Kendra Steiner Editions (Bill Shute)

March 24, 2014


“There was violence in Lou Reed’s music that made the tender moments ring true, just as there was tenderness that made the violence all the more stunning.” — Matt Krefting

“Lou Reed was simultaneously way too smart for rock n’ roll and dumb enough to believe in its redemptive power.”–Brad Kohler

$7 postpaid in US / $8 postpaid elsewhere………..payment via paypal to   DJANGO5722(at)YAHOO(dot)COM


now available…KSE #272 (poetry chapbook)…POLYMORPHOUS URBAN: POEMS FOR LOU REED.

LUIS CUAUHTEMOC BERRIOZABAL…JIM D. DEUCHARS….MICHAEL LAYNE HEATH….                                                                                                                                                    A.J. KAUFMANN….MATT KREFTING

Lou Reed. He was still alienating people in the last months of his life. People were walking out on his (brilliant) Metal Machine Trio shows because there were no “songs.” And do we even need to mention the polarizing LULU album or his head-scratching praise of Kanye West’s YEEZUS. In the local newspaper here, on the event of his passing, the musicians who’d opened for him or fans who’d tried to talk with him described with pride his telling them to “f*ck off,” with the same doe-eyed love in their tone as if they were a elderly lady who’d once been given a scarf by Elvis at a 1972 concert in Murfreesboro.

Reed’s work was life-changing for many listeners, no matter when they got onboard the train. I was too young to have heard or heard of the Velvets during their active years. I picked up 1969 LIVE while in high school and immediately had the sense that THIS IS HOW ROCK N ROLL OUGHT TO BE PLAYED. I then went back and found WHITE LIGHT WHITE HEAT, and as I’d already heard Anthony Braxton and Albert Ayler, when I heard Lou’s guitar solo on “I Heard Her Call My Name,” it all came together…and at the same time it all came apart. And I’ve never been the same…

I’m  old enough to remember reading Lester Bangs’s articles on Lou back while they were being published in CREEM, and like many teenagers, I got caught up in that long-running feud–whatever the reality behind it, it helped Lester’s visibility, it helped Lou’s visibility, and it sold copies of CREEM. I stayed with Lou over the years, and to his credit, he continued taking chances until the end. Lou Reed albums were not run past a focus group before release. They were not test-marketed. I think that one thing we all admired about him even when we did not like or enjoy particular albums was that he truly did not care at all what anyone thought of his work. All of us who labor in obscurity doing work that’s outside the norm, and also outside the alternative norm, can point to Lou as a man who never did what was expected and who liberated us from the model of allowing gatekeepers (or “underground” gatekeepers) to affect our work.

Reed opened doors…not out of politeness toward those following him, but because the door was in the way so he kicked it down without a thought. He needed room to breathe…down came the wall, in came the light…

As KSE is a press-label with a commitment to both cutting-edge contemporary poetry and contemporary music, the core of us here starting talking about what to do to celebrate Lou Reed’s life and work before the sun set on the day he died. Jim Deuchars suggested a poetry chapbook, and within a day I’d invited A. J. Kaufmann and Matt Krefting and Michael Layne Heath (all both musicians and poets…hmmm, do I sense a pattern here?) to come up with work that somehow was inspired by Lou Reed. The next day, my friend and longtime KSE poet Luis Cuauhtemoc Berriozabal sent me a poem he’d written about Lou in the past and thought I’d appreciate in the time of Lou’s passing. I knew that beautiful poem had to open any KSE collection….I asked Fossils co-conspirator David Payne, whose watercolor artwork I’ve long admired, to create new Reed-inspired work to grace the cover.

We’ve assembled our KSE poetry A-Team for this one…brand-new, white-hot poems inspired by Lou Reed from


JIM D. DEUCHARS  (Pittsburgh)


A. J. KAUFMANN (Poznan, Poland)

and MATT KREFTING (Western Massachusetts).

With cover art by DAVID PAYNE (Hamilton, Ontario). Edited and compiled by yours truly, Bill Shute


As with Lou Reed’s work, the experimental and the lyrical are intertwined here in these poems, the abrasive and the tender…

Limited hand-assembled edition of 125 copies, and more than half are already gone SO ACT NOW…


now available…KSE #272 (poetry chapbook)…POLYMORPHOUS URBAN: POEMS FOR LOU REED.

