Kendra Steiner Editions (Bill Shute)

October 27, 2021

Joe Estevez in ‘San Franpsycho’ (2006, directed by Eduardo & Jose Quiroz)

Filed under: Uncategorized — kendrasteinereditions @ 1:52 am

October 25, 2021

Richard Harrison in SHOOT JOE AND SHOOT AGAIN, aka Joe Dakota (Italy 1971)

Filed under: Uncategorized — kendrasteinereditions @ 1:28 am

October 22, 2021

Bob Crewe Generation, “Anna”(1967)

Filed under: Uncategorized — kendrasteinereditions @ 1:35 am

October 20, 2021

CHET BAKER, Leaving (1980 LP)

Filed under: Uncategorized — kendrasteinereditions @ 1:52 am

Recorded at Munich Sound Studios, Germany, 1980.

00:00 Gershwin Goes To Rio
06:30 Leaving
16:13 You’ve Flipped Out
20:30 Tempus Fugit
25:33 Blues Pour C.R.
31:38 Prayer For The Newborn
35:11 When I Fall In Love

Arranged By – Chet Baker, Dennis Luxion
Bass – Ricardo Del Fra
Flute [Alto] – Nicola Stilo
Piano – Dennis Luxion
Trumpet, Vocals – Chet Baker

October 18, 2021

Luke Askew in NEST OF VIPERS (Italy 1969), directed by Giulio Petroni

Filed under: Uncategorized — kendrasteinereditions @ 1:28 am

LUKE ASKEW in NEST OF VIPERS (Italy 1969), directed by Giulio Petroni (Death Rides A Horse)

October 17, 2021

now available: Bill Shute, ‘Junk Sculpture From The New Gilded Age: Selected Poems, 2005-2017’ from Moloko Print (Germany)

Filed under: Uncategorized — kendrasteinereditions @ 1:55 am

The positive comments are coming in via text and e-mail for Moloko’s new 90-page collection of old and long out-of-print Bill Shute poetry chapbooks, ‘Junk Sculpture From The New Gilded Age: Selected Poems, 2005-2017’. Some of you even had a copy before I rec’d my author copies!

The book contains poems (with some minor revisions and with re-formatting to Moloko’s page size) from the following KSE chapbooks, along with the original publication dates:

LAMENT FOR THE LIVING (for Chet Baker), 2010

KERRVILLE, TEXAS (from chapbook Next Exit: Two), 2007






MARION, TEXAS (from chapbook Next Exit: Two), 2007




SLOW WALK (from chapbook Sonnets For Bill Doggett), 2006

OBJECTLESS (for Kazimir Malevich), 2007

COPPER (for Val Stecklein) (from chapbook Suspension), 2009

Publisher’s write-up:

Bill Shute: Junk Sculpture From the New Gilded Age

Selected Poems, 2005-2017

Bill Shute (born 1958), working out of San Antonio, Texas, has published thirteen books and over one hundred chapbooks of open-field poetry, assemblages of particulars from an increasingly beaten-down, militarized, and polarized American South and Southwest. His initial inspirations as a poet were Paul Blackburn, Ted Berrigan, Gertrude Stein, and John Wieners. He has recorded poetry-and-music collaborations with a number of experimental and free-jazz artists, including Alfred 23 Harth, and since 2006 he has operated the South Texas-based small label and press Kendra Steiner Editions. Shute has also written extensively about music since the 1970s and has been a contributor to Ugly Things magazine for 35+ years. In 2012 he assembled the band for and produced a sold-out Austin concert by legendary outsider musician Jandek. In the last year he has issued the book-length poem ‘Complementary Angles’ and provided a critical introduction for a new collection of filmmaker Edward D. Wood Jr.’s early 1970s non-fiction writings, ‘When The Topic Is Sex’ (Bear Manor Media).

His other recent book-length poems include ‘Satori In Natchez,’ ‘Among The Newly Fallen,’ ‘Riverside Fugue,’ ‘Tomorrow Won’t Bring The Rain,’ and ‘Two Self-Portraits (After Murillo)’.

