Kendra Steiner Editions

February 22, 2020

upcoming Bill Shute reviews for Ugly Things #53 and update on other writings

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I just submitted the last of my reviews for Ugly Things magazine #53, which should be out in a few months. Here’s what you can expect from me:

EDDIE AND THE SHOWMEN, SQUAD CAR: THE EDDIE BERTRAND STORY (CD, Oldays, Japan), a tribute to the great South Bay surf guitar pioneer, with the complete singles from Eddie & The Showmen, Eddie’s tracks with his earlier band The Bel-airs, along with tracks from other South Bay surf instrumental bands of the era, some with Bertrand connections. Packaged in one of those cardboard mini-LP sleeves the Japanese labels do so well….


ALEXIS KORNER, THE COMPLETE WARNER BROS. RECORDINGS (2-cd, Wounded Bird), includes the career-spanning 2-LP compilation BOOTLEG HIM! and the 1973 ACCIDENTALLY BORNE IN NEW ORLEANS, from the British Blues master

korner warner

MICHAEL NESMITH WITH RED RHODES, COSMIC PARTNERS: THE McCABES TAPES (CD/LP, 7A, UK), a sublime and intimate live set from McCabe’s Guitar Shop in Santa Monica, CA, from 1973….Nesmith and steel guitarist Red Rhodes were riding on the crest of the wave of their amazing duo album PRETTY MUCH YOUR STANDARD RANCH STASH when they stopped in at McCabes, a place where both men felt very comfortable and at home, and kept the audience spellbound for hour of hypnotic, mind-bending “cosmic cowboy” music….I hesitate to call this “country rock” since Nesmith (one-time San Antonio resident and student at San Antonio College, I’m proud to say!) has always been a genre unto himself…

nesmith cosmic

ELVIS PRESLEY, THE ‘ELVIS IS BACK’ SESSIONS (4-CD box, Follow That Dream/RCA, Denmark) The complete surviving recordings, with every take in the order recorded, of the four days of sessions Elvis did in March and April 1960 upon his release from military service in the Army, the 12 songs from the album ELVIS IS BACK and 6 songs used for 45 rpm singles, among The King’s finest-ever recordings….


ACROSS THE GREAT DIVIDE: GETTING IT TOGETHER IN THE COUNTRY, 1968-1974 (3-cd box, Grapefruit UK)… Compiler David Wells has done an amazing job pulling together a wide variety of music from British and Irish bands moving into a “rural rock” vein in the post-psychedelic era, under the influence of the Clarence White-era Byrds, John Wesley Harding-era Dylan, and The Band….one of those compilations which will cause us to re-evaluate a lot of music we have listened to for years but did not fully contextualize…


IT’S THE BEST STUFF YET! (2-cd set, Frog, UK)…Disc One contains a rich harvest of Piedmont Blues (from Virginia down through Georgia) from the acoustic-blues era, including some private recordings and an X-rated acetate of Josh White doing a version of “Darktown Strutters Ball” unlike any you’ve previously heard, but the real revelation here is Disc Two, the complete, hour-long 1956 Atlanta session from BLIND WILLIE MCTELL, from start to end with all the songs and the talk, in the order it as recorded. Excerpts were included on the Prestige-Bluesville LP LAST SESSION, but here we have everything, and it’s like having McTell himself in your living room talking and playing. A must-own collection!

it's the best stuff

NORMAN PETTY STUDIOS: THE VAULT SERIES VOLUME 7, 1953-59 (CD, Nor-Va-Jak)… Another first-rate excavation into the meticulously-kept vaults of Clovis, New Mexico, producer NORMAN PETTY, featuring a wide variety of 1950’s artists mostly from West Texas and New Mexico, including Roy Orbison, Peanuts Wilson, Sonny Curtis, Alvis “Eddie” Edwards, Bob Church (Terry Noland’s brother), Don Guess, Jimmy Bowen, and some tracks with Buddy Holly on guitar. These albums go out of print quickly and then are available only as downloads. Volume 8 is already out for a few months, so get Volume 7 ASAP.

petty 7


Nice to get all those off to UT editor-publisher MIKE STAX, with whom I’ve worked for nearly 35 years!

