Kendra Steiner Editions (Bill Shute)

October 31, 2020

The Never Ending Tour Series Vol. 61: Live 2000, Europe Fall Tour

Filed under: Uncategorized — kendrasteinereditions @ 12:11 am

00:00 Drifter’s Escape (Glasgow, 09-17-00)
04:36 Cold Irons Bound (Sheffield, 9-22-00)
11:13 Things Have Changed (Sheffield, 9-22-00)
17:26 Gotta Serve Somebody (Portsmouth, 09-24-00)
22:30 Dignity (Sheffield, 9-22-00)
28:02 ‘Til I Fell In Love With You (Dublin, 09-13-00)
34:10 Love Sick (Dublin, 09-14-00)
40:00 Standing In The Doorway (London, 10-06-00)
48:06 Simple Twist Of Fate (Dublin, 09-14-00)
55:24 Visions Of Johanna (Portsmouth, 09-24-00)
01:03:44 Can’t Wait (Dublin, 09-13-00)
01:09:18 The Wicked Messenger (Dublin, 09-14)
01:13:58 The Ballad of Frankee Lee And Judas Priest (Portsmouth, 09-25-00)
01:19:06 Fourth Time Around (Portsmouth, 09-24-00)
01:23:22 Not Dark Yet (Sheffield, 9-22-00)
01:30:02 Tryin’ To Get To Heaven (Portsmouth, 09-25-00)
01:35:22 Song To Woody (Frankfurt, 09-29-00)
01:39:26 Tomorrow Is A Long Time (Dublin, 09-13-00)
01:43:55 Blind Willie McTell (London, 10-06-00)
01:50:26 Make You Feel My Love (Paris, 10-03-00)
01:55:09 It Ain’t Me, Babe (Portsmouth, 09-25-00)
02:02:03 Highlands (Glasgow, 09-17-00)

October 30, 2020

Spliced Takes: Hollywood Revisited

Filed under: Uncategorized — kendrasteinereditions @ 12:34 am

1 Flaming Star [alt. master]
2 A Cane And A High Starched Collar [alt. master]
3 Beyond The Bend [spliced take 1, 2]
4 Shopping Around [spliced take 6, 7, 9, 10]
5 Adam And Evil [spliced Take 3, 5, 9, 10, 16 jungle version]
6 It Won’t Be Long [spliced take 1, 2, 5]
7 Moonlight Swim [alt. master]
8 Mama [alt. master]
9 Frankfort Special [spliced take 6, 8]
10 Mexico [spliced take 1, 2]
11 Long Legged Girl [spliced take 1, 2]
12 She’s A Machine [spliced take 4, 4, 5]
13 G.I. Blues [spliced take 4, 2, 3, 5]
14 Tonight’s All Right For Love [alt. master]
15 Riding The Rainbow [spliced take MX4-07 & M4-09]
16 Doin’ The Best I Can [spliced take 5, 7, 9]
17 Dominic [spliced take 1, 2]
18 A Little Less Conversation [spliced take 12, 15]
19 Frankie And Johnny [spliced take 3, 4, 1]
20 Petunia, The Gardener’s Daughter [spliced take 2, 5]
21 El Toro [spliced take 2, 1]
22 Summer Kisses, Winter Tears [spliced take 15, 16]
23 Yoga Is As Yoga Does [spliced take 2, 3, 1, 3, 4]
24 Cotton Candy Land [spliced take 3, 4]
25 I’m Not The Marrying Kind [spliced take 1, 3, 5, 6]
26 Am I Ready [spliced take 5, 6]
27 A House That Has Everything [spliced take 3, 6]
28 Forget Me Never [spliced take 2, 1]
29 Happy Ending [spliced take 4, 6]
30 Flaming Star [end title] [spliced take 3, 1]

October 29, 2020

Chet Baker Quartet, “Live In Tokyo” June 14, 1987

Filed under: Uncategorized — kendrasteinereditions @ 1:54 am

I could rhapsodize about the purity of late-period CHET BAKER, but the music speaks quite elegantly and directly without any added commentary.

