Kendra Steiner Editions (Bill Shute)

April 30, 2021

Cyd Charisse and Hugh O’Brian in ASSASSINATION IN ROME (Italy-France-Spain, 1965)

Filed under: Uncategorized — kendrasteinereditions @ 1:59 am

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April 29, 2021

A MARTIN KANE PRIVATE EYE TREASURY (Gwandanaland Comics #1596)

Filed under: Uncategorized — kendrasteinereditions @ 2:19 am

(originally published in 2018)

The early TV series MARTIN KANE, PRIVATE EYE is considered the first television detective show and was quite a hit, running from 1949-1954, and for the first few years featuring the acclaimed radio and stage actor William Gargan as Kane (he left after a few years, with others such as Lloyd Nolan taking over but still faithful to the character as Gargan had created it). This show was not syndicated when I was growing up, and now that I’ve seen a few episodes, I understand why. Many shows such as THE DICK VAN DYKE SHOW were sponsored by cigarette companies and featured ads with the cast talking up and puffing away on Kent Cigarettes or whatever, but those ads were separate from the show and could be edited out for syndication. In Martin Kane (note the pipe in his mouth in the show’s logo, which we’ve reproduced for you here), the tobacco ads were worked INTO THE SHOW. Yes, he would go into a tobacconist’s shop during the action and talk about the sponsor’s brands of pipe tobacco!!!! Though the first TV detective show, it was shot live, so it does not look like what most people expect from a 50’s cop show. It’s all studio-bound on a few sets, so no car chases, violent shootouts in urban alleys, etc. You can find some of the Gargan episodes on You Tube, and sampling a few minutes can give you a good idea of how they play, looking more like a soap opera than a HIGHWAY PATROL episode.

Another first is that the Martin Kane comic book was supposedly the first comic book adaptation of a television property! Fox Comics, best known for BLUE BEETLE and MYSTERY MEN COMICS, issued two 36-page issues in 1950, during the show’s heyday, and Gwandanaland Comics has released an attractive volume with scans of the complete books, from cover to cover.

Gargan’s name is all over these books, billed as “star of stage, screen, and radio,” so either he was a big star with a devoted following at the time or he had a good agent…..or both. The pipe-smoking character looks more like someone’s uncle than like Mike Hammer, but that just adds to the charm of the show and the comic books.

One odd quality about these comic book stories is that in a number of them, Kane does not actually appear in the core story itself….he is TELLING some colleague or acquaintance, or some group of rookie cops, a story in a detached narrative frame, and after a page or so we cut to that crime story–which may well have already been in the can at the publisher’s!–which goes on its merry way and then concludes with no further involvement from Kane. It’s almost like those 60’s TV shows such as Boris Karloff’s THRILLER or DEATH VALLEY DAYS, where Karloff or Ronald Reagan give a short intro and then step aside to let the show play out. Kane is “hosting” his own comic book! Not all stories are like that, but the fact that even some of them are has me scratching my head.

Whether or not Kane is the hero in the stories, they are all solid, violent, gritty crime comics which deliver the goods to any fan of the genre. And they are not stage-bound and dialogue-driven like the TV show, at least in its early years (when the comic was issued)–change the name and it could be any generic late 40’s/early 50’s crime comic, and I mean that as high praise as that was a golden age in the crime comic. How excellent it must have been in that era to have many hard-boiled crime shows on the radio, have a steady flow of noir and crime films at your local B-movie theater, have lots of paperback detective and crime novels at your local newsstand, AND have dozens of gritty crime comics to choose from each week/month. I would have been happy and satisfied with that situation.

In addition to the Kane stories (or should I say, the Kane-hosted stories) you also get a two-page filler crime short story in each of the two magazines, and both are good examples of the quickly tossed-off pulp crime mini-story, and there are also a few one-page filler comics on crime-related subjects (Devil’s Island, etc.). Overall, each of the two issues is a satisfying package, well-worth your 1950-value ten cents.

An entertaining and historically significant collection, filled with colorful (and well-transferred), action-filled crime stories from the Golden Age of crime comics–highly recommended! Just Google the title and Gwandanaland, and you can find out how to order. I’ve already read MY copy of this book three times!