At Chris Stigliano’s inimitable BLOG TO COMM (the online version of the old BLACK TO COMM punk-zine), my column continues to run every-other Tuesday with comments on film, music, comics, books, old-time radio, vintage television, and the occasional pseudo-autobiographical narrative piece. I provide a link to each of these on the KSE Facebook page (and on my own personal FB page) when it appears at BTC, and as I type this on a Saturday morning in late February, Chris has material in the can from me to get through the next 3 1/2 months. I get regular feedback from readers on the BTC pieces, which is very much appreciated. My most recent piece there is a write-up on the 1942 Monogram film RUBBER RACKETEERS, starring Ricardo Cortez, at his suave and sinister best. Here is a link to that:

Rubber Racketeers BTC, Bill Shute

I’m also working on an introductory essay for a new book collecting early 70’s magazine articles from one of my favorite film directors and prose writers….I’ll provide more specifics on this when the project is officially announced. The kind of people who read this blog or BTC will probably find this book to be one of the most essential of the year when it’s eventually issued.

My job keeps me busy well beyond work hours, alas, so I’ve not put much up here on the blog recently (I need to finish some of the 12-15 half-completed blog posts sitting in my draft box when I have time). As with most employers nowadays, mine is requiring more of me each year, seeing how much the camel’s back will take before it breaks. Also, now being 61, I undoubtedly require more effort to do the same tasks I did five years ago. Add those elements together, and you can see the end result.

Fortunately, I continue to plug away at my 2019-2020 book-length poem TOMORROW WON’T BRING THE RAIN, which I hope to complete and edit during my two week writing vacation in June, split between Evangeline Downs racetrack in Opelousas, Louisiana, and a cabin on the banks of the Atchafalaya River, east of Breaux Bridge, LA. This 48-page work is about 70% completed presently. My notebook is always in my pocket, and the work’s structure/format/unifying tropes and image patterns were set before I began the “writing.” An analogy I would give to help people understand how I work would be a film-maker shooting all the footage–master shots, close-ups, two-shots, second-unit sequences, location shooting, etc.–and then going into the editing room for a month or two and creating the finished work. In a sense, that’s what I did during the June writing vacations for the previous two book-length poems, RIVERSIDE FUGUE (2018-2019) and AMONG THE NEWLY FALLEN (2017-2018).

Speaking of poetry, I’ve been spending much of my free time in a number of variorum editions (combining all variant versions of texts in one book) of Wordsworth’s poetry, from the wonderful CORNELL WORDSWORTH series. I’ve been a lifelong reader of the two major versions of THE PRELUDE, but in the last few years, I’ve been studying the lesser-known texts of William Wordsworth, both early and late, and attempting to get a handle on the logic behind his many revisions of his poetry. People generally write off these revisions as being inferior (as, say, W. H. Auden’s later revisions of his earlier work), but Wordsworth was such a devoted re-writer (and often he would not publish ANY of the versions!) and produced such a large quantity of versions of his large quantity of works that a true knowledge of WW’s work requires a jump into the deep end of the pool of variants forms of the works. I’m not sure how many would follow me into such dense (and by today’s standards off-putting) works as THE ECCLESIASTICAL SONNETS, but as a poet I find his method and his variant “finished works” fascinating and an inspiration.

All of the recent Bill Shute KSE poetry paperbacks are available here:

Bill Shute author page

Check them out! All are under $10 each and in handsome perfect-bound editions, each page carefully composed in the open-field format, with stanzas inspired by the late-period William Carlos Williams “stairstep” line, though I’ve been doing this long enough that my work does not really resemble anyone else’s, love it or hate it or avoid it.

