Kendra Steiner Editions (Bill Shute)

July 29, 2008

in North Texas for the rest of the week

Filed under: Uncategorized — kendrasteinereditions @ 8:54 pm

Kendra and I will be in North Texas until next Monday. The last two orders (DF in England; MAC in Texas) were sent out this afternoon. Anything that comes in this week will be shipped out next Monday.

Debbie Kirk’s BROKEN  (KSE #108 ) is now ready, so feel free to order it. It won’t be officially “released” for another week or so, but I’ve got a few printed up and have already sent Debbie some advance copies. This is a monster chap that sizzles and bites. It’s an eclectic collection of recent poems from this Santa Cruz-based dynamo (and former Texan!!!) that will make you laugh and cry, turn you on and repel you, and most of all NEVER bore you. Debbie will be doing a lot to publicize the book in Northern California and will be selling it at her readings and appearances over the next few months. I expect this one to sell out as fast as MK Chavez’s VISITATION did.

As for me, I plan on finishing the ELECTRONIC MYTH collab with Stuart Crutchfield (KSE # 109) while I’m up in North Texas. That’s Volume 9 in the Creel Pone Sound Study series, and it should be coming out in August sometime. I’m also immersed in study of the Tibetan Book of the Dead, in preparation for the collab I’ll be doing this fall with A.J. Kaufmann based on the TBOTD.

In addition, Christopher Cunningham is back with a new one in August, volume 36 in our Sound Library Series, inspired by the music of Ennio Morricone and set in the world of poker. It’s called IN GAMBLER’S BLOOD (KSE #110) and features a haunting cover portrait from acclaimed photographer Cynthia Etheridge.

So “summer’s comin’ on heavy”  here at KSE Central. Adios for now. I’ll be back in touch in August 4.

July 28, 2008

LCB’s GARDEN OF ROCKS (KSE 103) discussed at Orange Alert

Filed under: Uncategorized — kendrasteinereditions @ 8:07 am

Thanks to Jason B. at What To Wear During An Orange Alert for another fine piece on a KSE author’s work—-this time Luis Cuauhtemoc Berriozabal’s GARDEN OF ROCKS (KSE #103). Luis’s beautiful, melancholy lyrical meditations on life and death have been getting great feedback from readers in the month that the chap’s been out, and Orange Alert has always been very appreciative of Luis’s work…and of KSE’s output in general. Many thanks!

You can read the article in its original context here:

or read the text below:


Luis Cuauhtemoc Berriozabal Garden of Rocks (Kendra Steiner Editions, July 2008 )
“Once dreamers too,/the dead, out of time,/are buried like seeds,/safe from the lightning bolts.”


As I settled in for the lengthy car ride with the family to our annual camping trip, I pulled out one of the newer chapbooks from one of my favorite publishers Kendra Steiner Editions. It was the latest offering from Luis Berriozabal called Garden of Rocks. I imagined it was about gardening or perhaps hiking, but I could not have imaged what awaited my eyes. As the van buzzed with chatter and the miles faded behind us, I was wrapped in a somber and insightful meditation on death.

Not just death, but the life and deeds wasted or valued, lost and gain before death. He debates the concept or need for dying, he fears dying, but does not want to continue to live in this world. He talks about the scent of death, death being so near that he can speak to it, the safety and cares of the death. His focus and understanding is so clear and tangible. I got so caught up it in the moment, the fear, the loss… “I don’t want eternal life when I feel so alone.” I am snapped back to reality, and the girls wanting to play the license plate, and all happiness and security is restored for the moment. However, my awareness is somewhat heightened by the knowledge that one day my seed will be planted in a “Garden of Rocks”.