Junk Sculpture From The New Gilded Age: Selected Poems 2005-2017 contains a wide variety of never-reissued shorter poems from long out-of-print chapbooks, including his acclaimed study of the last days of Chet Baker, “Lament For The Living.”

“when the time comes to take the temperature of samizdat post-Beat publishing, Bill Shute/ Kendra Steiner Editions will be one of the central players” — David Keenan, Volcanic Tongue

Shute can be found at

MOLOKO PRINT 108 | 2021
© Bill Shute
Cover M P Landis
Gestaltung Andrea Lühr
Schrift Consolas/Nexus
Druck Bookstation GmbH Anzing
Printed in Germany 2021
ISBN 978-3-948750-08-4

Preis: 15,00 EUR


You can order the book here. Just click on the SHOP button at the bottom of the left-side menu.


Thanks to those longtime readers who bought and read the vintage chapbooks where these pieces were originally published. Though I have the original manuscripts, and have digital versions of the texts, I’m not sure that I have all the original chaps myself!

Though I’ve moved on to other areas of poetry since the original publication of the pieces in this collection, it is an excellent cross-section of where I was at that time, both a “best of” and something that shows diverse technique and an eclectic palette.

To quote one e-mail I rec’d from a stranger who bought the book and Googled my name to send me a comment, “The Chet Baker poem that opens the collection is one of the most insightful things I’ve ever read about Baker’s art…and the book moves through everything from a sonnet to a poem inspired by the painter Malevich which uses no nouns or pronouns…the final poem left me speechless. I’m so glad to have discovered this book. There is no one else doing anything in poetry remotely like you are doing.”

Get YOUR copy now, at the Moloko link above.

And while you are at it, try some of my more recent poetry books, long-form works such as RIVERSIDE FUGUE, COMPLEMENTARY ANGLES, and TWO SELF-PORTRAITS (AFTER MURILLO), available from any international Amazon outlet.

October 16, 2021

Lloyd Hughes as RIP-ROARING RILEY (1935), with Grant Withers, directed by Elmer Clifton

Filed under: Uncategorized — kendrasteinereditions @ 1:55 am

October 15, 2021

coming tomorrow to the KSE blog…the 1935 classic RIP-ROARING RILEY! watch the trailer now!

Filed under: Uncategorized — kendrasteinereditions @ 1:09 am

October 14, 2021

Teddy Wilson, Stomping At The Savoy (recorded in the UK, 1967)

Filed under: Uncategorized — kendrasteinereditions @ 1:20 am

Song List:
【00:00】01 – Stompin’ At The Savoy 4:16
【04:25】02 – Moonglow 4:30
【09:00】03 – As Time Goes By 2:26
【11:32】04 – Honeysuckle Rose [Take 1] 4:01
【15:34】05 – Flying Home 4:35
【20:11】06 – I Can’t Get Started 2:21
【22:31】07 – Sometimes I’m Happy 4:00
【26:31】08 – Body And Soul 4:33
【31:08】09 – I’ll Never Be The Same 7:36
【38:48】10 – Easy Living 3:07
【41:56】11 – On Green Dolphin Street 2:10
【44:07】12 – Honeysuckle Rose 4:04

・Teddy Wilson (Piano)
・Dave Shepherd (Clarinet)
・Ronnie Gleaves (Vibraphone)
・Peter Chapman (Bass)
・Johnny Richardson (Drums)

October 12, 2021

Johnny Burnette, Coral/Freedom 45 rpm singles, 1956-1960

Filed under: Uncategorized — kendrasteinereditions @ 1:15 am

October 10, 2021

Franco Nero & Charlotte Rampling in ISLAND OF CRIME (Italy, 1968)

Filed under: Uncategorized — kendrasteinereditions @ 1:20 am

October 8, 2021

Robert Ginty in GOLD RAIDERS (Thailand, 1982)

Filed under: Uncategorized — kendrasteinereditions @ 1:44 am

October 6, 2021

Jan & Dean–On The Run (1965-66 unaired TV pilot)

Filed under: Uncategorized — kendrasteinereditions @ 3:06 am

October 4, 2021

SLEEPY JOHN ESTES with Hammie Nixon, ‘On 80 Highway’ (1974)