The British collection (with original art by David Payne) from A Series of Lizards Press, APPROACHING THE APPARENT, sold out a few months after its release, and the shared poetry book with Michael Casey CULTURE OF COMPLIANCE is available from The Ruminant Press, though they are down to their last few copies. If you are a local here in San Antonio and would like a copy of that, just ask me when I see you as I have a few extras left.

As always, thanks for your interest in my various projects–past, present, and future.


October 15, 2019

upcoming reviews for UGLY THINGS #52

Filed under: Uncategorized — kendrasteinereditions @ 6:44 pm
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Just submitted the last of the seven reviews I was assigned for the next issue of UGLY THINGS magazine. As always, UT should not be missed by any serious fan of 50’s-70’s rock and roll and hard-edged roots music in general.

Here’s what you’ll be getting from me:


DION —Ruby Baby/Donna The Prima Donna (Ace, UK), CD

Ace reissue of Dion’s two 1962-1963 post-Laurie albums for Columbia



V.A.—Los Angeles Soul, Volume 2: Kent-Modern’s Black Music Legacy, 1963-1972 (Ace/Kent, UK), CD

another fine archival dig through the Kent/Modern archives, blues-tinged soul and soul-tinged blues

kent 2


V.A.—Border Beat!—60’s Instrumental Collection (Nor-Va-Jak), 2-CD

73 (!!!) rockin’ instrumentals, 1960-66, produced by NORMAN PETTY at his Clovis, New Mexico studios (all the bands other than The Fireballs and The String-A-Longs)

border beat


V.A.–Rhythm ‘n’ Bluesin’ By The Bayou: Bop Cat Stomp (Ace, UK), CD

Volume 21 in Ace’s sublime BY THE BAYOU series, featuring small-label music in a number of styles from Southwest Louisiana and Southeast Texas (basically, east of Houston, south of Shreveport, north of New Orleans, and west of the Mississippi)…. this volume dedicated to rock and roll-oriented R&B, about half of which is from the deepest recesses of the vaults of Lake Charles’ GOLDBAND label…. you need all 21 volumes of this series



ELVIS PRESLEY—Live 1969 (RCA) 11-CD box

11 complete concerts, from soundboard recordings, from the second half of Elvis Presley’s summer 1969 Las Vegas residency




V.A.—Ann Arbor Blues Festival 1969, Volumes 1 & 2 (Third Man), two 2-LP sets

four LP’s (also available as two CD’s) of unreleased live recordings from the first Ann Arbor Blues Festival, in 1969, including a mind-blowing combination of blues greats including Mississippi Fred McDowell, Roosevelt Sykes, Big Mama Thornton, Muddy Waters, Jimmy Dawkins, Magic Sam, Lightnin’ Hopkins, and many more




Compiled by Michael Heath, Edited by Pat Thomas
Hat & Beard Press, 300-page hardback, published May 2019

discussed earlier here on the blog (27 July 2019)

This handsome and essential volume was compiled by Michael Layne Heath, punkzine pioneer and acclaimed poet, who published a number of chapbooks with KSE over the years, and who was included in KSE’s 2014 poetry collection POLYMORPHOUS URBAN: POEMS FOR LOU REED, alongside Luis Cuauhtémoc Berriozabal, Jim D. Deuchars, A. J. Kaufman, and Matt Krefting.
Lou Reed turned the interview into performance art. His collected interviews belong right alongside his albums and live shows and collected lyrics when considering his overall body of work. Many of us used to wait excitedly for Reed’s next appearance in print, especially in CREEM, where he would engage in arguments with Lester Bangs or in insightful conversation with Bill Holdship. Different aspects of Reed’s persona came out in each interview, and all were entertaining, giving a slightly different glimpse into the creative mind of Mr. Reed. Get your copy of this from the publisher next payday!

lou book pic

I would guess that editor-publisher Mike Stax will start offering pre-orders for UGLY THINGS #52 in early November….be sure to get yours ASAP. The last issue is almost sold out!


