Kendra Steiner Editions (Bill Shute)

July 22, 2014

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

Filed under: Uncategorized — kendrasteinereditions @ 5:18 pm


“China Collection”

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

$8 US postpaid / $11 elsewhere postpaid

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

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

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


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

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

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

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

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

A23H ChinaCollection

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

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

A23H China Collection cover pic


Also available from KSE:

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


KSE #281 (CDR), FOSSILS, “Wooly Bully” (a co-release with Middle James Co., only 20 copies available from KSE)

KSE #279 (CDR), ERNESTO-DIAZ INFANTE, “wistful entrance, wistful exit”

KSE #277 (CDR), URKAS, “Stamen and Pistil”

URKAS is the duo of Parashi (Mike Griffin) and Xanthocephalus (Russ Alderson)


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

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

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

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

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

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


July 20, 2014

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

Filed under: Uncategorized — kendrasteinereditions @ 10:01 am

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




KSE #287 (poetry-and-photography chapbook)

$6 US postpaid / $7 elsewhere postpaid

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

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

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

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

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

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

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

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

As always, thanks for your support…

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

KSE #282 (poetry and photography chapbook), BILL SHUTE, “Hot Combination”

KSE #276 (art-and-poetry chapbook), DAVID PAYNE & BILL SHUTE, “Blues With A Bridge”

KSE #280 (poetry and photography chapbook), BILL SHUTE, “Guide Dogs and Bartenders on the Gulf Coast”

KSE #273  (poetry chapbook), BILL SHUTE, “Someplace on Anywhere Road” (Sound Library Series, Volume 75)

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

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

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

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

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

 Fellowship of the Frog 011

July 19, 2014

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

Filed under: Uncategorized — kendrasteinereditions @ 9:42 am

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

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


July 18, 2014

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

Filed under: Uncategorized — kendrasteinereditions @ 7:52 pm

The New Untouchables presents MODSTOCK: 21ST CENTURY CLUB CLASSICS

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


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

1. It’s Gonna Rain – Gentleman June Gardner

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

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

4. I Don’t Know Why – The Gass

5. Shotgun – Johnny Deen And The Deacons

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

7. Love’s A Workin’- Dean Carter

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

9. Line And Track – The Aquamen

10. All The Rage – Secret Affair     ***

11. Emily’s Gone – The Apemen    ***

12. Madison Agent 005 – Les Cappuccino     ***

13. The Love I Need – Frank Butler

14. Please Grow Up – Harlem Kiddies

15. Step Down – The Ranglers

16. Voo Doo Man – Quartet Tres Bien

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

18. Nicky’s At The P.C.- The J.J.Band

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

20. You Know You Turn Me On – The Monzas

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

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



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

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

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

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

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


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

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

July 14, 2014

P-Vine Records serves up two volumes of soul/R&B obscurities from the vaults of Wand Records

Filed under: Uncategorized — kendrasteinereditions @ 1:45 am

Nobody does exhaustive, barrel-scraping, obscurity-focused  excavations of material from US labels better than the Japanese P-Vine label. I can’t tell you how much joy their volumes devoted to Vee-Jay, Jewel-Paula, Modern/RPM/Flair/Kent, etc. have brought to me. When I am on long road-trips, or just driving to or from Houston (3+ hours each way), these kind of albums are perfect listening… single after another, and we need to remember that in those days, labels were ought to issue SINGLES that would have appeal and would sell, at least regionally or to some core audience. Each obscure 45 has a fascinating story behind it, although of course I DON’T KNOW what it is!