Filed under: Uncategorized — kendrasteinereditions @ 1:39 am

October 2, 2021

Japanese TOMMY LEE JONES coffee commercials

Filed under: Uncategorized — kendrasteinereditions @ 1:06 am

September 30, 2021

SAVAGE PAMPAS (Spain-Argentina,1966), starring ROBERT TAYLOR

Filed under: Uncategorized — kendrasteinereditions @ 1:16 am

(my review, originally published online in 2018)

SAVAGE PAMPAS is an original and complex and gritty and well-acted and visually striking Argentinian-Spanish-American co-production, shot in Spain, from 1966. It’s usually considered one of those Eurowesterns with an asterisk next to it, in that it’s not a solely European co-production and it’s set in the pampas frontier of Argentina.

Director Hugo Fregonese is well-known to fans of 60’s international co-productions, having directed one of the OLD SHATTERHAND films, the downbeat spy drama LAST PLANE TO BAALBECK, and the final entry in the 60s Dr. Mabuse films, THE DEATH RAY MIRROR OF DR. MABUSE. He was originally Argentinian, but went to Columbia University, and was married to American actress Faith Domergue. Since he had worked in Argentina, Europe, and the United States, he would seem to be the perfect choice for this Argentinian-Spanish-American production. When I think about those three films mentioned above, I remember how visually creative and memorable each is. With the OLD SHATTERHAND film, the incredible panoramic vistas of the faux-West (probably Croatia, then part of Yugoslavia) are breath-taking….in fact, that film was issued in 70mm in Europe, and SAVAGE PAMPAS was also filmed in 70mm and exhibited in that format in Argentina (one wonders if the producer of this film gave the gig to Fregonese based on his work in SHATTERHAND?). How I wish that in this lifetime I could actually see a 70mm theatrical screening of either film (or both). Alas, I doubt that will ever happen. If I had Jeff Bezos money, I could make it happen, but I don’t. I guess the best I can hope for realistically is a quality Blu-Ray viewed on a large TV screen (I have 27” presently, so I’ve got a way to go there).

The amazing cast—the kind of cast you find only in these off-shore productions, bringing together people you might not expect to have seen in the same film, in roles you would not expect them to be in—is headed by the great ROBERT TAYLOR, in one of his last roles. I love Taylor’s 1960’s work. Some people criticize him for looking older, looking tired, looking uninterested, etc., but he used his age very well, never attempting to look younger, and bringing an understated gravitas to his roles. Taylor understood how much he could communicate with his face and his body and his mannerisms. He’d been a major star for 30+ years at this point, and he knew exactly what the camera would do with every blink of the eye or hand gesture or slight curl of the lip. Taylor plays an Argentinian military officer on the massive frontier, the Pampas, who is faced with inadequate supplies, not enough men, Indian attacks, and rampant desertion. He’s beaten down and burned out, but has an inner toughness and strength that radiates from within. When a new officer, a graduate of the military academy, is offered to him to replace a deserter, and the new man is praised as being “the 2nd in his class of 48 at the academy,” Taylor barks out, “why didn’t I get number 1?” Watching the 50’s and 60’s Robert Taylor, especially the post-1955 work, is to me a master class in acting….and his cigarette-scarred voice gives authority to anything he says.

Pitted against Taylor is Australian-American RON RANDELL (presumably, no relation to Buddy Randell of The Knickerbockers!), who had an interesting career both in films and on the stage. B-movie fans might know Randell from being in the last Lone Wolf feature, THE LONE WOLF AND HIS LADY (1949), replacing Gerald Mohr in the role—a film I have always enjoyed and have watched 4 or 5 times in the last 20 years. Randell is having a blast as the over-the-top outlaw leader of the deserters—strutting and delivering his lines with the gusto of a Richard Burton or Orson Welles. I can imagine how entertaining Randell would have been on stage (he had some fine roles, including two Terence Rattigan plays). He even played Cole Porter (!!!) in the film KISS ME, KATE (which I have not seen). Hmmm, I’d love to compare that with Kevin Kline’s quirky performance as Porter in De-Lovely (which I have seen). Randell has allied himself with the local Indian tribe, figuring that they are united in their hatred of the Army forces (the Indians, especially their older leader, quickly realize what a slimeball they’ve allied themselves with). Obviously, that alliance begins to unravel.