April 28, 2021

Lightnin’ Hopkins, “I’m Going To Build Me A Heaven Of My Own” (1964)

Filed under: Uncategorized — kendrasteinereditions @ 1:35 am

from the LP ‘Soul Blues’ (recorded 1964, released 1965)

April 27, 2021

Kasenetz-Katz Super Cirkus ‎– ‘To You, With Love’ (1969 single B-side)

Filed under: Uncategorized — kendrasteinereditions @ 1:42 am

Many years ago I published a six-page poetry chapbook called THROWAWAY B-SIDE (see pic at bottom), which was inspired by the Kasenetz-Katz B-side “Sticky Sticky”–it could just as easily have been inspired by today’s selection, another mind-bending throwaway B-side from K&K. Forget the intentionality of the artist here (you can read exactly how this was created in the notes to the You Tube post)–just think about how K&K put this sound-creation into the hands of tens of thousands of listeners around the world (this also got releases in Canada, Spain, South Africa, Australia, and New Zealand). That is something admirable and far more subversive than the work of people who have to remind you that their artwork is “transgressive.” Andy Warhol would have admired this kind of creation (if this track is not avant-garde pop-art, I don’t know what is), and I love the fact that it may have wound up in multiple Woolworths stores in backwater towns via the good old ’10 singles for 99 cents’ sealed packs. Who knows if anyone ever had a Revolution #9 kind of epiphany while listening to this track after drinking some of the original version of Vicks Formula 44 cough syrup….

April 26, 2021

Richard Arlen in ACCOMPLICE (PRC Pictures, 1946)

Filed under: Uncategorized — kendrasteinereditions @ 1:11 am

April 25, 2021

THE RINGO KID #24 (Marvel Comics, November 1975)

Filed under: Uncategorized — kendrasteinereditions @ 1:19 am

I tend to associate comic reprints with Charlton (where you had to watch for the ALL-NEW tag at the top of the cover to avoid a reprint) or with bottom-feeding outfits such as Israel Waldman’s Super Comics/I.W. Publications empire. However, one of Marvel’s major Western lines in the 1970’s, THE RINGO KID, was totally made up of reprints, and at the time (before every detail about everything was documented on the internet) I didn’t even know that I was reading 20 year old comics….although with westerns, that is no problem and could even be a virtue.

Charlton, with their reprints, tended to have a copyright date of the original publication on the indica small-print at the bottom of the first page of reprint issues–so you knew you were getting 1957 war comics or 1963 horror comics in your 1981 comic book. Marvel, with this Ringo Kid book, does state it’s a reprint, but gives a 1970 copyright. The material in this book actually dates back to two issues from 1956. We’ve included for your viewing pleasure both the cover of the 70’s reprint under review (the one where the Kid is facing you, and which has a 25 cent cost) and one of the two 1956 issues (the one where the Kid has his back to you, and which has a 10 cent cost). Marvel put out 30 issues of THE RINGO KID in the 1970’s, and according to online sources, most of the material in those is reprinted from the 1950’s RINGO KID WESTERN series—and the stories that aren’t are either unpublished material in the Marvel can from that era or from other 1950’s Western lines that Marvel owned, such as TWO-GUN WESTERN. And speaking of re-use of material, one later issue from the 70’s reprint run uses the exact cover (with some re-coloring) of an earlier issue in that run….just a few years back. Clearly, the 1970’s run of THE RINGO KID was not one of Marvel’s prestige publications. It was cheap product. THE RINGO KID, 1970’s incarnation, was an inexpensive way for Marvel to pump out a “new” Western comic series with little expense in terms of material–only the covers were (usually) new, and even a bottom-rung outfit such as Super/I.W. Comics often had newly done covers.

The Ringo Kid name goes back to the character played by John Wayne in the 1939 classic STAGECOACH, though this character has no relation to that one….or to that film. It’s an evocative name that would sound exciting to a twelve-year-old looking for “action”–and it still sounds great to adult twelve-year-olds like me.