GARDEN OF ROCKS is Luis’s 4th chapbook for KSE. The others are WITHOUT PEACE (out of print), KEEPERS OF SILENCE (out of print), and NEXT EXIT: SEVEN (KSE #100), which is a collaboration with Ronald Baatz and still available.
We plan to issue a fifth chapbook from Luis, another solo collection, in the Fall-Winter of 2008, sometime before the holidays. Do a Google search of “Luis Cuauhtemoc Berriozabal”, WITH the quotation marks, and you’ll find dozens of fine and diverse poems to read absolutely free! After that free taste, why not send $8  for Luis’s two available KSE chaps: NEXT EXIT: SEVEN and GARDEN OF ROCKS while they are still available. Our earlier chaps are selling for $10 and more in the collectors’ market. Why wait and pay a collector who had the good judgement to stock up in advance on these important works , when you can pick up fresh copies for only $4 postpaid (or 3 different chaps for $10) NOW. Ordering instructions are just to your right, at the page listing “available KSE chapbooks.”

July 27, 2008

Alan Watts—-A Conversation With Myself (parts 1-4)

Filed under: Uncategorized — kendrasteinereditions @ 4:10 pm

Recorded in 1971. Courtesy of Mark Watts and Alan

Part One:

Part Two:

Part Three:

Part Four:

July 26, 2008

Upcoming KSE chapbooks for August 2008

Filed under: Uncategorized — kendrasteinereditions @ 9:58 pm

#110, CHRISTOPHER CUNNINGHAM, in gambler’s blood (sound library series, volume 36 ) ;

#109, STUART CRUTCHFIELD / BILL SHUTE, electronic myth (creel pone sound study #9) ;

#108, DEBBIE KIRK, broken .

July 22, 2008

Three new KSE chapbooks: Draime; Kaufmann; Baatz & Shute

Filed under: Uncategorized — kendrasteinereditions @ 9:05 pm

Three new poetry chapbooks for late July/early August. More specifics will follow later, but I wanted to announce that these are available NOW and all are must-reads, in my humble opinion.

First, a stunning new extended “list poem” called BONES (KSE 107) from legendary west-coast poet DOUG DRAIME. Worthy of a Ginsberg or a Ted Berrigan, it’s 110% Draime and covers the “bones” of every imaginable aspect of history and society and life. In the words of the late great Doug Sahm, it’s a “Song of Everything.” This is a brand-new work commissioned from Mr. Draime for KSE.

Next, A. J. Kaufmann is back with a second KSE chap, the 35th entry in our Sound Library Series, called EAST-WEST TRAIN (KSE 106), inspired by the seminal Kraftwerk album TRANS-EUROPE EXPRESS. It’s a wild ride beginning in Paris and ending in Prypiat, Ukraine, the abandoned city near the Chernobyl nuclear accident. Kaufmann’s work grows out of the visionary side of Beat poetry, but he’s a total original.

Finally, much-acclaimed Woodstock-area poet RONALD BAATZ and I have a new collaborative work called THE COMPANIONSHIP OF THE PLUM (KSE 105) , in the five-line stanza format Ronald has used so well in some of his earlier works. The setting is rural New York state in Winter, which was quite enjoyable for me to write as at the time I was staying in the 100-degree heat of San Saba, Texas. Ronald and I are both very proud of this chapbook—joining forces we have created a new work that’s not really like either of our solo works.

Mid-August or so we should have three more new chapbooks:

BROKEN from Debbie Kirk (KSE #108);

IN GAMBLER’S BLOOD (Sound Library Series, Volume 36–KSE #110) from Christopher Cunningham, set in the world of poker and inspired by the music of Ennio Morricone;

and the ninth volume in our Creel Pone Sound Study series, ELECTRONIC MYTH (KSE #109), a collab between Glasgow poet Stuart Crutchfield and yours truly.

Keep checking the KSE blog for details.

Ordering info can be found at (which is located just to the right of this message on the “available KSE chapbooks” page)

Best wishes and positive vibrations from San Antonio…

UK popsike/freakbeat fans should definitely check out the new French compilation of the complete works of THE STATE OF MICKY & TOMMY and related recordings they played on, including many tracks from obscure French EP’s and film soundtracks. It’s been blasting non-stop for the last 4 days at the KSE offices. Available in the US from Bomp.