August 17, 2019


Filed under: Uncategorized — kendrasteinereditions @ 7:41 pm
Tags: , ,

discogs 1

Between 2009 and December 2018, Kendra Steiner Editions released nearly 140 CDR’s (some of the earliest ones being 3″ mini-cdr’s) of experimental music and other genres (higher-key psychedelia, gospel, poetry, etc.). We closed down the label on December 7, 2018 (as FDR once observed, “December 7th, a day that will live in infamy”). Pretty much every week now in mid-2019, I still get an e-mail or two from someone who is looking for a particular release–in some cases a past customer who missed something at the end of our run, in other cases someone who probably Googled the name of a favorite artist (Matt Krefting, Alfred 23 Harth, Lisa Cameron, The Garment District, Fossils, Tim Olive, More Eaze, Derek Rogers, etc.), saw the listing of their KSE release on this website, and assumed the item was still available.

I usually reply to these communications with a short note saying that ALL KSE MUSIC RELEASES ARE SOLD OUT–PLEASE CHECK THE SECONDARY MARKET FOR ANY AVAILABLE COPIES ON PLATFORMS SUCH AS DISCOGS….and truly, at this point, that is your best option. I know that some people who were sent promo/review copies sold them, and it seems as though some folks who bought and enjoyed their albums made digital copies and sold the physical copy. For your convenience, here is the link to the KSE page at Discogs, where presently there are 107 copies of various KSE releases available, most at reasonable prices. Go for it!

KSE releases at Discogs

A number of KSE artists (More Eaze, Massimo Magee, etc.) have already made their KSE releases available digitally, so I would encourage you to check the artists’ websites to see if they are offering downloads. Also, for some of the releases from recent years, it’s entirely possible that the artist still has a few copies that they are selling at shows. I always tried to be generous with artist copies, and provided restocks. Of course, you should DEFINITELY check out any KSE artist who is playing in your area… and  you should be checking out live music of all kinds in your area—-even at my age, I still go out to see local music artists and touring independent artists at small venues probably every other weekend, sometimes more often. Just a few days ago, while we were in Fort Worth, I caught trumpeter ALCEDRICK TODD’s Wednesday night residency at the Scat Jazz Club on 4th St., and it was an amazing experience (check them out when you are in the DFW Metroplex). If musicians and artists of any stripe can go out there and present their creations to strangers and put themselves on the line, then we audience members owe it to ourselves to check out new music and art, particularly artists new to us, because new and fresh cultural products make life richer and more worthwhile. Oh, you’ll occasionally encounter a dog (no offense to canines intended)—-while in Fort Worth, we saw a new production of a work from a local playwright which was abysmal. Oh, the players were all fine, and the production was well-organized and presented, and the direction kept the complex, fast-moving events and scene and costume changes coming with no slip-ups, but the play itself was a labored, loud, desperate, and tacky attempt at comedy which sucked badly (I won’t identify to venue or the playwright, as I don’t want to torpedo any Texas artists….he may well write something wonderful next year). However, if I did not once again take the chance and see a work new to me by an artist new to me, I would have missed the last 7 plays I’ve seen in the last year which were amazing! Chance involves risk, but the risk is well worth taking. And if I do poetry readings or poetry-and-music performances myself, or give a lecture on poetry or film at some local venue, and I expect people to show up for that, should not I do the same for others….

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Getting back to KSE, in the case of artists such as ALFRED 23 HARTH, or MATT KREFTING, or ERNESTO DIAZ-INFANTE, or JENNIFER BARON/THE GARMENT DISTRICT, or LISA CAMERON, or MASSIMO MAGEE, or SARAH HENNIES, or CLAIRE ROUSAY, or TIM OLIVE, or SMOKEY EMERY, or DEREK ROGERS, or SIR PLASTIC CRIMEWAVE, or the late REVEREND RAYMOND BRANCH,  pretty much ANYTHING these artists do is important and worthy of staying in print permanently. I would not be surprised if some years down the line some of Harth’s or Krefting’s or Magee’s KSE albums are reissued on vinyl. These albums are out there in the world, and their effect will continue to reverberate across the decades.

