CARRYING THE MAIL (1934)
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SUNDOWN TRAIL (1934)
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WEST OF THE LAW (1934)
(picture jumps a bit)
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THE LONE RIDER (1934)
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PALS OF THE WEST (1934)
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ARIZONA CYCLONE (1934, not 1937 as the You Tube post reads)
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mmmmmmmmmmmmmmmmmmmmmmmmmmmm
“Funny Funny” (Nat Adderley) – 6:10
“K. High” (Ira Buddy Williams) – 9:31
“Just a Quickie” (Fernando Gumbs) – 4:50
“I Think I Got It” (Onaje Allan Gumbs) – 6:58
“Home” (Ken McIntyre) – 6:30
“Don’t Look Back” (Harold Vick) – 7:30
“Home” take 1 – 6:54 Bonus track on CD release
Nat Adderley – cornet
John Stubblefield – tenor saxophone, soprano saxophone
Ken McIntyre – alto saxophone, bass clarinet, flute, oboe
Onaje Allan Gumbs – piano, electric piano, clavinet
Fernando Gumbs – bass
Ira Buddy Williams – drums
Victor See Yuen – congas, percussion
Recorded August 9, 1976
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A1 Rock / Friend
A2 January Guitar
A3 Rover
A4 Ain’t It Somthin’
B1 Long One, The
B2 If It’s In Your Mind
B3 Seems I’ve Seen This Night Before
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B1 Pretty Thing
B2 My Babe
A The House Of The Rising Sun
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PARIS PILOT, on Stax’s HIP Records subsidiary (home of The Knowbody Else and Southwest F.O.B.), was an album I picked up for $2 or $3 back in the 70’s or perhaps the early 80’s. As a Memphis album on a Memphis label produced by Memphis-based Don Nix (and recorded at Ardent Studios by John Fry), it would certainly be worth a listen. I would dig it out once or twice a year for a few decades. Starting out with an overwrought five-minute version of Sonny Bono’s “The Beat Goes On” doesn’t help the album, but once you get past that, it’s a solid piece of work, with that combination of trippy and soulful that Southern bands are able to pull off so well, and with the Gospel-ly feel Memphis artists have as a second nature. Nix’s name is all over the album (three times on the label!), though the band members are not listed. Later reading during the internet era showed that two members had been in various line-ups of The Gentrys and that the band had been known previously as Load of Mischief. Interesting to note are some comments found on Allmusic.com: “Psych-rock combo Paris Pilot formed in Memphis under the name Load of Mischief, bringing together vocalist David Mayo, guitarist Jimmy Tarbutton, bassist Ray Sanders, keyboardist Ken Woodley and drummer Larry Wall. Signing to the Stax label’s HIP subsidiary, the group began work on its debut LP when ex-Mar-Kay Don Nix commandeered the project, signing on as songwriter, producer and engineer and insisting Load of Mischief change its name to Paris Pilot; somewhat amazingly, Nix is the only musician even credited on the resulting album, an eponymously-titled effort issued in 1969. The members of Paris Pilot disassociated themselves from the finished product, sales were dismal, and the group dissolved soon after.” Hmmmm. One wonders if any of the band members have tapes from the pre-Nix era of the band….the comparison would be interesting, as Nix had a hand in writing most of the tracks here. Hearing what the band sounded like when they were signed by Stax/Hip and what qualities appealed to the label might provide a window into what the band were capable of. Still, PARIS PILOT, if you start with the second track on side one and skip The Beat Goes On (which you can do with the You Tube link below by starting at 5:55), is enjoyable 1969 Memphis rock and roll that holds up quite well. See what you think. Imagine that you picked it up for a few dollars in the early 80’s.
A1 The Beat Goes On
A2 Winters Child
A3 Shades Of Doubt
A4 Temptations ‘Bout To Get Me
A5 Long Way To Go
B1 Overton Park Flip
B2 Miss Rita Famous
B3 Roses And Rainbows
B4 Don’t Let It
Remember, start the album at 5:55 to avoid the first track….
Thankfully, I have a few days this coming week off-work where I can spend full-time finishing the draft of my newest long-form poem TWO SELF-PORTRAITS (AFTER MURILLO), which is in a similar diptych format to my previous book COMPLEMENTARY ANGLES…this time a 42-page work, in two 21-page sections.
Only two self-portraits survive (see pic below) from the great Spanish Baroque painter Bartolomé Esteban Murillo (1617-1682), although he may well have painted others that do not survive. One of these dates from his 30s, the other from his 50s. I have used these two self-portraits, done in those two distinct periods in his life, as the inspiration for two fictionalized “self-portraits” set in the life of my present-day viewpoint character, in his 30s and then in his 50s, in the two halves of the diptych. As a teenager back in the 1970s, I read many times John Ashbery’s long poem SELF-PORTRAIT IN A CONVEX MIRROR, inspired by the painting of the same name from the Italian painter Parmigianino (1503-1540), and in a way I feel that I’m using the Murillo works as a prompt/catalyst for poetic creation in a manner similar to what Ashbery did, though of course completely different in result with mine being in the idiosyncratic Bill Shute style, and Ashbery being both a genius and a poet with a very different idiosyncratic style. Why not aim high!