Pour some rye with a splash of rainwater, settle back, turn the lights off, and travel with Chet and crew….


piano Harold Danko, bass Hein Van Der Geyn, drums John Engels

Tokyo, June 14, 1987

00:30 Stella by starlight
11:25 For minors only
19:50 You’d be so nice to come home to
30:30 Arborway
44:27 Four
52:40 Almost blue
1:00:52 Beatrice
1:07:46 My funny valentine
1:20:39 Seven steps to heaven

October 28, 2020

extensive interview with legendary Florida-based director WILLIAM GREFE

Filed under: Uncategorized — kendrasteinereditions @ 1:09 am

October 27, 2020

Hari Georgeson, “Los Angeles Express” (12 Nov 1974, matinee)

Filed under: Uncategorized — kendrasteinereditions @ 12:43 am
  1. 00:00 Hari’s on Tour (Express)
  2. 04:28 While my Guitar Gently Weeps
  3. 09:57 Something (One of his comedy numbers, lol)
  4. 14:20 Will It Go Round in Circles
  5. 18:43 Sue Me, Sue You Blues
  6. 25:21 Zoom, Zoom, Zoom
  7. 37:01 Cheparte
  8. 44:16 Anurag
  9. 56:35 I Am Missing You
  10. 1:04:02 Dispute and Violence
  11. 1:09:04 For You Blue
  12. 1:12:46 Give Me Love (Give Me Peace On Earth)
  13. 1:16:37 In My Life
  14. 1:23:20 Tom Cat
  15. 1:28:23 Maya Love
  16. 1:33:46 Nothing From Nothing
  17. 1:39:50 Dark Horse
  18. 1:44:09 Outa-Space
  19. 1:50:18 What Is Life
  20. 1:56:24 My Sweet Lord

Soundboard recording from Los Angeles Forum, CA 12th November 1974 matinee show.

George Harrison – vocals, electric and acoustic guitars, backing vocals
Tom Scott – saxophones, flute
Billy Preston – vocals, organ, clavinet, synthesizer, backing vocals
Robben Ford – electric and acoustic guitars, backing vocals
Jim Horn – saxophones, flute
Chuck Findley – trumpet, flute
Emil Richards – marimba, percussion
Willie Weeks – bass
Andy Newmark – drums
Kumar Shankar – percussion, backing vocals

Ravi Shankar’s musicians:

Ravi Shankar – sitar, conductor
Lakshmi Shankar – vocals, swarmandal; conductor (in Ravi Shankar’s absence)
Alla Rakha – tabla
T.V. Gopalkrishnan – vocals, mridangam, khanjira
Hariprasad Chaurasia – bansuri
Shivkumar Sharma – santoor, backing vocals
Kartick Kumar – sitar
Sultan Khan – sarangi
Gopal Krishan – vichitra veena, backing vocals
L. Subramaniam – South Indian violin
Satyadev Pawar – North Indian violin
Rijram Desad – pakavaj, dholki, nagada, huduk, duff
Kamalesh Maitra – tabla tarang, duggi tarang, madal tarang
Harihar Rao – kartal, manjira, dholak, gubgubbi, backing vocals

Viji Shankar – tambura, backing vocals


October 26, 2020

Mark Stryker and the Saxes

Filed under: Uncategorized — kendrasteinereditions @ 12:43 am

These detailed and exhaustive comments (found at the link below) from Mark Stryker are EXACTLY the kind of writing/commentary about jazz that I love and that helped develop my own lifelong passion for jazz. When someone has not only listened to thousands of albums carefully, but is also a musician himself, his take on things is worth listening to and provides illumination on the subject.

Also, anyone who says “there is nothing wrong with jazz education that couldn’t be fixed by fire-bombing all the music schools in the country with Gene Ammons records. He was the ultimate in playing with feeling. To hear Jug swing a medium-tempo standard, play the blues, or just sing a ballad simply and directly with all that inflection and expression in his sound — those are lessons. If every jazz musician in any idiom of the music listened to Gene Ammons play ballads and blues, they’d make better jazz no matter what style they wanted to play, including free” has just proved his credibility with me and is an instant friend of mine!