LUIS CUAUHTEMOC BERRIOZABAL…JIM D. DEUCHARS….MICHAEL LAYNE HEATH….                                                                                                                                                                          A.J. KAUFMANN….MATT KREFTING

$7 postpaid in US / $8 postpaid elsewhere………..payment via paypal to   DJANGO5722(at)YAHOO(dot)COM


March 21, 2014

HIDDEN GEMS, VOLUME 1: Atlantic Records (no label, CDR)

Filed under: Uncategorized — kendrasteinereditions @ 8:37 pm


no label CDR, released early 2014


For the lover of vintage late 40’s/early 50’s jump blues/R&B, this 24-track compilation will be nothing but joy. So much of the Atlantic label’s 1940’s and 1950’s output (and for that matter, 1960’s too) has not been reissued, let alone properly reissued, which makes this set of 1949-1950 78’s a real find. Atlantic began recording in late 1947, right before the second Petrillo ban, and had a wide variety of artists, including jazz, country, spoken word, and pop, but by 1949, they had a first-rate line-up of raw jump blues/R&B artists, and that’s what is featured here. I believe that the Tiny Grimes and the Jimmy “Baby Face” Lewis tracks have shown up on the Spanish “Blue Moon” compilations devoted to those artists’ work, but everything else is new to me….names such as Frank “Floorshow” Culley or Melrose Colbert don’t ring a bell, but they no doubt were exciting live performers, and recordings in those days were able to capture the excitement and presence of these artists. And the personnel on these sessions are the cream of the crop: drummer Cozy Cole, saxophonist Paul Bascomb (here masquerading as “Manhattan Paul”), saxophonist John Hardee, pianist Harry “Vann” Walls,  saxophonist Tab Smith, drummer Kenny Clarke, saxophonist Allen Eager, etc. There’s a nice mix of styles: vocal groups, Wynonie Harris-style shouters, Jimmy Witherspoon-style jazz-tinged blues singers, a few Eckstine-esque slower tracks,  a few numbers with a Johnny Otis-esque tinge, all held together by many booting rockers. In many ways, the music here is a New York mirror of the Los Angeles R&B being issued on labels such as Modern. If you’ve been enjoying the many CD archival digs into the Modern family of labels that have been issued in the UK by Ace, then you’ll also enjoy these East Coast sessions. The lyrics on many of these are pure jive-poetry and surreal boast-and-bluster in the best late 40’s tradition, and there is a hotness and depth to the actual recordings so it sounds like the band is in the room with you…and thankfully, the compilers have not used much or any noise reduction…so there is a slight layer of 78 surface noise, but the benefit is none of the full frequency range of the recordings is muffled or limited. Nothing sounds like a LOUD 78 recording of rhythm’n’blues, and that’s what you get here.

Whoever compiled this really did the R&B lover a huge favor. Maybe in the 1990’s a compilation like this might have come out on a “real” label, back when labels were milking their deep back catalogue for content to fill the then-new CD format, but nowadays, except for a handful of specialist labels who can only release so many albums per year, that’s unlikely, so it takes “collector” CDR releases such as this to fill the gap…and it fills it well. You can get this from Crystal Ball Records…check their website. It’s a brand-new release, and certainly one of the best of the year.

You can find the 78’s on this album in this online Atlantic 78 discography if you want further info, but the album DOES come with complete personnel listing and recording dates, as well as the Atlantic release number of each item. Can’t wait for volume 2 of this series, and I’m assuming the series will be tackling other labels of the day, not just Atlantic. What a great project!



March 14, 2014


Filed under: Uncategorized — kendrasteinereditions @ 6:30 pm

If you are an aficionado of that uniquely American creation, the song-poem record, you have to keep your eyes out for vintage song-poem gems appearing online and elsewhere. The days of over-the-top vintage song-poem compilations coming out every year are long gone, and the American Song Poem Music Archive website has been dormant for a decade or so, though you can still read many of the articles and discographies  (many of the links are now dead, of course). However, quality releases are STILL out there—Roaratorio Records has done a few collections of Rodd Keith’s work, and the newest one, BLACK PHOENIX BLUES, is a mind-blowing compilation and one of my best releases of 2014 (you can order that album direct from the label at this link: ). Also, Bob Purse’s fantastic blog THE WONDERFUL AND THE OBSCURE serves up vintage song-poem morsels almost every week, and Bob knows the genre inside out, so he’s always able to put the songs in context historically and provide the backstory of the various labels and singers/musicians involved. You can find Bob’s blog here: . And I would be remiss if I did not give a plug to the hour-long internet radio show by Sammy Reed, MUSIC FROM THE WORLD OF THE STRANGE AND THE BIZARRE, which devotes a good chunk of each program to song-poem material (in fact, Sammy’s most recent show was an entire hour devoted to the songbird of song poems, BOBBI BLAKE). Here’s a link to over a dozen Sammy Reed shows you can enjoy: .