P-Vine turned its sights on Scepter’s WAND subsidiary for these two volumes. A New York label, Scepter-Wand also licensed in a lot of material from regional producers and smaller labels, and these volumes present a nice mix of NY masters and material from the South. Of course, Scepter-Wand’s soul, R&B and pop-soul recordings have been issued on a number of single artist volumes (Maxine Brown, Chuck Jackson, Tommy Hunt, etc.), but there’s also been many various artists compilations issued under the “Northern Soul” banner, both on ACE UK and also on the late, lamented GOLDMINE SOUL SUPPLY label (in particular, Goldmine had a 2-cd set called BIG CITY SOUL VOL. 4: , 60 Northern Soul Classics from the Vaults of Scepter, Wand, Musicor, Dynamo & Subsidiaries,  which contained SIXTY lesser-known tracks from Scepter-Wand!!!!), and it’s stunning how rich a catalog the Scepter-Wand family of labels had to offer. Hey, I wish Clint Eastwood had put together a film about Scepter’s amazing FLORENCE GREENBERG instead of about the Four Seasons. What a pioneer she was—-what a fascinating person—-what spirit and spunk and vision she had! With songwriter-producer-renaissance man LUTHER DIXON working alongside her, Scepter-Wand was truly an indie powerhouse with a rich and deep catalog.



Luther Dixon




Volume 1, the “deep soul” volume, will probably be more of interest to most than Volume 2 as it’s devoted to material from Southern-based indie producers such as Chips Moman, Tommy Cogbill, Larry Rogers, and Buddy Killen, meaning they are Memphis or Nashville-based (vocalists and groups came to those two cities from all over the South, even from Texas). With the gruff pleading vocals and the uncluttered, spacious but simple production one associates with the best Southern soul 45’s, this material is all worthwhile. The single by Benny Conn was produced by Charles Greene, which suggests a West Coast origin, and indeed, according to some soul websites I consulted, Conn was an L.A.-based artist for much of his career. One British website suggests that the Conn single’s  rhythm track was recorded at Muscle Shoals with the vocals recorded in L.A., but no evidence is provided of that. Maybe the L.A. musicians were that good? Like any worthwhile barrel-scraping archival reissue, there are a few tracks by unknown artists, and those close out the album. Some of the names on here are well-known (Clarence “Blowfly” Reid….Sam Cooke’s brother L.C. Cooke), but these tracks were new to me.

wand 1

1. Let’s Face Facts / The Masqueraders
2. I Don’t Want Nobody To Lead Me On / The Masqueraders
3. Do You Love Me Baby / The Masqueraders
4. Sweet Lovin’ Woman / The Masqueraders
5. Let’s Do It Over / L.C.Cooke
6. Half A Man / L.C.Cooke
7. What Can I Call My Own / Marvin Preyer
8. It’s Coming To Me /Marvin Preyer
9. Satisfy My Hunger / Benny Conn
10. I Just Wanna Come In Outta The Rain / Benny Conn
11. somebody Will / Clarence Reid
12. i Refuse To Give Up / Clarence Reid
13. Part Of Your Love / Clarence Reid
14. Your Love Is All The Help I Need / Clarence Reid
15. I’m Your Yes Man / Clarence Reid 
16. I Don’t Want Nobody But You / Unknown Singer
17. Dancing Through The 60’s / Unknown Singer





Volume 2 features vocal groups. The Esquires were Chicago-based and produced by Bill “Bunky” Sheppard, who also co-wrote all their material. It seems as though every label had an R&B vocal group indebted to Curtis Mayfield’s IMPRESSIONS, and the Esquires fill that bill well for Wand, with the brassy Chi-town arrangments and the falsetto Mayfield-esque lead voice in the trio vocal harmonies. The Esquires issued an album on Sheppard’s BUNKY label, which was distributed by Scepter-Wand, and which includes two of  their six songs on this comp. You can still find that album at reasonable prices (ie, under $10).