July 14, 2008

From Bandera to San Saba and back (gone until 7/20)

Filed under: Uncategorized — kendrasteinereditions @ 8:43 am

I’ll be gone, travelling the back roads and small towns of the Texas Hill Country and of central Texas, for the next five days—-during this period Kendra, still recovering from having her four wisdom teeth extracted,  will handle orders.

Will be taking two manuscripts with me for editing on the trip: A. J. Kaufmann‘s EAST-WEST TRAIN, his new sound library volume written under the inspiration of Kraftwerk’s TRANS-EUROPE EXPRESS; and Doug Draime‘s BONES, a stunning new “list poem” worthy of a Ginsberg or a Berrigan, but 110 % Draime. Expect to see those two new volumes appear around the end of July.

Glasgow’s Stuart Crutchfield and I are working on a new collaborative entry in the Creel Pone Sound Study Series, volume 9 (out of 10 volumes total), called ELECTRONIC MYTH, which should be out in late August or September. The 10th and final volume in the Creel Pone series will be written in collaboration with Zachary C. Bush later this summer, and that will close the book on the Creel Pone Sound Study Series, which has received much acclaim from readers and has produced some of the finest KSE volumes IMHO. PYTHAGORON TWO and SAN ANTONIO GOOD FRIDAY and SYMPHONIE ROUGE and LUNA AMERICANA are pieces that will certainly stand as the years pass by.  I hope you picked up on these while they were available. Because of the color artwork included in it, PYTHAGORON TWO (written with Stu) will not be included in my Selected Poems volume, and there are no plans to reissue it.

August-September should also see new solo chapbooks from Debbie Kirk (BROKEN is its name) and Christopher Cunningham (a sound library volume set in the world of poker!). And who knows what else?

As always, thanks for your support, your communications, your purchases, and your reading of the KSE poetry chapbooks. Thanks also to the 8400+ visitors over the last year on this first anniversary of the KSE blog.

July 13, 2008

THE JAM, “Private Hell” on ABC-TV “Fridays” 1980

Filed under: Uncategorized — kendrasteinereditions @ 8:13 pm

In 1980, I was attending college part-time and working full-time as a cook/dishwasher at a restaurant/club in Stillwater, Oklahoma with three guys from Thailand (who drank a lot of beer every shift and listened to old Grand Funk cassettes while they worked—they must have had EVERY Grand Funk album, including obscuros such as SURVIVAL and GOOD SINGIN, GOOD PLAYIN!!).  I remember the night THE JAM were scheduled to perform on the short-lived FRIDAYS tv show: someone brought a tiny b&w tv, we plugged it into an outlet in the kitchen, and we four, some of the bartenders, some of the waitstaff, and even a few customers who were fans huddled around the TV, turned up so loud it distorted everything into a punk wail, and we all watched the following performance:

Jam frontman/composer Paul Weller was born three days before I was. Wherever I was living and whatever situation I’ve been in over the years since then, I’ve always “checked in” with Weller every year or two, picking up his latest album and, when I can find them, a boot or two.  Although I have weathered a lot of extremes on this long, strange trip,  and I have been missing-in-action from friends and family for years at a time, I could always find a recent Weller album somewhere, and the arc of his career and the consistency of his vision have always provided me with a constant against which to compare the arc of my own journey. Weller’s had has digressions, his artistic cul-de-sac periods, his wrong turns, just like the rest of us, but he’s doing it in public and under the spotlight (thankfully, no one was paying any attention to me during my difficult periods!), and he always manages to land on his feet. I hope I have aged half as gracefully as he has.