In the 70’s, when I acquired a lot of these, the majority of them were coverless, gotten for a nickel or whatever in dusty boxes under the book racks in the back of a used bookstore on West Colfax in Denver (not far from the hokey “Casa Bonita” faux-Mexican restaurant that featured acrobats flying around above you as you ate your frozen dinner-level enchiladas) that specialized in romance paperbacks. The lady who ran that place (a store that was always reeking of cat urine and cabbage soup, and whenever I approached the counter to pay for something, the raunchy smell of ass) must have given some drug store or newsstand employee a dollar a box for these things. The late Stan Lee would not have been happy. The particular issue under review here does have a cover, so it’s not one I got at that place.

Coverless comics are the true orphans of the publishing world. Unlike cut-out records or remaindered books, the sale of these was technically illegal, and most comics readers wouldn’t have taken them for free. Somehow unwanted coverless comics gotten from a dirty box in the back of a romance-novel bookstore that smelled like cabbage soup and ass is the perfect symbol for life in the mid-70’s….or today, for that matter (I won’t even mention that the proprietress would sometimes break wind in the store when I was the only customer, and when I heard that wet and muffled rip, I’d think to myself, “hell, I have to walk PAST THAT to get out of here”).

This particular issue struck me as being satisfying back in the day, and I still find it a solid piece of work….in the sense that one of those independent westerns of the late 50’s distributed by United Artists or Allied Artists starring someone like Jim Davis or George Montgomery delivers the basic goods with no big surprises, but it hits all the right notes and is made by professionals who can deliver a competently made piece of product. At the end of a long day or long work week, that’s what I want and that’s what I’m paying for. Sure, this comic book is essentially one cliché after another (and if I were a pretentious critic, I’d call them “archetypes” or “tropes” rather than being honest and admitting that they are clichés), but hey, isn’t that true of 60s garage-band rock and roll or 50’s small label rockabilly? Or pulp magazine detective or Foreign Legion stories or whatever? Or Michael Shayne detective novels? Or 1920’s silent comedy shorts from second-string (or third-string) comedians? The clichés actually give power to the product when they are delivered with gusto and style. When I watch a 1920’s comedy short from the portly trio A TON OF FUN, I KNOW the guys are going to fall on their rears repeatedly….I KNOW that they are going to get stuck going through doors….I KNOW that they will sit on things and those things will break….I KNOW that they will wear clothes that are too small. I don’t watch it for surprises….I watch it because routines I know and love will be delivered in a manner that entertains me. If I wanted the harrowing existential drama of Eugene O’Neill’s THE ICEMAN COMETH, I would re-read it…or watch the excellent filmed versions with Jason Robards (early 60’s) or Lee Marvin (early 70’s). Some days, I don’t want to be reminded of the painful absurdity of the human condition—hey, THAT’s already clear to me every waking hour! Some days, I want to get away from that–I want solid genre entertainment. THE RINGO KID delivers that.

The Kid is essentially a knock-off of another Kid…..BILLY THE KID, and Marvel surely saw how Billy The Kid continued to sell year after year, decade after decade, for Charlton. The “outlaw” with the heart of gold, the man who lives outside the law who is more moral than those who live inside the law—that’s the vein being mined here. The Ringo Kid does have an interesting backstory (he’s half white, half Indian, for instance), but frankly, that’s little exploited here and he’s kind of a generic Billy The Kid knock-off, but dark-haired, and not blond like Charlton’s Billy (or Billy as played by Peter Lee Lawrence in the 1967 Eurowestern THE MAN WHO KILLED BILLY THE KID). According to the Ringo Kid’s Wikipedia entry (you know you’re someone when you’ve got your own Wikipedia entry!), “He was treated as an outcast because of his mixed heritage, and on the run after being falsely accused of a crime. He traveled with his sidekick Dull Knife. Dull Knife was of the same heritage as his mother’s people.” There’s no hint of that racial element in this particular issue, and even though Dull Knife makes an appearance in one story, he’s not treated as anyone special and we see no chemistry as you’d find between, say, The Lone Ranger and Tonto….or even the police partners on ADAM-12. Also, in three of the four stories, they don’t travel together and he does not even appear, and in the one story Dull Knife appears in, he just appears out of the blue. About the only particularizing element I found in the four stories in this mag is the Kid’s refusal to kill a female deer for food, instead going a lot farther afield for his game—the reason being, as he puts it, “I never kill the female of any species! You’re killing tomorrow’s game if you do!” We could have used more of that kind of telling detail here—something Charlton’s BILLY THE KID and WYATT EARP comics always had. I’m gradually re-reading the copies of RINGO that I own, and not in order, so I’ll eventually get through a dozen or so issues, and I may eventually check back in with you all with some further comments on the series.