The ‘Richie’s Room 222 Gang” single is a cash-in on the early 1970’s urban high-school TV show (it ran from 1969-1974 and starred Lloyd Haines, Michael Constantine, Denise Nicholas, and Karen Valentine…..I remember having a crush on both Nicholas and Valentine ). There was a character called Richie on the show, played by Howard Rice, though I have no idea if he appears on this single or if Wand was just trading on the name. Someone online compared the Room 222 single with the Jackson Five, but to me it’s not as cloying as the J5 and has balls to it. The Tabs remind me vaguely of Eddie and Ernie, and of course there’s also an Unknown Group here to remind us that this is a deep archival dig. Except for the Esquires’s “Get Away” and “Get On Up” (the two title tracks from their LP mentioned above), most of this material should be fresh to most ears, and once again, it reminds us of how deep the Wand catalog is. If these fine tracks are cast-aside odds’n’sods, that gives you some idea of Wand’s quality (and Wand’s superb ear)….and also, what a Golden Age the mid-to-late 60s was, with THOUSANDS of little-known first-rate soul singles coming from all over the USA.

room 222

As an odd footnote to my comments on these albums, I should say that I do not have an original P-Vine CD of either Wand volume (I do of all the other P-Vine comps I mentioned). A certain midwestern Soul record store with a large mailorder presence, which I’ve done business with for decades, offered their own xeroxed-cover CDR reissues of these, advertised as CDR’s! I bet they would not try that today!  🙂


big city wand

July 13, 2014

a problem w/ the Roscoe Shelton album “Deep In My Soul”

Filed under: Uncategorized — kendrasteinereditions @ 9:32 am

In 2005, the Australian “Aim” label issued 3 collections of small-label 60’s/70’s soul singles, one volume each devoted to Earl Gaines, Geater Davis, and Roscoe Shelton. All are first-rate and well-worth owning. However, there is a slight problem with the Roscoe Shelton album, “Deep In My Soul”.  Of course, the cheesy budget-label graphics are a problem, as is the vague liner note essay that says nothing about the enclosed recordings, just providing a potted bio of Mr. Shelton.


No, the problem is that anyone listening to the album, even half-listening while in the other room, will notice that tracks 15 and 16 are clearly NOT by Roscoe Shelton. Shelton’s soaring, flexible, gospel-drenched soulful R&B voice is instantly recognizable, whether on his early recordings for Excello, his later recordings for Appaloosa, or anything in between. I could listen to Roscoe Shelton sing the phone book. He is the voice of Tennessee Soul and R&B. However, tracks 15 and 16 are clearly by someone else, a white artist, kind of in the Johnny Tillotson vein, or maybe Lou Christie without the falsetto. Did anyone actually listen to this album while assembling it? How much of a Roscoe Shelton fan can you be and issue an album with two straight tracks right in the middle of it NOT BY Mr. Shelton? And what about the “critics.” This album was not widely reviewed, looking like a budget release and having no recording info, but the All Music entry and a newspaper review from Florida (the two original reviews of the album I found online) do not notice this. DID THEY EVEN LISTEN TO THE ENTIRE ALBUM BEFORE WRITING ABOUT IT? Evidently not.

harry charles

It took me about 90 seconds on the internet to discover what the two tracks are. A single by one HARRY CHARLES on the Rowax label, Rowax 802. How did this get mixed up with Roscoe Shelton mastertapes from a label in the US south put out on an Australian label? Well, the Rowax 45 states “A Rich Production.” Could that be John R. Richbourg, the man behind Sound Stage 7 Records and who produced most if not all of the material on the Shelton CD? Who knows. Rowax has a NY address, but that’s for the distributor. I also found a Rowax 801 and 803 online—–803 seems like a novelty single (The Bloopers) and 801 was being sold as a vaguely Northern Soul single. As someone who runs a label myself, albeit a small micro-label, I cannot believe that you would not at least LISTEN TO the album you are releasing, and stated earlier, NO ONE could fail to notice that the two tracks are not by Mr. Shelton.

In any event, DEEP IN MY SOUL is a wonderful collection of mid-60s Tennessee Soul from Roscoe Shelton, coming from his Sims and mostly his Sound Stage 7 period. I used to own a Charly label LP, STRAIN ON YOUR HEART,  with Sound Stage 7 material, pictured below. That album had excellent liners and clearly was issued by people who cared about Roscoe Shelton’s music.