Here’s the link. Please take the time to read the entire (long) article.

It’s worth it:

October 25, 2020

“Right Here! Right Now! The Big ‘Mod’ Sound of SI ZENTNER AND HIS ORCHESTRA” (Liberty Records LP, 1967)

Filed under: Uncategorized — kendrasteinereditions @ 12:43 am

Trombonist SI ZENTNER kept Big Band music alive in the 1960’s with a grueling schedule of live performances and a series of popular albums on Liberty Records. When Liberty had an artist with an audience they felt was worth cultivating, the label tended to record that artist A LOT, so there are many themed albums on Liberty in Zentner’s 60’s discography. Also, the man was a master technician on his instrument, and I’ve had a few trombone players in the family, so I’ve seen working this rich and complex instrument first-hand. Just listen to the man’s tone on Goin’ Out Of My Head—-this is subtlety and control/mastery of the instrument on a Tommy Dorsey level. No wonder he was a treasured studio musician at MGM for a number of years–he could achieve any effect on his instrument, provide any requested tonal colors, sight read the most complex score while putting his individual stamp on it, etc.

Liberty also liked albums featuring covers of then-contemporary hits (just ask Del Shannon or Bobby Vee)–after all, if you like Si Zentner AND you like the Top 40 hits of the day and you buy records, in the thinking of Liberty Records, you’ve got an win-win situation (an exacta or quinella in horse racing terms) and can’t turn down the offer of Zentner’s Big Band doing versions of those tunes in the signature Zentner style.

I’d put this album on the same shelf as the “trippy” Jackie Gleason album I posted a few weeks ago and also Nelson Riddle’s album THE RIDDLE OF TODAY, which I’ll share in the coming weeks if it’s on You Tube. If you are a connoisseur of lounge music, of the “now sound” vibe, and of Big Bands doing covers of 60’s pop hits….and you enjoy fine trombone playing…then this is the album for you. Put it on while you are working and the workday will go faster. Enjoy.

A1 Double Whammy 2:35
A2 Sunny 3:14
A3 My Girl 3:06
A4 Up, Up And Away 2:25
A5 Skootchy 3:04
A6 Mercy, Mercy, Mercy 3:37
B1 I’m On My Way 2:08
B2 Soul Machine 3:01
B3 Goin’ Out Of My Head 2:17
B4 The Happening 2:19
B5 You’ve Lost That Lovin’ Feelin’ 4:15
B6 Ain’t There Something That Money Can’t Buy 2:14

October 23, 2020

the Oklahoma Onion Burger

Filed under: Uncategorized — kendrasteinereditions @ 12:36 am

One of the great cultural gifts of my former home state of Oklahoma to the nation (and the world) is the Onion Burger. No, not just a burger with onions….or a burger with sautéed onions….not at all. It’s a hamburger with onions worked into it as a kind of extender, the way oats or bread crumbs are worked into ground meat to make meatballs. It was created during the depression, when meat was scarce but onions were not (I remember during the early days of Covid, when markets where short on many grocery staples, but in the vegetable department, there was always a good supply of onions!), so the onions were used to extend the meat. The result is heaven for the burger lover who also loves onions.

Should you be lucky enough to visit the Oklahoma City area, there is a superb chain dedicated to the Oklahoma Onion Burger called TUCKER’S ONION BURGERS, which I highly recommend. When I was in OKC a few years ago on my summer poetry writing vacation (I wrote the book-length poem AMONG THE NEWLY FALLEN under the influence of Oklahoma onion burgers), I ate every few days at Tucker’s.

El Reno, Oklahoma, about 30 miles from Oklahoma City, claims to be the home of the original onion burgers, and there are even competing restaurants in El Reno specializing in onion burgers (similar to the way there are competing places in Hatch, New Mexico, serving Hatch Green Chile Burgers, though Sparky’s gets my vote as the finest there).

Here is a feature on SID’S DINER, which is the place associated with onion burgers in the public mind, though it does not date back beyond 3 or 4 decades. Still, this is the pure onion burger for you….