People of the generation previous to mine may feel that way about, say, Dylan or Neil Young or Van Morrison, but for me, it’s been Paul Weller…and Alex Chilton.

mustard yellow editions at KSE

Filed under: Uncategorized — kendrasteinereditions @ 8:15 am

I’m printing up more copies of some of the books from a month or two ago with numbers in the 90’s such as







in garish mustard-yellow covers, with an almost day-glo shine to them. Some of these (TRANSPARENCY and SHORE ACCESS and LOVE & BLUES) are down to the final handful of copies. Act now…

July 12, 2008

Richard Wink, “All Along The Wensum” (KSE #104) now available

Filed under: Uncategorized — kendrasteinereditions @ 6:19 pm

“I’ve observed that almost everybody who walks past me are wearing headphones connected to an iPod, mp3 player, mobile phone or going back further some may even be lugging around a walkman. These people are missing out on so much, all the sounds. The beeping horns, the sirens in the distance, neighbours’ gossiping, infants crying, birds singing and dogs barking when I walk down a driveway. For a writer this kind of shit is gold dust, for a human you are blanking out your environment. Surely all this is better than listening to the latest Coldplay album.”  

–Richard Wink (column from earlier in 2008 )


No wonder I was attracted to Richard Wink’s poetry with an attitude like that! As the person behind the “Next Exit” series, I value poetry that is rooted in and that evokes place. While I don’t necessarily have a primarily behavioristic view of life and society, there’s no question that people both reflect and are anchored by their environments. Read something by James T. Farrell or Richard Wright or Jimmy Santiago Baca and learn both how this works and how it can be transcended!

Richard Wink’s poetry captures the texture of real life and real people and real voices. In his two chapbooks that I own—-APPLE ROAD and THE MAGNIFICENT GUFFAW—-Mr. Wink presents “core samples” of people and places that are specific to his area of England, but also transcendent and universal like the best  particular  writing.

When I contacted Richard about writing for KSE, he offered a suite of poems he’d been recently working on, and together we’ve assembled a strong collection of 16 brand-new poems that are richly-drawn yet subtly disquieting snapshots of life in and around Norwich, England. By the way, the WENSUM of the title is the River Wensum, which runs through Norwich, England, and like all significant rivers it is the lifeblood of the community and to some extent defines its community. Kerouac had the Merrimack, W. C. Williams the Passaic….for Wink, it’s the Wensum.

Richard is also well-known as editor/publisher of the literary magazine GLOOM CUPBOARD, ,  a ‘zine that offers up an astonishingly diverse variety of work. Richard also has a fine critical eye and is an ace social commentator. In addition, he’s rooted in the punk/DIY aesthetic and his writing is always has the smell and feel of live as it is lived, not of tough-guy posing nor of juvenile fascination with scatology.

KSE is proud to welcome Richard Wink, and Kendra and I feel that ALL ALONG THE WENSUM is a work not to be missed. An edition of 56 copies, we’ve already sent out two dozen of them before this announcement, so act now. See the “available KSE chapbooks” page to your right for ordering information.

July 6, 2008

“Face to Face” (KSE #101) now available

Filed under: Uncategorized — kendrasteinereditions @ 10:02 pm

Volume 34 in the Sound Library Series, inspired by Ennio Morricone’s score to the classic 1967 Italian western FACCIA A FACCIA starring Tomas Milian, FACE TO FACE is now available.

I’d started this five-poem suite prior to finishing QUARTET, and it took me about two months to complete. Section 1, SCENE, introduces us to a depressing exit on the Interstate east of Denton in North Texas and sketches the small community that has been built up around that exit. Section 2, SCENARIO, introduces another one of my un-named 3rd-person male characters (I shouldn’t have read Faulkner’s INTRUDER IN THE DUST all those years ago…that technique has stuck with me!), meant to be both Everyman and an outsider, this time a pizza cook with a knee injury that handicaps him to some extent. Section 3, PRESENCE, introduces Indian-American CPA Anjali, a widow hanging in the balance between two worlds, kept at a distance by the general community and treated as an object by her own Indian-American community in Texas. Section 4, COMBINATION, features some extreme close-ups of the pizza cook’s relationship with Anjali, provides her perspective on him, and brings them together. The closing section 5, CYCLE, is a fast-paced montage that goes inside them and to the core of their union, then places it in the larger context of the outside world, and finally grounds it in a shared spiritual hunger and desire. Circle imagery and mirroring abound.

