Kendra Steiner Editions (Bill Shute)

June 30, 2021

THE SMOKE (the classic 1968 Tower/Sidewalk LP from Michael Lloyd, in glorious MONO!)

Filed under: Uncategorized — kendrasteinereditions @ 1:13 am

A1 Cowboys And Indians
A2 Looking Thru The Mirror
A3 Self-Analysis
A4 Gold Is The Colour Of Thought
A5 The Hobbit Symphony
A6 The Daisy – Intermission
B1 Fogbound
B2 Song Thru Perception
B3 Philosophy
B4 Umbrella
B5 Ritual Gypsy Music Opus 1
B6 October Country
B7 Odyssey


June 28, 2021

15 minutes with JUDY GARLAND and COUNT BASIE (November 1963)

Filed under: Uncategorized — kendrasteinereditions @ 12:40 am


June 26, 2021

Liverpool A-Go-Go (1965)

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The Fourmost: “Today I’m In Love,” “Baby Baby” and “Hello Little Girl”. The Mersey Monsters: “Watch Your Step.” The Richmond Group: “You Can’t Judge a Book by the Cover.” The Clayton Squares: “Unchain My Heart,” “How Do You Feel?” and “Hallelujah! I Love Her So.” The Hideways: “Boom Boom.” The Hoboes: “The Last Time.” The Spinners: “Dirty Old Town.” Tiffany: “I Know,” “Reelin and Rockin'” and “Some Things Are Better Left Unsaid.”

June 24, 2021

Hamburg, December 1962

Filed under: Uncategorized — kendrasteinereditions @ 1:11 am

0:00 intro
0:10 Be-Bop-A-Lula (with Horst Fascher on vocals)
3:10 I Saw Her Standing There
6:41 Hallelujah, I Love Her So (with Horst Fascher on vocals)
9:15 Red Hot (with John on organ/final 23 seconds reconstructed)
10:45 Sheila (first four bars reconstructed)
13:19 Kansas City/Hey Hey Hey Hey
15:45 Shimmy Like Kate
19:01 Reminiscing
21:29 Red Sails In The Sunset
24:05 Sweet Little Sixteen
28:01 Roll Over Beethoven
30:56 A Taste Of Honey (final 40 seconds reconstructed)
33:33 Nothin’ Shakin’ But The Leaves On The Trees
36:02 I Saw Her Standing There
39:34 To Know Her Is To Love Her
43:15 Everybody’s Trying To Be My Baby
46:33 Till There Was You
48:32 Where Have You Been All My Life?
51:56 Lend Me Your Comb
54:18 Your Feet’s Too Big
56:48 I’m Talking About You
59:45 A Taste Of Honey
01:02:42 Matchbox
01:06:07 Little Queenie
01:10:55 Road Runner (soundcheck)
01:12:30 The Hippy Hippy Shake
01:15:05 A Taste Of Honey
01:17:06 Ask Me Why
01:19:29 Twist and Shout
01:21:02 Mr. Moonlight
01:23:20 Besame Mucho
01:26:13 Falling In Love Again
01:28:17 I’m Talking About You
01:30:19 Long Tall Sally
01:32:06 I’m Gonna Sit Right Down and Cry (Over You)
01:33:50 I Remember You
01:36:13 Roll Over Beethoven

01:38:54 Hully Gully

01:40:40 Money (That’s What I Want)
01:44:16 Sparkling Brown Eyes
01:46:28 Lovesick Blues
01:49:18 First Taste Of Love
01:51:28 Dizzy Miss Lizzy
01:54:37 Do You Believe
01:56:48 Ooh Poo Pah Shimmy
01:59:44 Twist And Shout

02:02:20 Big River

June 23, 2021

new Bill Shute poetry book now available: TWO SELF-PORTRAITS (After Murillo), KSE #418

available for order (only $7.95) here:

This has been available for sale online for a while, and I’ve gotten some e-mails from readers who’ve already received and read their copies, so I needed to kick myself to get a release announcement up…and here it is.

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!

It’s time to put the diptych form behind me, so I’ve moved on to a very different kind of poetic form for my next project, which I will continue work on during my Summer 2021 writing vacation in Mississippi and Louisiana. I’ve been a reader of Robert Lowell’s various “Notebook” collections (I prefer the more assemblage-based NOTEBOOK and NOTEBOOK 1967-68 to the more tamed and traditionally organized versions of that raw material found in HISTORY and FOR LIZZIE AND HARRIET) for many years/decades (and I have also been studying closely the recently published expanded version of Lowell’s THE DOLPHIN, with two complete and different versions, a work in a similar from to the NOTEBOOK works) , and I’m working on a longer-form piece that incorporates those influences along with the sublime minimalist poetry of the late Frank Samperi, which I’ve been a reader of since the 1970s. I should not say anymore about at this ongoing work (being superstitious). I should add that this present poetic wave I have been riding ever since RIVERSIDE FUGUE (2019), and it grew out of AMONG THE NEWLY FALLEN (2018). The form and method of composition of every piece since AMONG THE NEWLY FALLEN is rooted in the previous one but goes beyond it, and new hurdles are set for me to jump during the composing and editing, leading me to (IMHO) stretch myself and extend my reach. I hope you’ll agree.