Here is chef George Motz’s version of the burger, which YOU can imitate at home if you’re not going to be in El Reno or OKC/Norman anytime soon….

And below is a mini-history of the Oklahoma Onion Burger….

October 21, 2020


Filed under: Uncategorized — kendrasteinereditions @ 12:59 am


released June-July 1951, 12 chapters spread over 12 weeks

directed by Fred C. Brannon, written by Ronald Davidson, produced by Franklin Adreon

Walter Reed as Hal Duncan
Mary Ellen Kay as Kay Roberts
Dick Curtis as Regan
Fred Coby as Cady
John Pickard as Sam Bradley
Pierce Lyden as Armstrong
Arthur Space as Crandall
Mauritz Hugo as Thompson
George Meeker as Willard

special effects by Howard and Theodore Lydecker

chapter titles and timings:

River of Fire (20 min)
The Stolen Corpse (13 min 20s)
The Death Drop (13 min 20s)
Doorway to Doom (13 min 20s)
Deadline for Disaster (13 min 20s)
Mechanical Homicide (13 min 20s)
The Flaming Highway (13 min 20s)
Sea Saboteurs (13 min 20s)
Peril Underground (13 min 20s)
Execution by Accident (13 min 20s) – a re-cap chapter
Perilous Plunge (13 min 20s)
Blazing Retribution (13 min 20s)

October 19, 2020

Wardell Gray Quintet, “Live At The Haig” (1952)

Filed under: Uncategorized — kendrasteinereditions @ 12:18 am

Tenor Saxophone – Wardell Gray….
Trumpet – Art Farmer (# 1, 2, 4, 6, 7, 8, 9)….
Bass – Joe Mondragon….
Drums – Shelly Manne….
Guitar – Howard Roberts (# 8, 9)….
Piano – Amos Trice (# 9), Hampton Hawes (# 1 to 8)….
1 Bernie’s Tune 7:12
2 The Squirrell 9:58
3 Pennies From Heaven 7:24
4 Donna Lee 7:28
5 Taking A Chance On Love 8:05
6 Jackie 8:40
7 Get Happy 7:50
8 Keen And Peachy 9:38
9 Lady Bird 8:50
live at the Haig Club in Hollywood, California, September 9, 1952.

October 17, 2020

western tall tales from George ‘Gabby’ Hayes

Filed under: Uncategorized — kendrasteinereditions @ 12:10 am

George Hayes (1885-1969) was a character actor who could, and did, play a wide variety of roles in the early sound-film era, but by the mid-30’s he found his niche and was afterwards forever typecast as the grizzled comedic western sidekick, first as Windy Halliday in a number of Hopalong Cassidy films and then as Gabby (in some films, as “Gabby Whittaker” and in others, playing a fictionalized version of his persona, “Gabby Hayes”) in many Roy Rogers westerns at Republic. He also had a successful children’s television show that ran from 1950-54 and then again in 1956, and at the beginning of each episode he would sit and whittle a piece of wood, rattle off a few of his pet phrases such as “yer darn tootin'” and “yesiree, Bob!”, and then spin a colorful western tall tale. It was charming and showed off Hayes’ great skill as an entertainer for all ages.

Our friends at WESTERNS ON THE WEB have corralled six of those Gabby Hayes TV show intros featuring his inimitable tales, and if you’ve had a long day and feel worn down, these should bring a smile to your face.

Gabby Hayes….still working his magic with audiences in a new century!







GEORGE HAYES, character actor,
not in his “Gabby” persona

October 15, 2020

Peter Lupus/Rock Stevens in GIANT OF THE EVIL ISLAND (Italy, 1965)

Filed under: Uncategorized — kendrasteinereditions @ 12:03 am
Tags: , , ,

American actor Peter Lupus, after his comic performance as muscleman “Rock Stevens” in the 1964 film MUSCLE BEACH PARTY, wound up making four films in Italy billed as Rock Stevens! The first three were traditional sword and sandal films, though all are first-rate and Lupus/Stevens was a much better actor than some of the bodybuilders who went to Europe to star in historical epics; the fourth, however, was NOT a muscle-rippling epic in the Hercules tradition: it was a historical swashbuckling adventure, GIANT OF THE EVIL ISLAND.