You can still find a good quality copy of the 1970’s RINGO KID for under two dollars (and a lot less if you don’t mind it being coverless), and those so inclined will find it a satisfying read. I tend to prefer the Charlton Westerns to Marvel’s, but if I put up with B.O. and flatulence to score copies of THE RINGO KID for a nickel or a dime as a teenager, then I am fairly committed to The Kid.

April 24, 2021

Flamin’ Groovies, “I Can’t Explain” (Skydog 45)

Filed under: Uncategorized — kendrasteinereditions @ 1:56 am

In 1977 or 1978, I purchased this 45 from the late great Jim Nash at Denver’s WAX TRAX RECORDS, and ever since it’s been in my all-time Top 10. This single from the French Skydog label featured the Roy Loney-led Groovies on the A-side (heard here), and the Chris Wilson version of the band on the B-side. The A-side, a cover of The Who’s CAN’T EXPLAIN (much better than the original, IMHO), is everything that’s great about the Groovies in one blistering two-minute punk blast….and mastered to sound loud at any volume. Enjoy.

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April 23, 2021

Jerry Lewis is HARDLY WORKING (1981)

Filed under: Uncategorized — kendrasteinereditions @ 11:28 am

(originally published in 2016)

Forgetting for a moment the as-yet-unreleased THE DAY THE CLOWN CRIED, made circa 1972, HARDLY WORKING was Jerry Lewis’s first starring vehicle for almost ten years when it was released, his previous film being 1970’s WHICH WAY TO THE FRONT. During that period, though, Lewis was far from forgotten. His old movies played constantly on television, and he hosted the yearly Muscular Dystrophy telethon every Labor Day. He certainly had a devoted following, and I certainly considered myself a fan….although I did not take it to the level of a guy I worked with in the mid-70’s who owned one of the early video tape recorders and who recorded the entire MD telethon each year, and then would watch it over and over until the next one to get his fix of Jerry!

By the late 70’s, although Lewis was universally known, his days of starring in major films for major studios were over, so he sought to put together an independent “comeback” film, find financing, and get the film made. That film was HARDLY WORKING. It was shot in Florida in 1979 and into 1980. Supposedly, production came to a halt once or twice because the funds ran out. It was released in Europe in 1980 and did very well. This led 20th Century Fox to pick it up in 1981 for American distribution, but (unfortunately) with 20 minutes cut. (I had a friend from Austria in 1981 who had just moved to the US, and she had seen the full European version theatrically before coming here!)  I saw it with a packed house in Stillwater, Oklahoma, in 1981 and the crowd loved it, as did  I. After a draining work week, this was exactly the kind of entertainment that the average person in 1981 needed. The reviews were not good, but who expected them to be? What was important was that it was Lewis at his purest. It belonged on the same shelf as films such as THE BELLBOY and THE BIG MOUTH (yes, and THE NUTTY PROFESSOR too).

I recently re-watched my grey market DVD of HARDLY WORKING (it’s never been legitimately reissued on DVD, alas) and thought I’d share a few observations with you.

The plot is essentially that Jerry, who is a clown for a small regional circus, loses his job when the bank forecloses on the circus and closes it down. He’s forced to go live with his sister and her jerk of a husband, and he gets a series of jobs where he keeps messing up until finally he gets a job at the post office which he’s able to keep for a while….and he finds romance. I won’t give away the ending.

Here are some observations about HARDLY WORKING.

When I originally saw the film, my first and immediate impression was that it looked like a regionally made film. Not just the Florida location shooting, but the amateurish room tone in the sound recording in a number of scenes, the use of real locations to avoid building sets, etc. It had the look of something made by William Grefe or Herschell Gordon Lewis….it looked like a slapstick comedy made by people who made southern drive-in films. Have you ever had the experience of watching a major star in some low-budget regional film or some straight-to-video feature? Henry Fonda in THE GREAT SMOKEY ROADBLOCK comes to mind or Tim Holt in Herschell Lewis’s THAT STUFF’LL KILL YA! There’s something off-putting about seeing someone you’re used to seeing in major studio productions put into a VERY different setting, and that’s the way Jerry Lewis appears in this Florida-helmed production.