Back in the day, SOUND STAGE 7 issued an album of Shelton material, MUSIC IN HIS SOUL, SOUL IN HIS MUSIC, some of which is on the Aim CD, some of which isn’t. That album is pictured below.

sheltonrsoulsmrzm-smworShame on you, AIM Records. Anyone issuing vintage material should care about the material enough to tell us where it’s from and provide SOME discographical info, even general info, and certainly should LISTEN to the albums they release…


July 12, 2014

Marcus Rubio, “Music For Microphones” (CD, Copy For Your Records)

Filed under: Uncategorized — kendrasteinereditions @ 11:03 am



CD,     Copy For Your Records #CFYR019,    edition of 150 copies         released 2014

available from

marcus mic

A natural extension of  “extended techniques” on musical instruments is the investigation of what kinds of sound can be extracted from the machinery of sound amplification and reproduction, learning what possibilities exist with a particular piece of equipment, and learning to control (or not control, as the case may be) that sound for use in one’s own creations (or allow the equipment to determine what is created, as the case may be). Of course, there are hundreds if not thousands of examples of this kind of sound creation, and I’ve attended a dozen or more new-music performances built around this concept. One can trace it back to creations such as John Cage’s 1960 “Cartridge Music” (see manuscript detail below), and a few years ago, I remember a lot of interest in the no-input mixer as a sound source. Some artists featured at the No Idea Festival used it, and percussionist-composer Nick Hennies (then based in Austin and someone I saw in performance a few times each year in the 2008-2012 period) issued a memorable album of no-input mixer sound creations, entitled PATHS (on the Thor’s Rubber Hammer label, pictured below) in 2009.

Always a man re-investigating under-utilized sound sources and musical traditions and then re-inventing them and breathing new life into them (such as his recent works/performances for deconstructed primitive banjo, evoking comparisons with Abner Jay!!!), composer and multi-instrumentalist MARCUS RUBIO (originally from here in San Antonio, then working out of Los Angeles for a few years, now living and working in Austin) takes on microphones-as-sound-creating-instruments-in-themselves  in this recent album MUSIC FOR MICROPHONES, and as with a number of Rubio’s experimental projects, he takes a certain area and explores it in a deep and thorough manner, almost as if  he is wringing out as much as he can in one approach, then another approach, etc. It’s almost like a series of scientific experiments on a series of related questions. And forgetting the pieces’ methodologies or whatever, it’s a stimulating mind-fry of a listen and certainly tests one’s stereo system with its extreme frequencies! Derek Rogers used contact mic’s as a sound source in some poetry-and-electronics performances and recordings we did a few years back, so the unique textures and timbres of the contact mic are not unfamiliar to me, but that was just one tool in Rogers’s arsenal in those performances. Rubio takes the ball and runs all the way with it here, and the seven pieces—-all of which are rich and complex compositions, whatever the sound source—-provide an incredibly wide variety of sounds.

The last few months, I’ve been listening to a lot of the recent Creel Pone reissues of vintage and classic obscure electronic music, and on MUSIC FOR MICROPHONES, Rubio’s intelligent and complex sound design and the range of pure sound he gets from his sources is amazing and truly worthy of comparison with those CP albums. You need a sound system with a good bass to truly hear and feel this music. This is the kind of original and exploratory creation that reminds me of what has always excited me most about chasing after small-label music and experimental contemporary composition. This is a limited pressing and many are already gone, so score a copy NOW from Copy For Your Records. The ordering link is near the top of this post.

