic one was a bit to 70’s oriented for my taste) as soon as possible. Just google the title and you’ll find someone selling this in your territory (Crystal Ball Records is handling it in the USA).

ABC one

ABC two

ABC three

1.JUST BECAUSE / LLOYD PRICE

2.THERE YOU GO AGAIN / JEANETTE BABY WASHINGTON

3.THIEF IN THE NIGHT / CHARLES JAMES

4.I WANT IT LIKE THAT / 5 ROYALES

5.IS THAT THE WAY YOU PLANNED IT / BETTY O’BRIEN

6.I’M COMING HOME / BUDDY LAMP

7.I’LL BE STANDING BY / HARRISON BROTHERS

8.SO AM I / NATE HOLMES

9.IF IT WASN’T FOR BAD LUCK / RAY CHARLES & JIMMY LEWIS

10.I’M CRYING (INSIDE) / TROY KEYES

11.WHAT DO YOU DO (WHEN YOUR LOVER LEAVES YOU) / TAMS

12.SLOW AND EASY / O.V. WRIGHT

13.I CAN’T GET OVER YOU / GLADYS KNIGHT

14.ORDINARILY / TOMMY TATE

15.LOVE IS A WAY OF LIFE / DANNY WHITE

16.JUST LIKE A FOOL / DEE DEE FORD

17.HOW CAN I GET OVER A FOX LIKE YOU / ICEMEN

18.I DESERVE TO CRY / HARRY M & THE MARVELS

19.STRAIN ON MY HEART / DEMETRISS TAPP

20.SO LONG / LITTLE JOE STEELE

21.FORGET HIM / MAXINE BROWN

ABC four

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