Next, it plays like a series of Educational or Columbia comedy shorts, the I love and have championed for decades. This is PURE comedy. When you see a display of tires or a bottle of milk or a washing machine, you just KNOW it is going to be used for a slapstick set-up, and this film is all about slapstick set-ups. Each job Lewis gets becomes one or two set-ups, and then when he gets the job at the post office, it’s one set-up after another. Although there is a romantic sub-plot which takes up some screen-time later in the film, Lewis wisely never strays too far from the pratfalls.

In a two-reel comedy short, often times the two reels are only peripherally related to each other. Sometimes the entire first reel sets up the second, or the first and second reel  present different situations, united mostly by the buffoonery of the star. That’s what is going on here.

Speaking of comedy shorts, I’m reminded most of the comedy shorts that Harry Langdon and Buster Keaton made at Educational Pictures in the mid-30s. As with Lewis, they were no longer starring in their own features and were reduced to doing low-budget films where they re-worked some of their old routines and even got to work with some of their old colleagues, also now in reduced circumstances. Many of the routines in HARDLY WORKING are re-works of older Lewis set-pieces, and he brings back people like Susan Oliver, Harold J. Stone, Billy Barty, and Buddy Lester who’d worked with him in the glory days. HARDLY WORKING is not, however, really like the Columbia shorts of Keaton and Langdon, where they were shoehorned into the Columbia formula (funny as those shorts may be) and under the control of Jules White. Educational seemed to give Langdon and Keaton a free hand, as long as they stayed within budget. As Lewis directed this, co-wrote it, and has his stamp on every frame, it’s very much a Lewis creation, just in reduced circumstances…and on location in Florida.

The first thing many people mention about the film is the in-your-face product placement. Brad Kohler, who saw HARDLY WORKING at a drive-in when it came out, remembered little about the film when I asked him recently, but mentioned that at the time for him it was the first film where product placement called attention to itself. Hey, if that’s what it takes to get the film made, I’m all for it! Lewis clearly takes advantage of it for comic effect, essentially rubbing the audience’s nose in the name-brand products. For instance, the scene in the post office with the Dunkin Donuts on the boss’s desk, or the scene where after a long day, Lewis’s character wants a beer, and the Budweiser Clydesdales come waltzing around the corner and the musical score switches to a variation of the old “When you say Budweiser” commercial jingle that anyone in the audience would know. I wouldn’t be surprised if the US Postal Service was hit up for some kind of “promotional consideration” to help with the budget, in addition to providing the uniforms, postal jeeps, and mailrooms we see in the film’s middle section.

There’s also an interesting and jarring mix between the very realistic and the surreal in this film. Lewis clearly (as you can also notice in THE BELLBOY) had some painful employment experiences as a young person, and he’s working them out of his system in this film. That really made an impact on me when I saw the film originally—-I remember thinking that I understood why European critics would praise Lewis for his skewering of capitalism or his depiction of the society of the spectacle or whatever. Anyone who has ever had a sadistic a-hole boss or worked a sh*tty job will know that Lewis has too, and he knows what it’s like. What’s odd though is that these sections of realism are mixed with surrealist flights such as the Goodyear blimp (product placement again!) sequences, or the rabbit invasion, or the Clydesdales coming out of the blue. Maybe this is some kind of comment on how a surreal imagination is one way to daydream and lose yourself while working a crappy job (it’s always worked for me!), or maybe Lewis is just the kind of man who’ll do ANYTHING for a laugh.. In any event, I feel that this mixture works, and worked for the audience I saw this with, who howled at every scene in the film.

With today’s jaded post-modern ironic stance, it’s refreshing to see the old-fashioned sentimentalism in this film. There are a number of almost tear-jerking sequences that show, once again, how well Lewis knows how to play an audience.