It’s great to have Marcus Rubio back in Texas (actually, he’s on tour OUTSIDE Texas for most of July….if you live in the Northeast or Upper Midwest, check his tour schedule), and if he keeps releasing challenging and exciting music like this, he will bring a lot of attention to Texas’s under-rated and under-appreciated New Music scene….or so I hope!  🙂


Marcus Rubio

music for microphones: track listing

duet for processed contact mic
duet for contact mic and practice amp movement 1
duet for contact mic and practice amp movement 2
requiem for microphone and beer bottle
sonata for contact mic feedback and electronics movement 1
sonata for contact mic feedback and electronics movement 2
concerto for bowed microphone and electronics

All pieces composed, performed, and recorded by Marcus Rubio


composer Marcus Rubio’s notes on MUSIC FOR MICROPHONES:

A good amount of my work in recent years has been focused on the idea of fully exploring/exploiting the physical properties of various sound sources. Usually this is manifested through either hyper-specific notation for non musical objects or non-scored processes that utilize electronics/additional instrumentation to further exploit/highlight the acoustic anomalies of a particular sound producing object or instrument. music for microphones is very much a continuation of this work utilizing the latter group of methods. The ideas for these pieces were born out of a desire to explore the implicit concept embedded in Steve Reich’s “Pendulum Music” of the potential for microphones to be used as an instrument in and of themselves. These works employ the “playing” of a wide group of mostly inexpensive contact and condenser microphones through techniques such as alternating points of physical contact between the performer and the instrument, differently EQ-ed feedbacks, and instrument specific “extended technique” (i.e. bowing, hitting, placing of different surfaces, etc…). Each work is united by the common goal of utilizing the sonic anomalies of each microphone as a musical source itself. Additionally, various electronics (Supercollider, Ableton, amplifier settings…) were used to further highlight/manipulate these sounds. – MR


manuscript excerpt from John Cage’s “Cartridge Music” (1960), taken from John Cage Unbound website:

Cartridge Music f226p1


Cover from Nick Hennies’s 2009 release PATHS (Music For No-Input Mixer)

nick, paths


July 10, 2014

new poetry-and-photography chapbook, BILL SHUTE, “HOT COMBINATION” (KSE #282)

Filed under: Uncategorized — kendrasteinereditions @ 4:10 am


“Hot Combination”

poetry and photography chapbook                KSE #282

$6 postpaid in US / $7 postpaid elsewhere

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

guide dogs_20140608_0001

As with GUIDE DOGS AND BARTENDERS ON THE GULF COAST, which came out a month or two ago, HOT COMBINATION is a combination poetry-and-photography chapbook, this time written and set in Louisiana. The photos were taken in January, and the text was written during my recent stay at Evangeline Downs in June 2014.

This piece deals with fracking, which serves as its unifying image, set among a landscape of environmental poisoning, truck-stop casinos, part-time low-wage jobs, crooked glad-handing politicians selling out the safety of the citizens, and the boomtown mentality (penny-wise and pound-foolish). Cracking the corn, cracking the egg, and cracking the earth. Delta-wide and sinkhole deep. Meditations counted out in billable hours. Taking the gamble that cannot last,  for a penny and a broken cigarette. Superimposing the desired over the actual. Dropped off  where the birds are indistinguishable from the sky by some post-modern Orphan Train. Yes, it’s a HOT COMBINATION.

The poem itself is in eight sections, complemented by 12 photographs.

HOT COMBINATION will appear on my forthcoming spoken-word poetry album, coming out in mid-August, but here is the original text, which was edited somewhat for the recording. For me, the text on the page (the page being my canvas, as an open field poet channeling the post-Projective Verse energy into the lines and the clusters, and setting them among the spaces and the silences, bubbles on the surface of the silence) is always the original and intended form for my poetry, although I do put a lot of work into adapting the pieces for spoken-word recordings or for poetry-and-music settings. The word sculptures found on the page depict how I see and hear and feel the piece….anything else is an adaptation. Adaptations can be fine, but they are adaptations.

Composed less than two months ago, Hot Combination is, I feel, FRESH in all senses of the word. I hope you enjoy it. KSE #282 is an edition of 53 hand-numbered, hand-assembled, and awkwardly hand-cut DIY copies. When the spoken-word album comes out, HOT COMBINATION will probably sell more briskly by people who hear my reading of it, so grab your copy now to be sure you get one, and also to get the lower numbered copies.