This work is the result of a distillation process and could easily have been a 300-page novel, but you don’t want to read one and I don’t want to write one. If you’ve enjoyed any of my previous works, you don’t want to miss this one. You will care about these two characters, the fast-paced flow (I’m reminded of Russ Meyer’s film CHERRY, HARRY, AND RAQUEL in terms of fast-paced montage editing) and sensory detail will make the scenes come alive for you, and it’s a kind of “poetic biopsy” of both contemporary Texas and two anonymous people searching for meaning. Only 37 copies available, so act soon.

With FACE TO FACE completed, I’m moving on to my collaborative chapbook with Ronald Baatz called THE COMPANIONSHIP OF THE PLUM. I need to re-orient myself to work with a minimalist master such as Baatz, so I’m re-reading my Cid Corman and Frank Samperi and later William Bronk and also Richard Wright’s book of haiku. I’ll probably be working on PLUM throughout July and into part of August. Wish me luck…

To some extent, my FACE TO FACE is influenced by the film FACCIA A FACCIA. Since that’s never been issued in the US on video, check out the trailer below. When you read my chapbook, I think you’ll see the connection…

Luis Cuauhtemoc Berriozabal, “Garden of Rocks” (KSE #103) now available

Filed under: Uncategorized — kendrasteinereditions @ 9:10 pm

The fourth KSE chapbook from Los Angeles-based poet Luis Cuauhtemoc Berriozabal, GARDEN OF ROCKS (KSE #103), is now available. This is a collection of poems written in May 2008, many based on Luis’s close study of the French symbolist poet Paul Valery. A master of poetic tone, Luis creates a somewhat melancholy feel in most pieces, but he balances that with well-placed wit and also with his usual shaman-like combination of calm and authority There’s also a measure of folk-tale and fable here. Author of the book RAW MATERIALS (Pygmy Forest Press) and three previous KSE chapbooks—-WITHOUT PEACE (out of print), KEEPERS OF SILENCE (out of print), and NEXT EXIT: SEVEN (with Ronald Baatz, still available)—-Luis has been widely published both in anthologies and in literary journals, print and online. Do a google search of his name and you’ll have an afternoon of good reading.

It’s a pleasure to work with someone so creative as Luis. As we were putting together a solo chapbook for this summer, we’d get four or five fine poems chosen, and then he’d send me ten more recent pieces, and I’d want to use some of those too. So for GARDEN OF ROCKS, we settled on choosing from a crop of poems written in May 2008, and we plan to do another LCB solo chapbook in the mid-late Fall of 2008. Until then, grab one of this 53-copy edition now. Check the “available KSE chapbooks” page to your right for ordering information. And remember, you can get any 3 different chapbooks postpaid for $10 in the US. Why not pick up GARDEN OF ROCKS, NEXT EXIT: SEVEN, and my own new one FACE TO FACE as a 3-for-10 package!

July 4, 2008

explanatory sheet for COME ON, REACT reading (March 2007)

Filed under: Uncategorized — kendrasteinereditions @ 6:59 pm

As I was wading through old documents on my hard drive, I found a piece I thought might interest readers of the KSE blog. In March 2007, I did a reading at Viva Books on Broadway here in San Antonio, which brought in an excellent crowd of over 75 people. A college teacher friend of mine told me that she was inviting her class to attend my reading, and asked if I had any explanatory materials to provide her that she could copy for her class. I planned on opening the reading with my KSE chapbook COME ON, REACT, which was then out-of-print but had been a hit at previous readings, so I made a copy of that for the students (and for KSE collectors, I’m sure the 18-copy xerox student reprint of COME ON, REACT would probably be the ultimate rarity!!!). Along with it, I wrote and copied for them a brief explanation of the poem along with a statement—-written for the layperson, and college freshmen are certainly laypersons in terms of contemporary poetry—-of the principles on which my poetry is constructed. That explanatory handout is reproduced below. With all the standardized crap found in school anthologies, I was fairly sure that my major influences—-Ted Berrigan, Paul Blackburn, Frank Samperi, Charles Reznikoff, etc.—-were not being read in their classes. Remember, this was written for people who don’t read poetry, so it may well seem obvious and school-teacherly (if that’s a word). However, I feel that if one cannot communicate with one’s audience on some level, then whatever one’s doing is essentially elitist and in the big picture worthless and mast*rbatory. 


