Kendra Steiner Editions (Bill Shute)

July 30, 2021

Giuliano Gemma in CALIFORNIA (Italy, 1977), with William Berger and Raimund Harmstorf, directed by Michele Lupo

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July 28, 2021

Dave Pell plays Benny Goodman

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Jersey Bounce
Dave Pell


And The Angels Sing
Dave Pell –


Careless Love
Dave Pell


Sing, Sing, Sing
Dave Pell



Dave Pell



Dave Pell



Christopher Columbus
Dave Pell



Stompin’ At The Savoy
Dave Pell



Lonesome Road
Dave Pell



A Slick One (on the Mellow Side)
Dave Pell



Why Don’t You Do Right
Dave Pell



When The Saints Go Marchin’ In
Dave Pell


July 26, 2021

Joseph Cotten in THE HELLBENDERS (Italy, 1967)

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July 25, 2021

The Music of 1962 Woolworth’s

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July 23, 2021

KSE/Bill Shute website changing format as of 1 DEC 2021…

Filed under: Uncategorized — kendrasteinereditions @ 1:14 pm

Greetings from beautiful Vicksburg, Mississippi, where I’ll be for another two days until heading over to Opelousas, Louisiana for the rest of July. The time spent here has allowed me to take stock of a number of things and to clarify some changes I’ll be making in a number of areas over the next two to three years….as Mary Anne and I move toward retirement and the nature of my creative work continues to evolve.

the product of an earlier trip to Mississippi (2017)


The one change I’ll be discussing here today is the nature of this blog/website/whatever you call it. It began in July 2007 as a way of promoting KSE releases and my own poetry publications and readings, along with my other various writings. With the final KSE music releases in December 2018, the web presence continued on as a vehicle to promote my poetry publications (many of which continued to come out under the KSE imprint), champion the current activities of former KSE artists (musicians and poets and visual artists), mention what I had coming up in future issues of UGLY THINGS magazine, and as with all blogs, turn people on to things I found to be interesting and worth sharing.

With the COVID lockdown, Mary Anne and I found ourselves re-oriented, as pretty much everyone was, to online content in the arts and culture and entertainment—-instead of, say, driving up to Austin to catch Rosie Flores at the Continental Club Gallery, we started watching her Wednesday Happy Hour livestreams from her own home. We watched screenings of obscure films online (thanks to silent film archivists Ben Model/Steve Massa and to UCLA for the regular quality content there), we hungrily consumed art lectures from The Barnes in Philadelphia and the Meadows at SMU in Dallas, we watched plays presented via Zoom by New York’s Metropolitan Playhouse.

I wanted to do my part to provide people with something to enjoy from home during the lockdown, so for over a year now, I’ve been posting links to film and music—-for a while daily, but for the last six months or so, every other day—-and they have been quite well received and have brought in a number of new folks to the blog. The focus has been on entertainment, since that’s what we’ve all be needing—-so if you want an 80’s Filipino action-exploitation film, a 30’s indie B-western, a 40’s or 50s black-and-white crime programmer, a Prestige-label soul-jazz album, 1920’s dance-band 78’s, obscure private pressing LP’s of 60’s and 70’s bands, obscure Kasenetz-Katz 45 B-sides, KSE has been delivering them….and people have been enjoying them. However, as Covid restrictions are being lifted and people are going back out to restaurants and clubs and theaters and the like, it seems as though the lockdown entertainment’s time has passed. I’ve already got content loaded until the end of November for you, so let’s say the new focus here will start at the beginning of December 2021.

Presently, there are every-other-day posts of links to music and film, and though I will of course plug my poetry books and on occasion mention something else, the focus has not been on my own writings and commentaries for people to read online. In December, I’ll be switching to something like a weekly format, with a combination of new writings and reprints of older things that have appeared both in vintage print magazines and online on other platforms. For the dozens of you who have texted or e-mailed me and politely asked “when are you going back to your own writings instead of the You Tube links?”, the answer is….in December.