When this film was cut for American release, one thing was added: a short pre-credit montage of lightning-fast clips from Lewis’s earlier films, set to the rhythm of his old “typewriter” routine. This was a brilliant touch. Not only did it remind audiences of the day of Jerry’s comic greatness, it also reminded the children in the audience what a great funnyman this was and set the tone for the movie. My two year old grandson could watch this prologue and howl at it and KNOW what he was in for with the rest of the movie. When I saw HARDLY WORKING theatrically, the audience applauded wildly at the end of the montage (it ends with a segue into the clown character in the present-day plot, then fades, and then the credits begin)–in fact, some stood up and applauded during the pause after the montage and before the credits. There was still a lot of love for Jerry Lewis and his films when HW opened in 1981. The film did well on its US release, but Hollywood must have sensed that such success was a one-shot happening. When Lewis followed this up with another independently made pure visual comedy film—-CRACKING UP (aka SMORGASBORD)—-a few years later, a film that was more slickly made and even more purely physical comedy (and would appeal to any Lewis fan), it did not even get a US theatrical release (though again, it did well overseas). Lewis did not try again after that.CRACKING UP has such long physical comedy sequences, often with no dialogue, it seemed to be a homage to Jerry’s silent comedy heroes. Unfortunately, the silent film revival had not yet started in 1983, and one had to catch the film in the middle of the night on cable TV, and if you wanted a copy, you needed to tape it off the air at 3 a.m. (as I did).

Lewis still makes the news today in 2016. Every once in a while, you’ll hear about some controversy regarding some politically incorrect statement or joke Lewis makes in some backwater place he’s doing a show or overseas. As if anyone would expect (or want) him to do otherwise! And THE DAY THE CLOWN CRIED makes the news anytime ten more seconds of it are found. And surveys of showbiz history still show the clips of Dean Martin and Jerry Lewis’s awkward “reunion” on a mid-70s MD telethon. Lewis is in that unfortunate area of show business where he is almost universally known, but his actual work is not that well known. While THE NUTTY PROFESSOR is well-known, largely through a horrible re-make with Eddie Murphy, how many people have been talking about THE BIG MOUTH or THE BELL BOY or THE PATSY or THE FAMILY JEWELS recently, outside of whatever small Lewis cult may exist on the internet? Unfortunately, not many….but then physical comedy never gets any respect. The late great Jim Varney wound up having his films going straight-to-video near the end of the run of his “Ernest” films. Larry The Cable Guy did a few hilarious films in a kind of redneck Bowery Boys vein, but those never gained much traction and he moved permanently to the greener pastures of live comedy shows and Pixar voice work. That’s the way it is…

We always hear about one group or the other talking about feeling unrepresented on the screen. For those of us who feel like OUR identities are best represented on screen by the clueless Shemp Howard or Larry Fine, or the grinning but out-of-it persona of Billy Benedict in a Bowery Boys movie (or Jerry Lewis), times are not good at the cinema. Whatever his flaws may be, I’m thankful that Jerry Lewis devoted his life to physical comedy. There’s a large body of work out there for future generations to enjoy….and HARDLY WORKING is a prime example. Of course, I’d love to have this get the Criterion treatment with the alternate release versions, commentary tracks, etc., but that’s unlikely to happen anytime soon.

I did get the chance once to talk briefly with one of the stars of this film, the wonderful Deanna Lund, who is his romantic interest in the film and  the daughter of his boss at the post office, the gruff and hilarious Harold J. Stone. Ms. Lund is well-known for her work in the cult TV show LAND OF THE GIANTS and has many film and television credits, including successful runs on daytime dramas such as ONE LIFE TO LIVE and GENERAL HOSPITAL. She was appearing as a guest on a local radio talk-show in southwest Virginia, where I was living at the time (mid-to-late 80s). I don’t remember now what prompted her appearance on the show….was she appearing on stage in the area? shooting a film in the area? had she written a book?…..but she was on there, and I called in and told her how much I’d enjoyed her in HARDLY WORKING. She was gracious and charming as ever…and thanked me and said that she liked the film and that she’d been given a good role and was grateful to Jerry for that. Unfortunately, her work with Lewis was not why they had her on that radio show, so the host quickly moved her on to another subject….and I was no longer on the air. Still, I’m glad I got to tell Ms. Lund how much I enjoyed her in the film. If I could ever meet Jerry Lewis, I’d like to tell him how much I like it too. Lewis has kind of written it off in the past, saying that he was ill during its making and was in the midst of many difficult life situations at the time (he’d had to declare bankruptcy during this period) and was thus somewhat distracted. Perhaps, but Lewis is an old-fashioned professional. He could get the news that a family member died and still go out on stage and knock ‘em dead and no one would know anything was amiss. That’s the generation of performer Jerry Lewis was from. We will not see his kind again, unfortunately….