Comments on “Come on, React” by BILL SHUTE

 I’ve also copied for you the complete five-part poem “Come On, React,” which was published as a chapbook in

October 2006 and has been quite well received among my readers. I chose it to open this reading because character-based pieces tend to do well in readings, especially when the character depicted is someone with whom the average reader can relate. I have presented, as in the style of a cinematic montage sequence, five different angles of vision into the life of a character named Lydia Vasquez, a fifty-year old lady here in San Antonio who works as a home health-care nurse. If Lydia is a flower, then these five sections are the five petals of that flower. The image I have used to parallel Lydia is amber, the fossilized resin that is often used in jewelry and that is the result of a process that takes as long as a million years. For me, amber has a sensual quality, and it also sometimes contains pieces of insect or debris that happened to be present at its formation, as I see Lydia containing and making beautiful the debris that happened to be present during her formation and development.

     Each section of this poem originally occupied one page in the original chapbook publication. Section one introduces some of the sensual imagery of amber and presents some of the details about the character Lydia–the amber and the Lydia elements are meant to be blurred together. Section two begins with the details of Lydia’s employment, moving on to four of her patients (one day’s work), and a summary of Lydia’s attitude and spiritual glow. Section three takes the three stages of amber formation–resin, copal, and eventually amber–and juxtaposes them with three stages of Lydia’s emotional development, naïveté, irony, and transcendence. Section four captures Lydia in the midst of the society in which she lives here in San Antonio and ends with a comment on her likely future development. To define two words you may not know, a “kiva” is, according to Wikipedia, a room used by Pueblo dwellers for religious rituals, and a “sipapu” is  “a small hole or indentation in the floor of kivas used by the Ancient Pueblo Peoples and modern-day Puebloans. It symbolizes the portal through which their ancient ancestors first emerged to enter the present world. More generally, it functions as a reminder of the Puebloan’s earthly origins.” Using American Indian spiritual words to describe the TV rooms in modern Texas homes is meant as an ironic comment on contemporary culture. Section five closes the poem with Lydia walking at the beach in the winter, seeing images that both capture the literal scene and work symbolically to represent her situation. The final five lines return to the amber imagery (though they are meant to work just as well in regard to Lydia), and “petrified tears” refers to a Phoenician legend that  “the pieces of amber were the petrified tears of maidens who had thrown themselves into the sea because of unrequited love” (according to Elektron is the Greek word for amber and calls up a wealth of associations. According to, “The Greeks called amber ‘elektron’, sun-made, perhaps because of this story, or perhaps because it becomes electrically charged when rubbed with a cloth and can attract small particles. Homer mentions amber jewelry–earrings and a necklace of amber beads–as a princely gift in the Odyssey. Another ancient writer, Nicias, said that amber was the juice or essence of the setting sun congealed in the sea and cast up on the shore.”

     As for the form used in “Come On, React,” it is rooted in the “variable foot” metric and triadic “stair-stepped line” often used in the work of William Carlos Williams. This form is explained masterfully in the book William Carlos Williams and the Meanings of Measure (Yale Studies in English, Vol. 193), written by Stephen Cushman. I am also indebted to the concept of “projective verse” formulated by Charles Olson, from which the following passages are excerpted:

(1) A poem is energy transferred from where the poet got it (he will have some several causations), by way of the poem itself to, all the way over to, the reader. . . . the poem itself must, at all points, be a high energy-construct and, at all points, an energy-discharge. So: how is the poet to accomplish the same energy, how is he, what is the process by which a poet gets in, at all points energy at least the equivalent of the energy which propelled him in the first place, yet an energy which is peculiar to verse alone and which will be, obviously, also different from the energy which the reader, because he is a third term, will take away?