If that’s not enough, former TV western star and future Eurowestern star TY HARDIN plays an anarchist (!!!) journalist who is embedded (as they said during the Iraq War) with Taylor’s military unit. He’s quite convincing and charismatic, and he and Taylor build a kind of strange alliance as they are both principled men, but with very different principles. Still, each sees something he recognizes in the other.

The plot, which I have not really mentioned and which by today’s standards is somewhat distasteful, deals with marginalized women who are given the choice of going to jail or “comforting” the soldiers….and Randell’s outlaw crew also have their own “comfort women.” To say that the presence of the women on the frontier affects the men’s behavior would be an understatement.

When you take the female element, the fact that there are multiple sides in operation here, each with differing agendas, that Taylor’s men are close to deserting at any point (and a number do), and that you really don’t know what is going to happen or who is going to survive, and then at the end you get quite a surprise, I’d have to say that SAVAGE PAMPAS delivers the goods. The three leads all give it their best, the Argentinian element should be a breath of fresh air to most viewers, and there is a fatalistic tone that rings true. And I can’t stress enough how impressive this film looks, with the endless and dry and ravaged Pampas plains so beautifully filmed in a desolate part of Spain. If you can find a copy, or watch it online, you should do it.

Perhaps what connects with me most about this film is that you have burned out but professional-in-spite-of-it-all characters (Taylor) and idealistic-but-beaten-down characters (Hardin) against a crazy power-mad psycho (Randell), all having to continue to fight battles which were started by previous generations and that nobody, save the power-mad psycho, want to fight and would give anything to not fight, but they all have their pre-ordained roles, and they have to play them. And in the end, there will be no heroes, many losers, and no one will win. Just like life….

September 28, 2021

Edgar Wallace’s DEAD EYES OF LONDON (Germany 1961), starring Joachim Fuchsberger and Klaus Kinski

Filed under: Uncategorized — kendrasteinereditions @ 2:44 am

September 26, 2021

Dean Jagger in C-MAN (1949), with John Carradine

Filed under: Uncategorized — kendrasteinereditions @ 1:50 am

offbeat but interesting indie crime-noir film

The few who know this film are probably either hardcore film-noir completists or hardcore John Carradine fans who must have every film “the master” appeared in. I’m glad I recently had an opportunity to view the film, because it is a fascinating independently-made crime-noir film with a number of unique touches. Most of the film is shot either on location on the streets of New York or in VERY small low-budget sets. The location shooting is quite interesting, using unexpected camera angles and giving the film a kind of documentary feel–one suspects that director Joseph Lerner and cinematographer Gerald Hirschfeld were familiar with the Italian neo-realists. I could watch hours of this kind of footage, capturing 1949 New York, as it was experienced by people on foot, through great low-angle shots. And the musical score, by Gail Kubik, is quite avant-garde–sections of it sounding like early John Cage or Stan Kenton at his most atonal. Ms. Kubik was obviously a fine composer who adapted her avant-garde music well to a crime film–I’m anxious to hear some of her other work. Dean Jagger is not the most convincing tough guy, but he is a good enough actor to handle the expository dialogue and unnecessary voice-overs and make them sound SOMEWHAT natural! Lottie Elwen, playing a woman from Holland whom Jagger meets and who gets the mystery, such as it is, in motion, is quite seductive and was an excellent choice for the role. John Carradine can create a distinctive supporting character in his sleep, and once again he does that here as a fallen, now-crooked doctor who has had his medical license revoked (he’s only in a few scenes). We should, with hindsight, give credit to the filmmakers who were obviously working on a VERY low budget, yet created a distinctive looking film and a film with lots of atmosphere. Fans of obscure noir-crime films should seek it out; although it’s certainly not a flawless classic, there’s something real and raw and spontaneous about it, and that quality transcends any other limitations the film has.