April 22, 2021

58 minutes of DOUG FOWLKES & THE AIRDALES featuring Rocky ‘Rocker’ Roberts + “Twistin’ Time” 45!

Filed under: Uncategorized — kendrasteinereditions @ 2:07 am

Dowg Fowlkes & The Airedales – Doug Fowlkes and the Airedales vocal by Rocky “Rocker” Roberts

  1. Blues Stay Away from Me 00:00
  2. Beautiful Dreamer 02:26
  3. Money 05:02
  4. The Little Matador 07:27
  5. Sleep Walk 09:28
  6. Johnny B. Goode 11:37
  7. Unchained Melody 14:19
  8. Play It Fair 17:09
  9. Over and Over 19:15
  10. Guitar Calypso 21:40
  11. Sortie 24:31
  12. Raunchy 26:57
  13. Creme de menthe 29:07
  14. Dina 31:13
  15. Feels So Good 33:35
  16. Come What May 36:47
  17. Lonely 38:51
  18. Dishrag 40:35
  19. Wizard 42:42
  20. Lucille 44:54
  21. Ramrod 47:16
  22. Night Train 49:06
  23. Dumplings 52:27
  24. Honky Tonk 54:48

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but first, their classic “TWISTIN’ TIME” single!

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April 20, 2021

John Coltrane, ‘The Last Trane’ (the final Prestige LP)

Filed under: Uncategorized — kendrasteinereditions @ 1:24 am

Bass – Earl May (tracks: A2), Paul Chambers (3) (tracks: A1, B1, B2)
Drums – Art Taylor (tracks: A2, B1), Louis Hayes (tracks: A1, B2)
Piano – Red Garland (tracks: A1, B1, B2)
Tenor Saxophone – John Coltrane
Trumpet – Donald Byrd (tracks: A1, B2)

Recorded: August 16, 1957 (A2)
January 10, 1958 (A1, B2)
March 26, 1958 (B1)

Studio: Van Gelder Studio, Hackensack, New Jersey

A1 Lover 0:00
A2 Slowtrane 7:58
B1 By The Numbers 15:18
B2 Come Rain Or Come Shine 27:19

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The 12 albums issued under John Coltrane’s name on the Prestige label (most assembled from sideman sessions on Prestige, after Coltrane had left the label and moved on to Atlantic and then Impulse) are among my most-played LP’s over the last 40 years. Prestige’s later owners Fantasy and then Concord have certainly kept various versions of this material in print since their original issue, which is great, as everyone should own them.

If you’d like a superbly documented and explained reissue of the whole body of Prestige work, I’d recommend the 3 box sets (5 or 6 cd’s each) issued a decade or so ago: FEARLESS LEADER, INTERPLAY, and SIDE STEPS.

Until then, enjoy this last of the Prestige album assemblages, THE LAST TRANE, released in 1966 from original 1957-58 recordings, with a cover photo showing the artist playing a soprano sax, which he does not play on the album! I spent many an after-midnight listening session in Stillwater, Oklahoma, in the early 80’s, after getting off work at a restaurant/bar after the last call, nursing a can of malt liquor, and looking out at the mostly-sleeping world, its calmness only rarely punctuated by a teenager racing a car or a distant siren or the sounds of rowdy partiers a few blocks away. I’d put the album on and drift with it, then put the needle back at the start, and maybe after 90 minutes, flip it over and then do the same.

Here is it for YOUR listening pleasure….you’ll have to provide your own malt liquor and street scene….