The reason for this post, however, is to document a privately released song-poem CDR  I picked up circa 2004. It was announced in the news section of the American Song Poem Music Archive, but other than that announcement (which is still up, by the way), there is no reference to it anywhere online, and the BELLYBONGO website has lapsed. I pull it out from time to time, so I want there to be SOME online documentation of it…

I ordered my copy directly from BELLYBONGO in Sweden, and it’s a 28-track homemade CDR (kind of like one of our KSE releases, actually) with both sides of 14 song-poem 45’s on such well-loved labels as MSR, Preview, and Tin Pan Alley. The 28 tracks lean toward MOR territory, though a few have a country flavor and others a twist of exotica. Because few of the songs here are as weird as the better-known song-poem tracks that have been compiled and have become classics of the genre, one could put this album on and if people were not really listening, they would not necessarily stop in their tracks. It could be B-sides of album filler from some vanity record or something on a local label from the 1970’s. Only when one starts to listen to the lyrics, and then notices how thin the instrumentation is on most tracks, with a cheesy 70’s electronic keyboard attempting to fill the space, does the album kick in. The arrangements have a one-take feel, but the pros who made these recordings  could “fake” it well, and vocalists such as Rodd Keith or Bobbi Blake have the professionalism of people working in the commercial jingle field or people who are part of the entertainment at theme parks. Although these terms “DIY” and “MOR”  would seem to be contradictory, what the song-poem usually produced was a kind of DIY middle-of-the-road musical product. After all, the folks who paid good money to have their lyrics set to music and recorded did NOT want their song recorded by someone who was an “outsider.” They would have made their own “real people” recording had they wanted to fully execute their “vision” in that manner. No, they wanted their lyrics set to music by professionals, and despite the “song sharking” nature of this business, that IS what they wound up getting. The handful of copies of each release went to family and friends of the lyricist, and some were sent out to radio stations but promptly thrown out. Others leaked into the junk-store/flea market circuit, where they still appear today. That’s where I first saw a few of these in the early 1970’s, although I did not think of it as any kind of a “genre” at that time. I guess I just considered it an extension of the vanity record with someone else doing the singing.

On those days when the world seems absurd, and everything seems phony and standardized in a grotesque way as if one’s on a bad acid trip, song-poem recordings can provide a welcome sense of REALNESS, of sweet-and-sour awkwardness, that somehow makes everything tolerable again….yes, Virginia, there ARE real people out there, the ones who sent in the lyrics to these songs and the session players who awkwardly recorded them…not everyone is a pod person and not everything is scripted and airbrushed. I have also included the occasional song-poem on some of the Virtual Thrift Store CDR’s of recent vintage…

The CDR is a temporary storage medium. I’d say about half of the Bob Dylan and Elvis Presley boots I traded for in the 1990’s  on CDR  have come down with CDR rot, and the last track on THIS album is skipping, leading me to wonder if now this CDR too has got the start of the rot. I did manage to make a copy of the CDR (on which track 28 is defective), so maybe that will buy me a few more years….in any event, someone needed to document this fascinating album, and I just have.

I hope someone thought to make an MP3 copy of this and upload it somewhere….



“Love Is A Wailing Thing: The MGM 55000 Series” (GVC cd, UK)