Mary Anne and I are extremely appreciative of your support for our music releases over the years.

Please note, though, that there are at least two dozen regular KSE releases, and probably more, which are NOT on Discogs.  If you own one of them, could you please put up a listing with a cover scan? You can find scans of most of the covers here on this website, so you could just copy that if you’d like. I would hope to get all of our releases up there eventually, in order to document the work which we all did together. Thank you in advance for any help you can provide in that area.

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discogs 4


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Also, if you are a KSE completist, you know that I would sometimes slip a free item in with your order, and in the last two years of our operations, that might be one of our unadvertised “private releases” of public domain material. NONE of those were ever listed on Discogs—-indeed, I did not list them by name on our discography here on the KSE website, only stated “private release” and gave its initials. If you own one of those, you should consider putting that up on Discogs too. There were 13-15 “private releases” of public domain material (swing bands, gospel, 1940’s and 1950’s radio detective programs, 20’s dance bands, music from cylinders, etc.), which were never advertised and only given away to customers who ordered multiple items in a particular two-week period when that limited release was being distributed (these private releases were usually run in editions of between 10 and 20). They were all assigned number consecutively with the regular releases and are part of the KSE legacy.

riverside cover

Finally, KSE continues on, but in a new incarnation, as an imprint for Bill Shute poetry books, professionally published and distributed internationally via your local Amazon supplier wherever you are. These are all attractive, perfect-bound paperbacks, and the most recent two (AMONG THE NEWLY FALLEN in 2018, and RIVERSIDE FUGUE in 2019) are newly composed book-length poems, running between 45 and 60 pages. I am presently working on another of these (they take about a year to complete), tentatively titled TOMORROW WON’T BRING THE RAIN, and hope to have it done by Summer 2020. They are not available through the KSE website. I’ve also had a few poetry books come out from other presses, both in North American and in Europe, in the last few years, and I try to put ordering information about those here so you can purchase them directly from the publisher. In 2020, I should have a Selected Poems volume covering 15 years of work, JUNK SCULPTURE FROM THE NEW GILDED AGE, coming out from a German publisher, and I’ll certainly give the ordering information for that when it’s out.

Until then, if you’d like to investigate my latest book-length poem, here is the info:


a book-length poem in three sections:

66 page perfect-bound paperback, composed 11/2018 – 6/2019 in Texas and Louisiana

available at all Amazon outlets in North America and Europe as a local purchase
US customers may order at


I’ll continue to write about music, film, literature, and other issues here at the KSE blog, so keep checking in. I’ll try to get an average of at least one entry up on the blog weekly. If you are a reader who knows me from UGLY THINGS or BLOG TO COMM, welcome. The focus and writing style is different for each venue. However, the KSE blog is the place to come to keep up on whatever I’m doing for whatever market… and the place to learn about books, films, music, visual art, comics, etc. which I feel need championing, and which I feel many of you will enjoy and be happy to have discovered.

Adios for now, in mid-August 2019. I’ll be back again soon, so please bookmark or follow the KSE website here.

–Bill Shute (San Antonio, TX)

January 20, 2015

late 2014 Bill Shute poetry chapbooks

Welcome to the new year—-Time to watch last year retreat into the rear-view mirror, time to make this year better and more productive and more enjoyable and more kind and tolerant than last year. Time to live on a deeper level in 2015….so we need to move on at KSE. Last year was productive for me, poetry-wise, so we’ve got six different poetry (and poetry-and-photography) chapbooks from the second half of 2014 still available. The lower-numbered ones are down to a handful of copies left, so grab these now if you are so inclined….and if you are not, then please move out of your comfort zone and GET so inclined. Many of these pieces are set in particular locales (Texas, Louisiana, the Gulf Coast, Kansas, etc.) and have a very strong sense of place—-they are funny, they can be tragic, the use of language is fresh, the form/structure is untypical, and they work as barometers for contemporary society and culture. What more could you ask for $6. Also, four of them are poetry-and-photography chapbooks—in those,  my photographs dialogue with the poems on the same page. These cost more to print, but the end result is well worth it. I’m moving away from that in 2015 with the projects I have on the drawing board, so take advantage of these while you can. Because of the nature of printing chapbooks with photographs, I’m fairly sure these will not be reprinted this way in the future. The poetry half may be extracted for republication, but the photos won’t.