If you’d like to read some of the older pieces from 5-10-15 years ago, my German selected poems collection JUNK SCULPTURE FROM THE NEW GILDED AGE will be appearing in mid-to-late 2021 from Moloko Print in Germany, 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 (90+ 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!).

You can read about and order my recent poetry books published through KSE at the Bill Shute author page at Amazon:

Please note that the new book, TWO SELF-PORTRAITS (After Murillo) is for sale at only $7.95, a dollar less than the previous book, which I hope will encourage more readers to take the plunge.

Murillo: The Self-Portraits October 30, 2017 though February 4, 2018

Those interested in learning more about the two surviving Murillo self-portraits are encouraged to find a copy of MURILLO: THE SELF PORTRAITS by Xavier F. Salomon and Letizia Treves, published in 2017 by the Frick Collection.

This thin and trim (just like Mr. Ashbery in that period!) edition of SELF-PORTRAIT IN A CONVEX MIRROR is the one I used to carry around with me as a teenager (I actually spent more time overall back then with Ashbery’s THE TENNIS COURT OATH, but that would not fit in my back pocket).

As always, thank you for taking the time to read my various offerings, and I hope you find them interesting and worthwhile….and entertaining.

June 22, 2021

Rusty Bryant, ‘Fire Eater’ (Prestige Records LP, 1971)

Filed under: Uncategorized — kendrasteinereditions @ 1:37 am

Drums – Idris Muhammad
Engineer – Rudy Van Gelder
Guitar – Wilbert Longmire
Organ – Bill Mason (tracks: 1, 2), Leon Spencer* (tracks: 3, 4)
Supervised By – Bob Porter
Tenor Saxophone – Rusty Bryant

1 Fire Eater 9:34
2 Free At Last 8:34
3 The Hooker 9:29
4 Mister S. 7:37


June 20, 2021

Chet Baker, ‘Swings Pretty’ (Sunset Records 1967 comp of earlier Pacific Jazz material)

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You can’t go wrong with Chet Baker’s many Pacific Jazz sessions, so a somewhat random comp of that material, mixing vocal and instrumental tracks, is an excellent way to highlight that rich catalogue. Liberty’s SUNSET budget label had a number of excellent compilations (a Ventures one was the first Ventures album I owned) from the library of Imperial/Liberty/Pacific Jazz and related labels, and I picked this up for a dollar before I ever had any of the original albums from which this material came. Nothing new here, but if you are not that knowledgeable about Chet Baker’s body of work, this is a fine starting point, and although I know this material well, I played this while working today and found it a wonderful selection and the programming gave it a new freshness. Enjoy. Thank you, Chet and crew(s).


CHET BAKER, vocals & trumpet

A1, A2, B1, B3, B4:
Carson Smith (b), Bob Neel (d),
Los Angeles, February 15, 1954.

B2 :
Joe Mondragon (b), Shelly Manne (d).
Los Angeles, October 27, 1953.

A3, A4, B5
Carson Smith (b), Larry Bunker (d).
Los Angeles, July 30, 1953.

Bob Whitlock (b), Bobby White (d).
Los Angeles, April 17, 1953.






June 18, 2021

SAM GROOM for American Motors (1980)

Filed under: Uncategorized — kendrasteinereditions @ 8:57 am

and for the serious Sam Groom fans out there…..

June 16, 2021

Sweet Floral Albion (Past & Present Records, CD comp)

Filed under: Uncategorized — kendrasteinereditions @ 1:29 am

The Universals (2) Green Veined Orchids
–Made In Sheffield Amelia Jane
–Sir Henry & His Butlers Pretty Style
–Zoot (2) Little Roland Lost
–The Easybeats Peculiar Hole In The Sky
–Nirvana (2) Oh! What A Performance
–The Uglies* Mary Cilento
–Normie Rowe Sunshine Secret
–Simple Image* Spinning, Spinning, Spinning
–Kevin Ayers The Clarietta Rag
–Pentad Don’t Throw It All Away
–Eyes Of Blue Never Care
–Bee Gees Deeply, Deeply, Deeply Me
–Dennis Couldry* & Smile (9) Tea & Toast, Mr Watson
–The Sweet Mr. McGallagher
–The Sweet It’s Lonely Out There
–Pasha (4) Pussy Willow Dragon
–Dave Clark Five* Lost In His Dreams
–Fat Mattress Walking Through A Garden
–Fruit Machine* Cuddly Toy
–The Rokes Hold My Hand
–The Rokes When The Wind Arises
–Gun* Take Off