This is the problem which any poet who departs from closed form is specially confronted by. And it involves a whole series of new recognitions. From the moment he ventures into FIELD COMPOSITION–puts himself in the open–he can go by no track other than the one the poem under hand declares, for itself. Thus he has to behave, and be, instant by instant, aware. . . .

(2) . . . the principle, the law which presides conspicuously over such composition, and, when obeyed, is the reason why a projective poem can come into being. It is this: FORM IS NEVER MORE THAN AN EXTENSION OF CONTENT. (Or so it got phrased by one, Robert Creeley, and it makes absolute sense to me, with this possible corollary, that right form, in any given poem, is the only and exclusively possible extension of content under hand.)

(3) Now the process  of the thing, how the principle can be made so to shape the energies that the form is accomplished. And I think it can be boiled down to one statement (first pounded into my head by Edward Dahlberg): ONE PERCEPTION MUST IMMEDIATELY AND DIRECTLY LEAD TO A FURTHER PERCEPTION.


In my humble opinion, no good poem could ever be written in “free verse”–there is ALWAYS a form, one

molded according to principle #2 of  Olson’s manifesto above. My poetic aesthetic is also based on the structures found in post-Coltrane, post-Third Stream jazz, in the work of 20th century visual artists such as Francis Bacon and Edward Hopper, and in the work of composers such as Morton Feldman and Radu Malfatti.******

Thanks for attending the reading. I hope you will find it interesting and enjoyable. There was a time when poetry was a vital part of the alternative culture community, as much as film or music or the visual arts. With my own writing and the poetry collective I operate, Kendra Steiner Editions, I’m trying to bring poetry back into people’s artistic lives so that they’ll want to pick up a recent poetry chapbook as much as they’ll want to buy or download an album of music or check out a new cutting-edge film.

July 1, 2008

Bobby Jameson’s “All I Want Is My Baby”—-London 1964, w/ Jagger & Oldham

Filed under: Uncategorized — kendrasteinereditions @ 6:12 pm

If you haven’t been reading Bobby Jameson’s chronicle of his rock’n’roll life (look for “Bobby Jameson” among the links to the right), you’re missing one of the most fascinating windows into the sixties and into American culture and into a fertile creative mind. Jameson—-perhaps best known for his amazing COLOR HIM IN album on Verve and his SONGS OF PROTEST AND ANTI-PROTEST (released under the name “Chris Lucey”) album on Surrey (note: these albums have been reissued on Fallout and Rev-Ola, respectively), as well as for his starring role in the legendary film MONDO HOLLYWOOD—-has been providing much free music on his blog besides telling his story, and he just posted a record of his that I’ve ALWAYS wanted to hear but have never seen a copy of in 40 years…his 1964 UK single “All I Want Is My Baby,” produced by Andrew Loog Oldham, composed by Oldham and Keith Richards, and featuring Mick Jagger on backing vocals. It appeared briefly on a Japanese reissue of Rolling Stones-related obscurities, recorded back during the period when Andrew Oldham started doing multiple productions for lesser-known artists while trying to “work” the compositions of Jagger and Richards. Mr. Jameson does not particularly like this record (read his blog for the fascinating story behind it, along with his trip to the UK to record it and to work with Oldham), and it certainly does not sound like anything else in his catalog!, but it still holds up today as a quirky piece of pop-rock that somehow echoes Phil Spector and Joe Meek and the Brill Building, it has an appealing roughness to it, and Jameson’s vocal is raw and cuts through the doo-wop-ish backing vocals (ever heard Jagger’s version of “Da Doo Ron Ron” recorded with the Andrew Oldham Orchestra? I’m reminded of that). It’s a real obscurity and a significant record in Jameson’s career—and a treat for Stones fans—and since hardly anyone has probably heard this, I’m making the link available here. Enjoy! And please check out Bobby Jameson’s fine blog. It’s far more interesting and outrageous than any fiction could be!

Blog at