Il mistero dell’isola maledetta (aka Giant of the Evil Island)

Italy 1965, directed by Piero Pierotti

starring Peter Lupus/Rock Stevens as Capt. Pedro Valverde (voiced by Frank Latimore)


I saw and enjoyed the film several times on UHF television back in the 70’s and 80’s, and it has always been the hardest to find of the four Italian films Lupus made before rocketing to international stardom on the MISSION: IMPOSSIBLE tv show. Thankfully, Larry Anderson taped it off TV back in the day, and was kind enough to post it online, so now we all can enjoy it exactly as it would have looked on some low-wattage UHF station out of Tulsa in 1987. Re-watching the film this week, I consider it a classic of a sort, and having Lupus voiced by the great FRANK LATIMORE makes it even more impressive, as Latimore’s rich, sonorous stage-actor voice is always a pleasure to hear and gives the character a good amount of gravitas. Latimore always took these dubbing jobs seriously, and as with Edmund Purdom’s dubbing work, it’s an interesting and initially surreal experience to hear the voice of a recognizable movie star (as Latimore and Purdom were) dubbing someone else.

Here’s a review of the film I published online in 2003:


exciting Italian 60s swashbuckler w/ Peter Lupus (Rock Stevens)
17 August 2003 | by django-1
After achieving fame in the film MUSCLE BEACH PARTY, actor-bodybuilder Peter Lupus, then using the stage name of Rock Stevens, made four sword-and-sandal/adventure films in Italy during 1964-65, all of which are worthwhile. I’ve always felt Lupus, during this period at least, resembled the young Sylvester Stallone, and he is very comfortable on-screen and a convincing actor, which no doubt landed him the role soon after this on TV’s classic MISSION IMPOSSIBLE. GIANT OF THE EVIL ISLAND, as the English-dubbed AIP-TV version of this film is called (which is panned-and-scanned), is NOT a sword-and-sandal film, but a costume swashbuckler where Lupus/Stevens plays Pedro, who becomes Captain of a ship when its older Captain retires and who is devoted to breaking up a lair of criminals led by one Maloch on a place called Evil Island. Pedro has TWO lovely ladies with whom he becomes intertwined: the shifty and scheming Alma and the good and true Bianca. The battles between ships are very well done for what must have been a moderate-budgeted film, and the sets and visuals are rich and colorful throughout. There’s a lot of exciting swordplay (which Lupus handles convincingly!), and overall it’s an exciting film and wonderful escapist entertainment. Director Piero Pierotti wrote and/or directed a few dozen films in the post WWII era, including such genre classics with American stars as PIRATE AND THE SLAVE GIRL and KNIGHT OF 100 FACES (both with Lex Barker), MARCO POLO (Rory Calhoun), the western HEADS OR TAILS (John Ericson–I’ll need to dig out my copy of that and review it) the amazing NIGHTSTAR: GODDESS OF ELECTRA/WAR OF THE ZOMBIES (great performance by John Drew Barrymore), and THE AVENGER OF VENICE (Brett Halsey). I noticed in the credits that this was shot in totalscope, so perhaps some future DVD release will be in widescreen as such a visually striking film as this should be appreciated in its original form. Still, the pan-and-scan VHS/DVD version floating around is worth watching, and all four of Peter Lupus/Rock Stevens’ Italian films are worth finding. The other three films are GOLIATH AT THE CONQUEST OF DAMASCUS, CHALLENGE OF THE GLADIATOR, and HERCULES AGAINST THE TYRANTS OF BABYLON

The film is missing its opening credits and is presented in three parts below. Best to NOT watch this on anything larger than a computer screen:



October 13, 2020

Paul Winter Sextet, “New Jazz On Campus” (1963)

Filed under: Uncategorized — kendrasteinereditions @ 12:40 am

PAUL WINTER SEXTET, “New Jazz On Campus” (1963)