(review originally published in 2002)

September 24, 2021

Ralph Forbes in I’LL NAME THE MURDERER (1936)

Filed under: Uncategorized — kendrasteinereditions @ 1:43 am

1930’s newspaper gossip columnist solves whodunit

Florid, over-confident newspaper gossip columnist Tommy Tilton (Ralph Forbes) turns sleuth when his friend is blamed for the murder of an ex-girlfriend with a taste for blackmail. We’re introduced to a number of colorful supporting characters, with Tilton gradually figuring out the nature of the crime through a combination of bluff and insight. He also uses his column to “smoke out” the guilty party, even when he doesn’t yet know who the guilty party is! Director B.B. Ray was an old hand at low-budget action films and westerns, and with minimal sets, and dialogue that describes actions that would be too expensive to film, Ray keeps the action moving at a swift pace. Forbes plays the part of Tilton as something of a dandy, with a lot of empty bravado. When Tilton proclaims “I’ll name the murderer” in the next day’s paper, even though he doesn’t yet have any proof, we audience members pull for him, WANTING him to crack the case. I’ll let you see the film yourself to see how all this is resolved… Overall, a solid 1930s poverty-row murder mystery from Puritan Pictures, best known for their 1935-36 series of interesting Tim McCoy westerns, including the classic MAN FROM GUNTOWN.

(review originally published in 2002)

September 22, 2021

Kasnat & Katz Fighter Squadron, ‘Pickin’ Up Sticks’ (1971 single)

Filed under: Uncategorized — kendrasteinereditions @ 1:21 am

From 1971, here is another gem from the Jerry Kasenetz/Jeff Katz empire, this time from the mind of Ritchie Cordell. I recently reviewed the massive 6-cd Tommy James and the Shondells box set for Ugly Things magazine, and Mr. Cordell looms large over a number of the Shondells’ best tracks and was involved with hundreds of fine records over a few decades. 1971 is kind of late for the classic bubble-punk era, but the formula was too good to discard, and the aggressively throwaway nursery-rhyme lyrics (Bill Haley was a master at that also) mixed with a killer riff and the interesting sound textures we associate with K&K mix together to create an anthem that would still command a dancefloor full of Le Beat Bespoke fans. Released in the US on Super K, the record also got issued in Germany, France (see sleeve above), and Turkey. There was another single credited to the Squadron too, “When He Comes.”

50 years after it was released, PICKIN’ UP STICKS still puts a smile on my face and gets my foot tapping, so thanks to Mr. Cordell, Mr. Kasenetz, and Mr. Katz. I just listened to an hour-long interview with two members of the Music Explosion, and after hearing them discuss K&K, I thought I’d share another “deep cut” from them. Enjoy….

September 20, 2021

Will Bradley/Ray McKinley Orchestra, with Freddie Slack, BOOGIE WOOGIE (1950s reissue of their classic early 40s sides)

Filed under: Uncategorized — kendrasteinereditions @ 12:51 am

A1 Beat Me Daddy (Eight To The Bar)
A2 Down The Road A Piece
A3 Celery Stalks At Midnight
A4 Flyin’ Home
A5 Boogie Woogie Conga
B1 Strange Cargo
B2 Scrub Me, Mama, With A Boogie Beat
B3 Basin Street Boogie
B4 Chicken Gumboogie
B5 Rock-A-Bye The Boogie
B6 Rhumboogie

Will Bradley, trombone and leader

Ray McKinley, drums and vocal

Freddie Slack, piano

September 18, 2021


Filed under: Uncategorized — kendrasteinereditions @ 1:58 am

September 16, 2021

Donald Woods in DANGER ON THE AIR (A Crime Club Mystery, 1938)

Filed under: Uncategorized — kendrasteinereditions @ 1:41 am

September 14, 2021

Peter Martell in TWO CROSSES AT DANGER PASS (Spain-Italy 1967)

Filed under: Uncategorized — kendrasteinereditions @ 1:28 am

September 12, 2021

Ozzie Nelson Orch.- ‘Oh, What An Easy Job You’ve Got All You Do Is Wave A Stick Blues’ (from 1940 Vitaphone film short)

Filed under: Uncategorized — kendrasteinereditions @ 1:34 am
Next Page »

Blog at