It will soon be the 40th Anniversary of my first issue of the INNER MYSTIQUE ‘zine, and I know some of you have been reader-friends since then (you know who you are!). Thanks for staying with me through the years. Stay tuned….

circa 1986-87

Mark, “Good ‘n’ Plenty” (Super K single #SK 103)

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I recently reviewed the massive 6-cd box CELEBRATION: THE COMPLETE TOMMY JAMES & THE SHONDELLS ROULETTE RECORDINGS (on Grapefruit UK….if you are so inclined and don’t have this material, it’s highly recommended) and commented on how Tommy James had a superb ear for surrounding himself with the right collaborators in terms of production and songwriting (James was excellent himself at both but valued the input of others, which shows how he was not insecure, just interested in creating the best possible records). Two names seen often on TJ’s mid-to-late 60s records are BO GENTRY and RICHIE CORDELL, both involved with this Kasenetz-Katz bubble-punk gem from 1969, featuring 1910 Fruitgum Company vocalist Mark Gutkowski.

July 22, 2021

EVERYWHERE CHAINSAW SOUND (1982 French 60’s garage-beat compilation LP)

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A1 Lincoln St. Exit– The Bummer

A2 The Spiders– Baby Doll

A3 The K-otics– I’m Leaving Here

A4 The Scepters– Little Girls Were Made To Love

A5 The Scepters– Love You Baby All The Time

A6 The Reverbs (4)– Lie In The Shade Of The Sun

A7 Strangers– Tell Me
A8 Ken & The Fourth Dimension– See If I Care

A9 The Guilloteens– Hey You

B1 Fe-Fi-Four Plus 2– Pick Up Your Head

B2 Unchained Mynds– Hole In My Shoe

B3 Kan Dells– Cry Girl
B4 The Spokesmen– Mary Jane
B5 The Original Dukes– Ain’t About To Lose My Cool
B6 Heros– I Can Only Give You Everything

B7 The Monacles– I Can’t Win

B8 The Music Explosion– Stay By My Side

B9 Electric Prunes– You Never Had It Better

EVERYWHERE CHAINSAW SOUND, which I acquired soon after it came out, was a French compilation LP of raw 60’s garage-beat singles with a wonderful spray-painted stencil cover–the same people later put out a second compilation called EVERYWHERE INTERFERENCES, the cover of which I repurposed for the promotional poster of my late 1980’s radio show INNER MYSTIQUE RADIO, which I recorded in Virginia for broadcast on CFMU-FM, Hamilton, Ontario. In 1982, when this was released, it was an extremely potent brew…and it still is today. We know a lot more about the bands of this now than we did then (I did not know, for instance, the “Baby Doll” by the Spiders was Link Wray-related in 1982), but you don’t have to know a thing about any of these bands to appreciate the transcendent 60’s beat-punk-garage glory featured here. Enjoy.

July 14, 2021

Summer 2021 Writing Vacation in Mississippi/Louisiana

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I’ll be heading out soon for a two-week poetry writing vacation, split between two beautiful and historic areas with atmosphere a-plenty. The first week will be spent in downtown Vicksburg, Mississippi, just a block and a half from the Yazoo River

Where the Yazoo River feeds into the Mississippi River in Vicksburg

and the second half will be spent in Opelousas, Louisiana, at Evangeline Downs racetrack.

I’m working on a new book-length poetic project (mentioned in an earlier post) that both contains variations on the sonnet form, using Robert Lowell’s NOTEBOOK poems as my starting point, and also a prose section, which functions both as a funhouse mirror of the poetry section and as a palate cleanser.

Of course, how the end product winds up is anyone’s guess….new avenues and forms will open up, new connections will be made, and I hope to have the finished product ready by the end of 2021. The tentative title is NEUTRAL.

Until then, you can get a copy of my most recent poetry book, TWO SELF PORTRAITS (AFTER MURILLO),  for only $7.95 here:

There will continue to be regular new content here at the KSE blog every few days (which was loaded in the Spring) throughout July and into Summer/Fall, so keep checking back for interesting film and music offerings. Otherwise, see you back in-person in August…when I return to San Antonio, and it’s back to the salt mine…

And there’s also this collection of 2005-2017 poems coming out in Germany later this year:

July 13, 2021

Immediate Records promo film (circa 1966, UK, Peter Whitehead)

Filed under: Uncategorized — kendrasteinereditions @ 1:07 am

Immediate Records (1965-1970) will always be for me THE label of Swinging London in the mid-to-late 1960s. Andrew Loog Oldham, fired up by his success with The Rolling Stones and viewing himself as the next Phil Spector and/or Berry Gordy, spared no expense to achieve his unique vision, and thankfully the label left a good-sized body of work for us to savor today. Immediate also licensed in releases that reflected Oldham’s tastes, and of course, Oldham was involved with brilliant recordings that did NOT come out on Immediate but were Immediate Records in every other way (Del Shannon’s sublime 1967 Oldham-produced sessions), so the Immediate legacy is more than the material recorded in England for the UK Immediate label. And of course, we can’t forget the label’s co-founder Tony Calder, producer-arranger Arthur Greenslade, and the many others who played their parts in this fascinating mosaic of sound and image.