Filed under: Uncategorized — kendrasteinereditions @ 3:18 pm

various artists (circa 1954-56) from MGM’s 55000 Series, dedicated to R&B


(GVC, UK, cd–30 tracks)

available from Crystal Ball Records and other oldies collector outfits

This late in the game (60 years late),  it’s always a joy to find a unified body of top-quality musical work that’s somehow avoided reissue.  That’s what we have here in this wonderful collection of 30 sides (A & B sides of 15 singles) from MGM Records’ short-lived 55000 series, launched in 1954 as a series devoted to R&B and under the A&R direction of Leroy Kirkland, longtime session organizer and key player on the New York scene. MGM is not a label one associates with jump-blues or R&B in the late 40’s through the mid-50’s, other than the exceptions of Ivory Joe Hunter and Billy Eckstine  and the instrumental albums of Sam “The Man” Taylor  and some one-off sessions here and there, some of them in the vocal-group/doo-wop genre.  I don’t know what motivated MGM to initiate this R&B series…music historians have mentioned that 1954 was the first big year of “crossover” success for R&B, and perhaps they hoped for a taste of that…or maybe it took them that long to realize the large Black audience for the music….whatever the reason, I’m sure glad they did, and you will be too when you hear this hot collection of 30 sides, 15 singles A&B, most of which would cost upwards of $100 on the collector’s market.

It’s a varied collection of men and women (no teenagers here….MGM later had a Cub (originally called “Orbit”)  subsidiary devoted to teen music) whose music would no doubt have appealed to fans of Anisteen Allen or Jimmy Witherspoon or Roy Milton, although there are some proto-doowop vocal group sides and others that dip the toe into the bubbling waters of rock and roll. These are NEW YORK sides, so they don’t really sound like West Coast R&B or Chicago R&B, and as major label sides, they have a full sound and A-team jazz sidemen, so they don’t have the rushed quality one sometimes finds on NYC labels such as Herald or Derby. One could compare this material with the output of RCA’s “Groove” subsidiary, but there are fewer novelty songs here–only one tune halfway qualifies, and it’s mostly ‘novelty’ in the tone of the vocal. Short-sighted labels often thought a novelty number was a shortcut to a hit….fortunately, A&R man Leroy Kirkland had been around long enough to see the error in that and he knew that in the long run, solid-sending R&B with a groove is what would command those jukebox nickels and dimes, and that’s what you get here.

These are the kind of records that Alan Freed used to champion in the early 50’s, forward-thinking beat-driven booting R&B platters played by black musicians who’d paid their dues in the waning days of the swing era—-they had jazz-level chops but still realized that most popular music had to also succeed as entertainment—-people such as Mickey Baker, Sam “The Man” Taylor (who wound up as a longterm MGM artist), Big Al Sears, Taft Jordan, etc. Some artists in the 55000 series such as The Twilighters or Gladys Patrick did record for other labels before and/or after their stint with MGM, but many of the named artists are lesser-known, and at least a few are pseudonyms for the session musicians and for leader Leroy Kirkland. So what you are getting here is 15 singles, A & B sides, for a total of 30 hot tracks, coming from a great period, 1955-56, as R&B evolved into rock and roll.

The sound is fine, and the package is done up just right by respected blues archivists/scholars Victor Pearlin and Bob Fisher. with pictures and anecdotes provided by Billy Vera, who knew and worked with Leroy Kirkland, and who no doubt questioned him thoroughly during their work together. It’s a prime slice of quality material from one of the best periods ever in R&B history from one of the best locations (NYC) with some of the best musicians anywhere, at the top of their game like a seasoned athlete and probably playing  dozens of studio and live gigs a week, and thus having the kind of effortless flow that someone who’s ALWAYS playing tends to get. This has a 2009 release date on it, but it evaded me until late 2013. However, it’s still available…just google the title and you’ll find a few dealers who have it. If this description intrigues you, then you NEED this prime collection.


MGM 55000

  1. I Must Have Love – Johnny Oliver
  2. Lemonade Baby – Johnny Oliver
  3. He Ain’t Mine No More – Baby Dee
  4. When I Cry – Baby Dee
  5. Cloudburst – Claude Cloud & His Thunderclaps
  6. One Bone – Claude Cloud & His Thunderclaps
  7. Cherie – The Hide-A-Ways
  8. Me Make Em Pow Wow – The Hide-A-Ways
  9. Long Gone Lonesome Blues – Jimmie Newsome
  10. I’m Afraid I Love You – Jimmie Newsome
  11. Bad Girl – The Ramblers
  12. Rickey-Do, Rickey-Do – The Ramblers
  13. Move It On Over – Ray Reid
  14. I’ll Take the Blame – Ray Reid
  15. High Winds – Sam ‘The Man’ Taylor w/Claude Cloud & His Thunderclaps
  16. Bang Up – Claude Cloud & This Thunderclaps
  17. Daddy On My Mind – Mamie (Miss Good Blues) Thomas w/Leroy Kirkland’s Orchestra
  18. Nobody Like My Man – Mamie (Miss Good Blues) Thomas w/Leroy Kirkland’s Orchestra
  19. Unchain My Heart – Gladys Patrick
  20. The Blues – Gladys Patrick
  21. Little Did I Dream – The Twilighters
  22. Gotta Get on the Train – The Twilighters
  23. Darling Is It Time – Johnny Oliver
  24. My Lady Love – Johnny Oliver
  25. Zoom De De Ho Ho – Dolores (Baby Dee) Spriggs
  26. Unless You Love Me – Dolores (Baby Dee) Spriggs
  27. Half Angel – The Twilighters
  28. Lovely Lady (Lundy Lou) – The Twilighters
  29. Somebody Please – Gladys Patrick & the Charioteers
  30. Love is a Wailing Thing – Gladys Patrick & the Charioteers