A1 Cupbears

A2 Childhood’s End

A3 Ally

A4 Quem Quizer Encontrar O Amor

B1 Marilia

B2 The Sheriff

B3 With Malice Toward None

B4 All Members

Alto Saxophone, Soprano Saxophone – Paul Winter
Baritone Saxophone – Jay Cameron
Bass – Chuck Israels
Drums – Ben Riley
Piano – Warren Bernhardt
Producer – John Hammond
Trumpet – Dick Whitsell

Recorded in 1963 at concerts at the Universities of Colorado, Kansas and Kansas City

October 11, 2020

Beacon Theatre, NYC, 2 December 2019

Filed under: Uncategorized — kendrasteinereditions @ 12:11 am

Another show (the opener) from BD’s historic 2019 ten-night residency at New York’s Beacon Theatre, as of this writing, the artist’s last live shows, with the cancellation of the Spring 2020 tour of Asia and the Summer 2020 North American tour due to Covid-19.

October 9, 2020

“Them Beatles” revive the Hamburg-era Beatles sound, live at the Cavern Club, 2012

Filed under: Uncategorized — kendrasteinereditions @ 12:25 am

Continuing on with some of the Beatles-related posts here in recent days, here is a tribute to what’s perhaps my favorite Beatles period: the Hamburg period Beatles, from late 1960 through perhaps the Summer of 1963. Their last performance at the Star-Club was over the Christmas holidays in late 1962 (of course, documented by the legendary Star-Club tapes) but their BBC performances for the first half of 1963 still possess much of the same power and fury of the Hamburg period. The boys played more than 250 nights in Hamburg in the 1960-62 period, and they were on fire then—-George Harrison himself has stated that he felt The Beatles were at their height as a working band in the Star-Club era.

Some bands over the years have rooted their style in the 1962 punk-beat Beatles—-the Kaisers and the Milkshakes come to mind—-and it is a timeless style that still packs a punch today.

THEM BEATLES are a well-respected Beatles tribute band who can play ANY period Beatles convincingly without sounding like a clone….still sounding like a real band….and their re-creations of the 1962 Beatles sound at Beatleweek 2012 are a joy to behold. These performances were even recorded live at The Cavern Club (yes, I know it’s a recreation of the original….). This is as close as we’re ever going to get to the raw excitement of the quartet coming back to Liverpool as conquering heroes, on a high from the latest successful residency in Hamburg, where they played for drunken sailors 8 hours a night and literally thrashed through the material.

This is the Beatles before “Beatlemania” took off and they became more a phenomenon than a working rock and roll band. Play these songs LOUD for maximum effect…and maybe you should down a few oilcans of Holsten Festbock (brewed in Hamburg) while listening, for maximum effect!













and just for the sake of comparison, here are THE BEATLES themselves, live at the Star-Club in Hamburg in December 1962, doing MR. MOONLIGHT…..

and we’ll let THEM BEATLES close things out with a performance from a different source, but just as fine….

October 7, 2020

Jackie Gleason Orchestra, “The ‘Now’ Sound…For Today’s Lovers” (1969 reel-to-reel tape)

Filed under: Uncategorized — kendrasteinereditions @ 12:57 am

Nothing satisfies like vintage lounge music, audio pastels created by the top studio musicians to produce atmosphere. The many albums released under the nominal leadership of The Great One himself, JACKIE GLEASON, certainly delivered the goods in that area, often through the beautiful cornet work of BOBBY HACKETT, though he’d left the fold by the time of the album featured today.

This 1969 album—-here featured from its reel-to-reel tape release form (thanks to Chris Cromwell for posting this online!)—-is often spoken of as Gleason’s “psychedelic album,” though other than sitar and tabla and dreamy flute here and there, it’s still classic Gleason.

Haven’t you always wanted a Gleason album with liner notes that explain the concept of DHARMA? You have, whether you know it or not….

Imagine a Skye Records GABOR SZABO combo or the BILL PLUMMER AND THE COSMIC BROTHERHOOD sound mixed into a late 60’s Gleason mood-music session the way dry vermouth is mixed into a classic old-school martini (the kind of drink you’d want to fix for your date BEFORE putting the reel on the tape player), and you’ll have some idea of what’s on offer here.