June 14, 2021

GOSPEL OAK (1970 LP, Kapp Records)

Filed under: Uncategorized — kendrasteinereditions @ 1:56 am
  1. Brown Haired Girl (John Rapp) – 3:34
  2. Common Expressions (John Rapp) – 3:17
  3. Recollections Of Jessica (Tim Hovey, Bob Le Gate) – 3:05
  4. Big Fat White Man (Tim Hovey, Bob Le Gate) – 2:35
  5. South Bleach (Instrumental) (Bob Le Gate, Kerry Gaines, Matthew Kelly) – 2:36
  6. Why We Came (Kerry Gaines, John Rapp) – 2:57
  7. Go Talk To Rachel (John Rapp) – 4:07
  8. O.K. Sam (Tim Hovey, Bob Le Gate) – 3:25
  9. St. Anne’s Pretension (Kerry Gaines, John Rapp) – 4:39

Gospel Oak
*Kerry Gaines – Drums, Percussion
*Matthew Kelly – Harmonica, Guitar
*Bob Le Gate – Lead Guitar, Vocals
*John Rapp – Vocals, Bass, Rhythm Guitar
*Cliff Hall – Keyboards
*Gordon Huntley – Pedal Steel Guitar

Having an album on Kapp Records circa 1970 was not the best career move in terms of either industry clout or hipness, though there were some fine albums released on that Decca/MCA subsidiary. I vaguely remember hearing something from this album late at night on Denver’s KFML or maybe a Boulder station back in the day. The band consisted of Matthew Kelly, a respected West Coast blues harmonica player and member of the band Horses who recorded an album in 1969, with 3 British musicians, after Kelly relocated to the UK. It’s the perfect mix of roots/country-rock and blues. When I found my copy buried in the garage a few months ago and played it for the first time in maybe 20 years, my strange reaction was “this album could have been produced by Chris Hillman”….interpret that as you wish.

Somehow the mix of these rootsy Brits with an American who was knee-deep in the blues really worked. This has been reissued a few times in the last 20 years and is highly recommended….see what you think. Pour yourself some rye with a splash of rainwater and put it on after midnight. Thanks to GOSPEL OAK for a timeless piece of work that really transcends genre. As I get older and life flows on, albums like GOSPEL OAK offer up even more riches with each passing year.


June 12, 2021

Wayne Talbert, ‘Lord Have Mercy on My Funky Soul’ (1969 LP, Pulsar Records)

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arranged by Harold Battiste

great horn section including Plas Johnson and Curtis Amy

Paul Humphrey on drums

Talbert sings and plays keyboards

This is his second of three LP’s. My first impression when I first heard this album 20 or 30 years ago was “Doug Sahm would love this.” Doug always appreciated a full horn section, and you’ve got that in full force here. I posted Wayne’s first album here a while back….

I Put A Spell On You 3:31
She Put The Hurt On Me 2:20
Trouble 2:40
Take Another Look 2:10
Mr. Barley Corn 2:17
I Found A Little Girl 2:42
Don’t You Know Little Girl 3:19
Gettin Married Soon 2:45
Life’s Windows 2:46
Crankiola Narcissis Buds 5:00


June 10, 2021

Freakout USA (Sidewalk Records LP, 1967)

Filed under: Uncategorized — kendrasteinereditions @ 3:32 am

The Aftermath – Freakout U.S.A.

The Hands of Time – Psychotic Reaction

Moms Boys – Yellow Pill

International Theatre Foundation – Poison in my Body

The Glass Family – I’m Losing It

Moms Boys – Up and Down

The Mugwumps – Season of the Witch

Everybodys Children – Number 1 Lover

The Jesters – Don’t Try to Crawl Back

The Hands of Time–I Like The Way You Freak Out


June 8, 2021

Jimmy Reed, ‘Down in Virginia’ (1969 Bluesway LP)