MGM back

March 11, 2014

new poetry chapbook, Bill Shute, “Someplace On Anywhere Road” (KSE #273)

Filed under: Uncategorized — kendrasteinereditions @ 11:10 am


“Someplace On Anywhere Road”

Sound Library Series, Volume 75

KSE #273  (poetry chapbook)

edition of 44 copies


I began SOMEPLACE ON ANYWHERE ROAD in November 2013, worked on it while in southwestern Louisiana in January 2014, and just finished it a few days ago. With the many projects I’m involved with presently—-the work on the films of Jerry Warren, the tribute to Lou Reed poetry chapbook (which will be out soon), the release of a new music CDR every month in 2014—-I’ve put the publication and promotion of my own writings on the back burner (there are others from the second half of 2013  ready to go and already distributed to friends, but as yet unissued through KSE). However, with the release of the Fossils/Bill electronics-and-poetry CDR, some folks have asked, “hey, what are your most recent poetry chapbooks,” so I’ve now prepared this one, the most recent creation, for release…and here it is.

It’s a daybook, a collage, a soil sample, an open-field junk sculpture—-it features cameo appearances by Umberto Scalli (as played by Timothy Farrell), Andy Milligan’s Duke of Norwich, and the Sleepwalkin’ Guitars of Dan and Dale—-it tastes of pig ears, used washwater, and generic wine served by elderly ladies in red hats—-you can hear the gunshots and military overflights—-

It might provide a breadcrumb trail to some kind of liberation…then again, it may not

It’s a home-made, hand-cut and hand-assembled edition of 44 copies.

In a few months, it will have floated past you down the river, forever out of reach.

It’s authentic.

It’s perfect for those with limited attention spans who read a few words and then drift away for a spell….the next free-floating phrase-cluster will still be there when you come back down…

$6 postpaid in the US / $7 postpaid elsewhere…

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

It’s volume 75 in KSE’s SOUND LIBRARY SERIES…

also available for the same price

KSE #265 (art-and-poetry chapbook), BILL SHUTE, ‘The Language of Construction”


KSE #263 (poetry chapbook), BILL SHUTE, “Worried Men and Wooden Soldiers”

KSE #256 (poetry chapbook), BILL SHUTE, “Led Along” (Sound Library Series, Volume 73)

KSE #269 (poetry chapbook), BILL SHUTE, “That Eccentric Rag” (sound library series, volume 74)

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

and I still have a few copies of the reprint of this, IMHO one of my best-ever, written in Galveston soon after the BP Gulf Oil Spill

KSE #169 (poetry chapbook), BILL SHUTE, “Seawall” (Sound Library Series, Volume 57, orig. release August 2010)


As always, thanks for your support of independent DIY arts organizations such as KSE…direct from person-to-person, no middleman (or woman)…

March 6, 2014

FOSSILS and BILL SHUTE, “DIESEL FALLOUT DIXIE STAMPEDE” (KSE #271), cdr album now available

Filed under: Uncategorized — kendrasteinereditions @ 6:10 pm


“Diesel Fallout Dixie Stampede”