In addition to your copy of HOT COMBINATION, why not dig into our many OTHER poetry chapbooks presently available, all micro-editions of purity and, as they say in the malt liquor business, high specific gravity:



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

KSE #276 (art-and-poetry chapbook), DAVID PAYNE & BILL SHUTE, “Blues With A Bridge”

KSE #280 (poetry and photography chapbook), BILL SHUTE, “Guide Dogs and Bartenders on the Gulf Coast”

KSE #273  (poetry chapbook), BILL SHUTE, “Someplace on Anywhere Road” (Sound Library Series, Volume 75)

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

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

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

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

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

As always, thanks for your support of KSE and all independent, non-aligned DIY lo-fi arts collectives everywhere…

guide dogs_20140608_0001

July 9, 2014

FOSSILS, “Wooly Bully” (KSE #281/MJC #439), only 20 copies available!!!

Filed under: Uncategorized — kendrasteinereditions @ 5:31 am


“Wooly Bully”

KSE #281 / MJC #439

total edition of 40 copies (20 from KSE, 20 from Middle James Co.)

ONLY 20 COPIES AVAILABLE FROM KSE (the even-numbered copies, 2-40—— Middle James Co. has the odd-numbered ones, 1-39)



So much electronic music or “noise”  is boring or academic or repetitive or stupid or pretentious—-it lacks the FEELING and EMOTION and SENSE OF PLAY WITH INFINITE POSSIBILITY that initially got me excited about feedback/white-noise/electronics/noise-improv. Thankfully, FOSSILS are around to keep it raw and real and witty and abrasive and fresh and spontaneous and ever-evolving. Remember Wile E. Coyote always trying to blow up the Road Runner with various ACME explosive products? WOOLY BULLY is the free-improv/noise/DIY electronics version of Looney Tunes Acme products….AND SO MUCH MORE.  It’s like a musical version of a Stan Brakhage film but on steroids and with banana peels on the floor of the editing room. FOSSILS are the reigning kings of sly DIY industrial noise free-improv. Therefore, we at KSE are proud to announce that we have partnered with Middle James Co. of Ontario, Canada for this VERY limited Fossils release: a stunner of a CDR album, with a total of 40 copies made, 20 copies (odd numbers) available from Middle James Co/Cardinal Records and 20 copies (even numbers) available from KSE.

(NOTE: Middle James Co./Cardinal Records will not have this in stock until the end of July, but Canadians should wait until then and order from MJC/CR)



$8  in US postpaid                              $11 outside US postpaid

payment via paypal to      DJANGO5722(at)YAHOO(dot)COM               please include note w/ order listing items ordered and address……many thanks!


Also available from KSE:

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


new releases for 2014:

KSE #279 (CDR), ERNESTO-DIAZ INFANTE, “wistful entrance, wistful exit”

KSE #277 (CDR), URKAS, “Stamen and Pistil”

URKAS is the duo of Parashi (Mike Griffin) and Xanthocephalus (Russ Alderson)


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

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

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

and pre-release copies are available NOW for some of our upcoming summer releases:

KSE #275 (CDR), ALFRED 23  HARTH, “China Collection”

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


July 8, 2014

“Portobello Explosion, Part Two” (Particles CD, UK)