I am hoping to have this new work finished and then edited by the end of May. Then I will move on to a very different kind of poetic form for my next project, which I will work on during my Summer 2021 writing vacation in Mississippi and Louisiana.
My German selected poems collection JUNK SCULPTURE FROM THE NEW GILDED AGE will, I hope, be appearing in mid-to-late 2021 from Moloko Print, and as that comes closer, I’ll let you know the details. This book was commissioned in 2018 and I sent the manuscript to the publisher in 2018, so at this point it seems like EARLY SELECTED POEMS, but it is a handy sampling of a number of pieces (100+pages) from 2005-2017 which have only appeared in small-distribution chapbooks which are long out-of-print, none of which have ever appeared in a book-length collection, and it includes such popular pieces as LAMENT FOR THE LIVING, my poem about the final days of Chet Baker, which opens the new collection. I still get e-mails from people wanting copies of that, which was originally published in March 2010 (11 years ago!).
Until then, if you have not yet read COMPLEMENTARY ANGLES, you can get it for only $8.95 from any international Amazon platform.
Here is a shortlink for ordering for North American readers (outside of North America, just enter BILL SHUTE, COMPLEMENTARY ANGLES into the Amazon search box and you can get it as a local purchase with local postage): http://amzn.to/3rH24iB
Although some of my poetry books for other presses are sold out and no longer in-print (such as TWELVE GATES TO THE CITY, POINT LOMA PURPLE, CULTURE OF COMPLIANCE, and APPROACHING THE APPARENT), the KSE books from 2016 on are still available and can be ordered along with COMPLEMENTARY ANGLES. Those include RIVERSIDE FUGUE; TOMORROW WON’T BRING THE RAIN; NO BRICKS, NO TEMPLES; AMONG THE NEWLY FALLEN; SCULPTURE GARDEN IN THE SNOW; SATORI IN NATCHEZ; BRIDGE ON THE BAYOU; and DOWN AND OUT IN GULFPORT AND BILOXI.
As always, I hope you find these works interesting and worthwhile….
BILL SHUTE (San Antonio, Texas)
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MERRY-GO-ROUND (France 1981), directed by Jacques Rivette
starring JOE DALLESANDRO and MARIA SCHNEIDER
music (performed on-screen!) by Barre Phillips and John Surman
made in 1979, released in 1981
I don’t believe that this got a general US theatrical release (other than a screening at the Museum Of Modern Art in NY, which is a good place for it to get the appreciation it deserves), which is a shame because it’s a unique creation and is edgy and chance-taking while pulling you into its distinctive world and also its original conception of cinema-time. It’s both hyper-real and not like any “reality” you know.
This is a 2 1/2 hour film, so allow a block of time to watch it in a unified way and not over a few days.
Another fascinating performance from the great JOE DALLESANDRO in a fascinating film that any creative artist in any discipline can learn from, IMHO.
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Alexander’s Timeless Bloozband (first LP, Smack Records, 1967)
Their second album, FOR SALE, on Uni, from 1968 is much better known (and also worthwhile), but this first album, recorded in-your-face live, should satisfy anyone who enjoys raw 60’s white blues bands bordering on the trippy.
Recorded Live At The Brother’s Gallery in Goleta, California (Santa Barbara County) – August 1967. You’ll wish you were there…..I do!
| A1 | Help Me | 5:25 |
| A2 | Killing Floor | 3:00 |
| A3 | Guitar Song | 2:55 |
| A4 | Favorite Things | 5:20 |
| B1 | Sloppy Drunk | 4:08 |
| B2 | #1 | 5:00 |
| B3 | Swannoa Tunnel | 2:30 |
| B4 | Sweet Little Angel | 2:30 |
1 –Thursday’s Children Try Girl
2 –Thursday’s Children You’ll Never Be My Girl
3 –Thursday’s Children Help, Murder, Police, Version 1
4 –Thursday’s Children Help, Murder, Police, Version 2
5 –Thursday’s Children Air-Conditioned Man
6 –Thursday’s Children A Part Of You
7 –Countdown 5* Willie & The Hand Jive
8 –Countdown 5* Sweet Talk
9 –Countdown 5* Candy
10 –Countdown 5* Uncle Kirby (From Brazil)
11 –Euphoria Pick It Up
12 –Euphoria In Time
13 –Euphoria Walking The Dog
14 –Euphoria Oh Dear, You Look Like A Dog
15 –The Golden Dawn Evolution 3:21
16 –The Golden Dawn This Way Please 5:10
17 –The Golden Dawn I’ll Be Around 3:01
18 –The Golden Dawn Starvation 2:53
All tracks recorded in Houston, Texas
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Kendra Steiner Editions (Bill Shute) 