CDR album KSE #271

10 tracks of flash-fried-and-fracked  third-mind  sound poetics

Fossils are David Payne and Daniel Farr

Bill Shute poetry source material

recorded by Derek Rogers


1. Rabbits Smelling The Cedar

2. Concrete and Stone 3. As We Expected

4. Dry Head-Cleaner   5. I Can Hear Them Now

6. Shavings 7. 1971 and 1993

8. Third-Mind Tap 9.Cracks In The Circle

10. Gasoline-Stained Napkins


The acclaimed Hamilton, Ontario lo-fi sound-art duo FOSSILS (the core being Daniel Farr and David Payne) create their audio sculptures from a combination of found material, recordings they make and then distort/warp/resculpt, and live electronics. There are dozens of FOSSILS releases, a combination of cassettes, CDR’s, and lathe-cut discs, usually in micro-editions. In a recent interview, David P described one of their strategies as being a kind of Jackson Pollock-esque “action painting in sound,” and that certainly captures the rawness, the alive-ness, and the physicality of pretty much ANY Fossils music. KSE was proud to issue a FOSSILS album last year, BELLS AND GULLS (now, alas, out of print), and as we are huge fans of the duo’s work and entire aesthetic, they were invited to do a second album: imagine my surprise when they suggested using some of my poetry recordings as “source” material for the Fossils treatment. But then, it does make perfect sense…one of my recent collections is called JUNK SCULPTURE FROM THE NEW GILDED AGE, and they were once referred to at Foxy Digitalis as ” super fried, paint-splattered jams that sound like they were born out of junkyards and dumptrucks,” so like that loud but affectionate couple in the next apartment,  I guess we were made for each other. We’re both scavengers creating assemblages from the flotsam and jetsam of throwaway culture.

I provided Fossils with some solo poetry recordings made a few years ago and recorded by my good friend Derek Rogers when he was still living in Austin, and the resulting album is DIESEL FALLOUT DIXIE STAMPEDE. In the classic Burroughs/Gysin “third mind” approach to cutting/folding/restructuring literary texts in order to bring out implicit theme and images and to “release” submerged layers of meaning, Mr. Farr and Mr. Payne spent a lot of time with the source material and created TEN amazing sound-sculptures made from the texts of such Bill Shute poetry chapbooks as ACRES,  FOUR TEXAS STREAMS, and SHORE ACCESS–the themes and images from those texts have been cut-up, tossed, and flash-fried into tasty new dishes that dig deeper into the themes and concerns of the original writings. However, beyond that, this is a great FOSSILS album. The texts could be in Japanese or Swahili—-it’s a mind-frying listen, full of diverse rhythms and textures, the source material melted and reformed into unrecognizable shapes.

A first-rate FOSSILS album AND an extension of Bill Shute’s Texas-rooted poems into another dimension…all on ONE cdr that’s waiting for you from Kendra Steiner Editions. And don’t worry, we have asked FOSSILS for another new album due early next year, 2015. We believe in what they do…and do better than anyone else. Until then, please check the Cardinal Records website and join the Middle James Co. Yahoo group and find out about the many and varied FOSSILS releases. They are, to me, about the most interesting and essential band out there. Like KSE, they are about lo-fi/low-cost experimentation with inexpensive and/or found elements—-we Poverty Row practitioners of the experimental arts need to stick together.



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

(please include a note w/ your order indicating which items you want and also your mailing address…thanks!)

ALSO AVAILABLE FROM KSE ON CDR (same price as above):

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

KSE #240 (CDR) SPRILLS OF ORE (Eva Kelly), “Time Mirrors”

KSE #260 (CDR) TOM CREAN, “Wired Love” (solo guitar and banjo explorations)


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

KSE #254 (cdr), DJIN AQUARIAN/SIR PLASTIC CRIMEWAVE & THE EVERAFTER, Live in San Francisco 10/2011


SPECIAL EDITION POETRY CHAPBOOKS ($7 each US postpaid…or $8 each postpaid outside US)—LIMITED STOCK ON THESE TWO




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

KSE #265 (art-and-poetry chapbook), BILL SHUTE, ‘The Language of Construction”

KSE #263 (poetry chapbook), BILL SHUTE, “Worried Men and Wooden Soldiers”

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

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

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

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

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

fossils by nuuj in rochester 2012David Payne and Daniel Farr perform in Rochester, NY, August 11, 2012  (photo: Rob Nuuja)

bill, east coast trip may 2011 064

Bill Shute reading at Flying Object Books, Hadley, MA, May 2011


previous FOSSILS album on KSE (now out of print)

fossils albany

Visit FOSSILS at the Cardinal Records Website:

fossils tape

writing about FOSSILS:




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