If you’re unfamiliar with the “Immediate Sound”, try this track by Chris Farlowe, a cover of Bob Dylan’s “It’s All Over Now, Baby Blue”

One of the first singles I ever bought was the US Immediate 45, with its striking purple label, of the Small Faces “Itchycoo Park/I’m Only Dreaming,” and I’ve picked up any and all Immediate releases ever since. The label only lasted for five years, and went down in flames, but Mr. Oldham did actually achieve what he’d seen in his mind’s eye and heard in his mind’s ear. I just discovered this promo film, celebrating the label’s first anniversary, by legendary filmmaker Peter Whitehead, and it totally nails the FEEL of Immediate. Even if you’ve never heard any Immediate releases, you’ll get what the label was about in this short film. Enjoy.

July 12, 2021

Bill Black’s Combo, ‘Basic Black’ (1969 LP)

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BILL BLACK’S COMBO are most associated with HI RECORDS, doing over a dozen albums for the Memphis label until they moved to Columbia for three albums in 1969-1970. Strangely, the Columbia albums are not as well known as the earlier Hi albums, which were churned out regularly. Perhaps the band was better served as big fish in the little pond at Hi, than as little fish in the big pond of Columbia. The band moved on to the Nashville-based MEGA label and eventually moved back to HI, though the mid-70’s band had little in common with the instantly recognizable 60’s band with their “untouchable” chunka-chunka sound. However, the Columbia material, which is not that well known, still has the unique Black sound, although perhaps one foot is being tested in the easy listening sound. Or course, BILL BLACK himself had stopped touring and even playing on the records that bear his name even before his premature and tragic passing in 1965, but The Bill Black Combo was a brand, and until about 72-73, the brand was recognizable.

Put this on while you are doing something….and perhaps you’ll do it with more enthusiasm and propelled by the beat.

Everybody’s Out Of Town 2:16
Free And Funky 2:25
Let It Be 3:57
A Black Experience 2:29
Lay Lady Lay 3:33
Put Out My Fire 2:23
Keep The Customer Satisfied 2:36
Rainy Night In Georgia 3:33
Here Comes That Old Feeling Again 3:06
Venus 2:48
I’m So Glad 3:11


July 10, 2021

Johnny Mack Brown in VALLEY OF THE LAWLESS (1936)

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directed by the great Robert N. Bradbury (father of Bob Steele)

July 8, 2021

Troy Donahue in COME SPY WITH ME (1967)

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part one


part two


part three


July 6, 2021

LINK WRAY, September 1974 KSAN-FM Broadcast

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Set List:1.- I Got to Ramble, 2.- Backwoods Preacher Man,3.- Unchain My Heart,4.- You Walk By, 5.- Jack The Riper, 6.- Rumble, 7.- It Was A Bad Scene, 8.- Good Time Joe, 9.- Walkin’ Bulldog, 10.- She’s That Kind Of Woman

July 4, 2021

Bert Kaempfert and his Orchestra, ‘Let’s Go Bowling’ (1964 LP, comp of 1959-64 tracks)

Filed under: Uncategorized — kendrasteinereditions @ 1:23 am

A1 Let’s Go Bowling
A2 Gemma
A3 Savoy Blues
A4 Holiday For Bells
A5 Someone
A6 Imbote
A7 Holiday In Scotland
B1 Toy Parade
B2 The Bass Walks
B3 For Nothing
B4 Sunday In Madrid
B5 Love After Midnight
B6 To Know Him Is To Love Him
B7 Danke Schön

July 2, 2021

Dan Duryea and Rod Cameron in THE BOUNTY KILLER (1965)

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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)

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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

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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 using a variation on the organic, flexible 14-line sonnet-based form he uses there in the piece I’m presently working on, which I should not say anymore about at this point (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)

Filed under: Uncategorized — kendrasteinereditions @ 1:05 am

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.


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