Filed under: Uncategorized — kendrasteinereditions @ 6:44 pm

various UK beat bands, 1966-70

PORTOBELLO EXPLOSION, PART TWO (Particles Records, UK…..compilation CD)

portobello 2

The new PORTOBELLO EXPLOSION series, on the Particles label, best-known for the sister series PICCADILLY SUNSHINE (although clearly from the same whack-a-mole folks who were responsible for Past & Present and Psychic Circle and other related labels), should excite those who have been waiting for more prime collections of third-and-fourth string British beat bands from the mid-sixties. While there is nothing here to match Crawdaddy Simone, of course, an album like this is clearly following in the tradition of THE DEMENTION OF SOUND, PEBBLES VOL. 6, and the BROKEN DREAMS series back in the early 80’s. Hundreds if not thousands of obscure singles from Swinging 60’s Britain have been reissued since then, and it’s wonderful to see that the well has not yet gone dry. Bands such as THE LOOT or THE UNTAMED are superstars compared with the artists on this album, most of whom recorded one to four singles in the 66-68 period and made little impact. Some have connections with members of more successful bands (Mike Hugg, John DuCann) or producers/moguls such as Larry Page or Robert Stigwood, but Page and Stigwood no doubt subscribed to the belief that if you issue 20 singles in the next three months, you have four times as much chance for a hit than if you issue 5 singles in that same period, and we are all the richer for it. This was a magic period in musical history, something WAS in the air or maybe in the water, and even a little-known beat band from the provinces who came to London to record a one-off single knew that this was their big chance….maybe THEY could be the next Mindbenders or the next Dave Dee, Dozy, Beaky, Mick and Tich or the next Nashville Teens. And just like as in Memphis 1956 or Los Angeles 1966, even the weekday bands at the more off-the-beaten-path clubs had that ineffable SOMETHING magical that makes for great rocknroll. It was a super-competitive field, and you had to bring your “A-game” to survive at all, even on a marginal level.

And it’s the margins were are scouring here. The best known band is Liverpool’s MOJOS, with a lesser-known but fine later single, but beyond that, the best known outfits are such obscure aggros as Studio Six and The Executives (the latter best known from featuring future NME editor Roy Carr), and the rest are probably just names we’ve seen in passing on some internet discussion list or in passing in Flashback magazine. Trust me, the compilers of this volume no doubt listened to hundreds of crappy pop records to find the 20 solid beat nuggets found here. Yes, the material usually sounds like B-sides and nothing screams “instant classic” like the first time you heard “Rosalyn” or “Children of the Sun,” but when laid back to back in one 20-track set, chosen with the elegance and taste of the best club DJ, every track comes into full bloom and really, it’s one stunner after another, particularly on multiple plays.

The exhaustive liner notes (as with previous Psychic Circle and Past & Present compilations) tell you everything that’s known among uber-collectors about these bands, and since few of us (particularly those of us in North America) would ever see any of these singles show up in used record stores or at flea markets or at record fairs (the dealers at the latter would probably pull these in advance for their “special customers” should any of these 45’s ever surface), just view this as a beautifully packaged, thoroughly annotated stack of 20 precious singles from the mid-and-late period of UK Beat Music’s Golden Age.

I’ve deliberately NOT mentioned bands like The Creation or The Yardbirds or The Animals….if you go into an album like this with those kind of expectations, you are sure to be let down. This is the flotsam and jetsam of that era, but hey…..the table scraps of the most amazing banquet of all time are going to be quite tasty for those of us not invited to the party, aren’t they?

Volume One of this series was just as good, and I for one am hoping the series goes into many volumes, as many as Piccadilly Sunshine, which just issued Volume 18,  if I’m not mistaken. The mid-and-late sixties was a time when Britain ruled the world in terms of style and rock-and-roll culture and hip influence, and I say that as an American who values our own cultural output and has avidly collected obscure US 60’s records for decades. And one thing I should add is that most (though not all) of this material is original or written for the bands by an outside songwriter,  not covers of songs we already know—-although the brassy Mod cover of  “Call My Name” by Edentree (from 1970, believe it or not) is a gem—- so it’s wall to wall FRESH material.

Can’t wait for Part Three….and Part Ten!   20 slabs of Prime late-period British Beat (some with horns,  in the mod-soul tradition) you’ve probably not heard before (except for the Mojos track)….ORDER YOUR COPY NOW!!!!








PEEPS    TRA LA LA 1966 /














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