April 18, 2021

Jack Holt and Bela Lugosi in THE BEST MAN WINS (1935)

Filed under: Uncategorized — kendrasteinereditions @ 1:44 am

THE BEST MAN WINS (1935, Columbia Pictures), directed by Erle C. Kenton

starring EDMUND LOWE, JACK HOLT, and BELA LUGOSI

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April 16, 2021

44 Herman and Katnip cartoons

Filed under: Uncategorized — kendrasteinereditions @ 1:57 am

HERMAN AND KATNIP were Famous Studios’ (distributed by Paramount theatrically in the late 1940’s and through the 1950’s, then common in TV packages in the 60’s and 70’s) answer to Tom and Jerry, with more violence and less distinctive characterizations, though they work well as mindless surreal entertainment. Although there are 43 cartoons linked to below, they are best appreciated a few at a time…

April 14, 2021

JERRY & JEFF – ‘Voodoo Medicine Man’ (Super K SK-7) 1969

Filed under: Uncategorized — kendrasteinereditions @ 1:34 am

JERRY & JEFF – ‘Voodoo Medicine Man’ (Super K SK-7) 1969….JERRY being Jerry Kasenetz and JEFF being Jeffrey Katz….yes, it’s KASENETZ-KATZ with another bubble-punk stunner, VOODOO MEDICINE MAN…. SUPER K FOREVER!

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April 12, 2021

Count Basie, “Straight Ahead” (Dot Records LP, 1968)

Filed under: Uncategorized — kendrasteinereditions @ 12:35 am

Basie’s albums from the mid-sixties through the early seventies are not much heard or discussed nowadays outside the core of Basie specialists and people who bought the LP when it originally came out. Basie’s album with vocalist Kay Starr from the same period was shared here recently, and was well-received, so how about another gem, with all tracks composed and arranged by Sammy Nestico, who would become an important part of Basie’s organization. Eddie “Lockjaw” Davis is featured on tenor sax. At least this album, unlike many other Basie albums from this era, has been reissued on CD (by GRP in 1998….23 years ago!).

The album must have been somewhat popular as there is a second pressing a few years later on the ABC-Dot label, which seems to be the most inexpensive way to score an original vinyl copy nowadays.

A1 Basie – Straight Ahead 3:53
A2 It’s Oh, So Nice 4:09
A3 Lonely Street 2:50
A4 Fun Time 3:52
A5 Magic Flea 3:08
B1 Switch In Time 3:57
B2 Hay Burner 4:13
B3 That Warm Feeling 3:30
B4 The Queen Bee 4:10

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April 10, 2021

Roger Wolfe Kahn & His Orchestra in THE YACHT PARTY (1932 Vitaphone short)

Filed under: Uncategorized — kendrasteinereditions @ 1:31 am

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Roger Wolfe Kahn has always been something of an anomaly in the 20’s/30’s dance band world. From a wealthy family, he had the funds to employ the finest jazz players and he had excellent taste in repertoire, though his other passion, aviation, eventually won out—-indeed, you can see his stunt flying at the end of this short!

Jazz Oracle Records did a wonderful CD collection ten or fifteen years ago of his best and jazziest sides, which is highly recommended. Until then, enjoy this wild Vitaphone short with Kahn and crew, including the amazing dancing of Melissa Mason and the clarinet work of the young Artie Shaw.

April 8, 2021

Dave O’Brien in THE PHANTOM OF 42nd STREET (PRC Pictures, 1945)

Filed under: Uncategorized — kendrasteinereditions @ 12:46 am

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April 6, 2021

Kasenetz-Katz Singing Orchestral Circus, “Rumble ’69” (UK B-side)

Filed under: Uncategorized — kendrasteinereditions @ 1:30 am

The KASENETZ-KATZ organization was responsible for a number of odd, throwaway non-LP B-sides during their heyday, and this one is a gem. Never wanting to waste a potential hit on a flipside, they created a number of uncommercial filler sides (“Sticky Sticky,” anyone?) that in hindsight are often more interesting than the A-sides they backed. So it is with this distorto-guitar workout, with a series of free-associated phrases, including sections from nursery rhymes, which seems largely off-the-cuff. This of course has NOTHING to do with Link Wray’s own RUMBLE 69 (the one with the added harmonica). Enjoy!

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April 4, 2021

Bill Plummer & The Cosmic Brotherhood, “Journey To The East” (45 rpm single version, 1968)

Filed under: Uncategorized — kendrasteinereditions @ 1:33 am

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April 2, 2021

Richard Dix in ‘Death Flies Blind’ (1943 radio drama)

Filed under: Uncategorized — kendrasteinereditions @ 1:17 am

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