I was ecstatic when I found a copy of this album in a thrift store in the Texas Hill Country 20 years ago for $3.00, but looking at Discogs, I see that it really is not any kind of collectable today, with copies selling for as low as $1.98 (and, of course, with a cutout hole!). I’m still honored to own a copy, and notice that the pic I used above was actually signed by Gleason (not my copy, alas….)!

A1 Goin’ Out Of My Head

A2 It Must Be Him

A3 Two Different Worlds

A4 Live For Life

A5 I Won’t Cry Anymore

B1 Yesterday

B2 Moon River

B3 Can’t Take My Eyes Off You

B4 Lonely Is The Name

B5 I Can’t Believe I’m Losing You




EMIL RICHARDS, PERCUSSION (more specifically, African finger piano, Dharma bells, African and Thai marimbas, Gamelan Gongs, Aung Luong, Chinese bell trees, various bells)



Here’s the link….enjoy the trip. Hope your romantic evening works out well.

note: the actual music starts at 1:24 on the link above, if you want to skip the introductory comments

October 5, 2020

Ennio Morricone’s soundtrack to THE RED TENT (USSR/Italy, 1969)

Filed under: Uncategorized — kendrasteinereditions @ 12:24 am

THE RED TENT was a joint Soviet-Italian production, issued in Europe in 1969 and in the USA in 1971. It starred Sean Connery, Claudia Cardinale, Hardy Kruger, Mario Adorf, and Peter Finch, and was directed by acclaimed Soviet filmmaker Mikhail Kazamazov, best known here in the US for I AM CUBA (1964).

I saw it circa 1972 at the Brentwood 4 in West Denver, as the bottom half of a double bill with some other Paramount release of the day, and as a 13 year old, I found it fascinating and, although the term “painterly” was not yet in my vocabulary, it seemed like a cinematic version of a series of  tableaux and long before the VHS or DVD formats existed, I wished I could slow down the film on the screen and savor its visual majesty one frame at a time. This was helped by a score from Maestro ENNIO MORRICONE, whose name I remembered from the Clint Eastwood Dollars trilogy, Once Upon A Time In The West, and many other genre films I saw in theaters or on late night TV. I probably already owned the Once Upon A Time In The West soundtrack by that time, and could sing or hum most of that album’s motifs as I had it memorized. I was captivated by the score to THE RED TENT, and when the film was over, I felt like I’d been let out of a museum with live chamber music by the back door, onto a plain and uninteresting street and wishing I could go back inside.

Strangely, even though the Morricone soundtrack album on Paramount Records is not a big-ticket item (well, a VG copy with a cutout slice in its side is not), I’ve never actually seen a copy in my decades of used-record hunting, from the early 70’s until the 00’s, when I stopped combing used record stores, thrift stores, etc., for vinyl finds. However, I still had a vague but rich memory of that soundtrack.

Thankfully, someone posted the LP on You Tube, and it’s even more striking than I remember it. Without the movie visuals, it truly creates its own visuals. Put this album on in the evening, after sundown, pour yourself some Tempranillo, close your eyes, and create scenes in your mind from the Morricone soundtrack. You don’t need to know a thing about the actual film. The album runs 41:21. Enjoy!

October 3, 2020

1958 interview with BUSTER KEATON (90 min.)

Filed under: Uncategorized — kendrasteinereditions @ 12:57 am

October 2, 2020

Mystery Guests on WHAT’S MY LINE

Filed under: Uncategorized — kendrasteinereditions @ 12:50 am

The game show WHAT’S MY LINE has had many incarnations over the years, and one of its best-loved features is the mystery guest sequence, where the celebrity panelists are blindfolded and a famous person comes out and has to be identified by a series of YES/NO questions. The sequences here are before my time, but thanks to people who’ve posted them online, we all can enjoy them 50+ years (in most cases) after they originally aired. The wide variety of people included is quite impressive. Enjoy these greats, as themselves, but trying to masquerade their voices….



























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