Filed under: Uncategorized — kendrasteinereditions @ 3:04 am

Jimmy Reed’s post-Vee Jay records are probably not the best way to discover this great artist, a man responsible for creating an entire genre of the blues himself, but then, as with Lightnin’ Hopkins, all of his work is of a piece, and perhaps it’s like cutting a slice off of a pig that’s been roasted on a spit at some outdoor pig-roast party. It might be better the cut a slice off of some parts of the hog than of other parts, but it’s the same pig, and it’s all going to be good. So why not start here….with this later album. It’s a prime slice of Jimmy Reed and while it’s not as classic and focused on creating jukebox-friendly singles as the Vee Jay material, it’s pure Reed and I enjoy it and its mellow vibe. If you’ve just listened to a compilation of his Vee Jay hits, this will sound diffuse, unoriginal, and tossed-off….but like anyone working in a well-defined style, you either want another dose of Reed or you don’t. I do. I’ve spoken with people who saw Reed and met him during the late 60’s/early 70’s period, and the man had a number of health issues, so I’m glad we have what we do. Just because the last can of Colt 45 Malt Liquor tastes exactly like the next one doesn’t mean that I do not want another. In fact, that would be a good beverage to enjoy this album by.

All compositions credited to Al Smith except where noted

“Sugar, Sugar Woman” (Al Smith, O. D. Robinson) – 2:35
“Don’t Light My Fire” – 2:35
“Slow Walking Mama” (Al Smith, Louis Smith) – 2:40
“Jump and Shout” (Mary Lee Reed) – 2:30
“Down In Virginia” (Mary Lee Reed) – 2:35
“Check Yourself” (Mary Lee Reed) – 2:35
“I Shot an Arrow to the Sky” (Mary Lee Reed) – 2:37
“Ghetto Woman Blues” – 2:25
“Big Boss Lady” – 2:32
“I Need You So” (Mary Lee Reed) – 2:40
“The Judge Should Know” (Al Smith, Louis Smith) – 2:45

Jimmy Reed – guitar, vocals, harmonica
Wayne Bennett – guitar
Eddie Taylor – guitar, bass
Phil Upchurch – bass
Al Duncan – drums

June 6, 2021

A. B. SKHY, ‘Ramblin’ On’ (1970 LP, MGM Records, produced by Kim Fowley)

Filed under: Uncategorized — kendrasteinereditions @ 1:20 am

A1 Gotta Be Free 2:33
A2 My Baby’s Quit Me 3:50
A3 Pearl 1:38
A4 Lady In The Dark 4:23
A5 Hope For The Future 3:10
B1 Sweet Mother Earth 3:57
B2 Groovin’ 3:30
B3 Trackin’ Shoes 4:28
B4 I’m Walkin’ 2:40
B5 Gazebo 5:56

This is an album I’ve owned since the 1970’s, when I picked it up for a dollar or two used because it was produced by Kim Fowley. AB SKHY can be found on many 1960’s West Coast show flyers and posters. Originally a blues band from Milwaukee, they came out to San Francisco and built up a following through their live shows. Both of their MGM albums are well worth picking up for the fan of late 60’s blues-rock bands. They’d extended a bit from their blues roots by the time of this second LP, but they never forgot them, giving their music a strong and honest foundation. No wonder I’ve kept the album all these years and still play it a few times each year. If you have not heard it, now’s your chance.

I wish I’d had the chance to ask Kim Fowley about them during the 3 or 4 conversations I had with him in the 1980’s—-I’m sure he could have “summed them up” in a few pithy phrases that would have been quite insightful.

June 4, 2021

BD, Live in Pittsburgh, 6 Feb 1966

Filed under: Uncategorized — kendrasteinereditions @ 1:00 am


Bob Dylan – Visions of Johanna (Live Pittsburgh 1966)


Bob Dylan- Love Minus Zero/No Limit (Live Pittsburgh 1966)


Bob Dylan- Like a Rolling Stone (Live Pittsburgh 1966)


Bob Dylan- Positively 4th Street (Live Pittsburgh 1966)


Bob Dylan- Mr. Tambourine Man (Live Pittsburgh 1966)


Bob Dylan – She Belongs To Me (Live Pittsburgh 1966)


Bob Dylan – To Ramona (Live Pittsburgh 1966)


Bob Dylan – Desolation Row [Incomplete] (Live Pittsburgh 1966)

June 2, 2021

Ted Curson Quintet, ‘Live At La Tête De L’Art’ (1962)

Filed under: Uncategorized — kendrasteinereditions @ 1:58 am

Trans World Records (Canada)

Recorded 15th September, 1962 at La Tête de L’Art, Montreal, Canada

Ted Curson – Trumpet, Pocket Trumpet
Al Doctor – Alto Saxophone
Maury Kaye – Piano
Charlie Biddles – Bass
Charlie Duncan – Drums

A1. Cracklin’ Bread {Ted Curson} 0:00​
A2. Ted’s Tempo {Ted Curson} 7:58​
A3. Playhouse March {Ted Curson} 15:42​
B1. Straight Ice {Ted Curson} 22:38​
B2. Quicksand {Ted Curson} 35:12​


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