I grew up with and learned my craft from study of mentors such as Blackburn, Wieners, Berrigan, Reznikoff, Eigner, and Dorn, and I’d like to think that I took the baton offered by those folks’ work and ran with it in directions different from the way others have….

There are a lot of new poetry events coming your way from KSE….I have a new poetry-and-music album (just finished recordings the vocal tracks yesterday in Austin) with the Hamilton, Ontario-based free-improv sound sculptors FOSSILS coming out in March, THE FLORIDA NOCTURNE POEMS, pictured here:



I completed two new chapbooks during my week in Louisiana (see previous post). A few of KSE’s finest poets will be back for new chapbooks in 2015 (details later), AND we will be compiling an anthology chapbook in late 2015 to celebrate KSE’s TENTH ANNIVERSARY, featuring a number of different poets such as Adrian Manning and Michael Layne Heath.

And there are more poetry-and-music collaborations planned….

UNTIL THEN, please take a minute and score a few of the latest round of Bill Shute poetry chapbooks. Response has been great on these–many e-mails and text messages and notes have been rec’d from readers who enjoyed and appreciated these. All are editions of around 50, home-made, hand-cut…and once they are gone, they are gone. Ordering is easy….HERE THEY ARE:


($6 US ppd/$7 elsewhere ppd)

KSE #295 (poetry-and-photography chapbook), BILL SHUTE, “Caged Heat”


KSE #278 (poetry chapbook), BILL SHUTE, “Life Goes To A Party, sound library series, volume 76″



KSE #290 (poetry chapbook), BILL SHUTE, “Jaywalkers: ducal poems, three”


KSE #287 (poetry-and-photography chapbook), BILL SHUTE, “The Fellowship of the Frog”  


KSE #282 (poetry-and-photography chapbook),  BILL SHUTE, “Hot Combination” 

guide dogs_20140608_0001


KSE #280 (poetry and photography chapbook), BILL SHUTE, “Guide Dogs and Bartenders on the Gulf Coast”

guide dogs_20140410_0001


payment via paypal to    django5722(at)yahoo(dot)com

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

Questions? Write to  django5722 (at) yahoo (dot) com   . Thanks for your support!

We have a lot planned for 2015….a new round of releases will begin in early March with an exciting new album from DEREK ROGERS!

August 30, 2014

JAYWALKERS: ducal poems, three (KSE #290), new poetry chapbook from BILL SHUTE


JAYWALKERS: Ducal Poems, Three

KSE #290 (poetry chapbook)

$6 ppd. in USA / $7 ppd. elsewhere

payment via paypal to   DJANGO5722(at)YAHOO(dot)COM

please include a note with your order telling us what are ordering and providing mailing address…thanks!


The “Ducal Poems” series is an open-ended poetry chapbook series of works inspired by the compositions of Duke Ellington. JAYWALKERS  is my third chapbook in the DUCAL POEMS series, although I have not chosen to publish the first two yet (however, CIRCLE OF FOURTHS, the first of the Ducal volumes, appears on the soon-to-be-released spoken-word poetry album WORRIED MEN AND WOODEN SOLDIERS). They should come out within the next year.

One of the dirty little secrets of the adult world, one that most of us have to learn by experience since we tend to be a bit naive as we are developing, is that those who proclaim themselves to be an “alternative” to the mainstream or the status quo are just as flawed, just as corrupt, just as dishonest, just as vain, and just as power-hungry as those on the “inside.” They set up just as many hierarchies, they play just as many (if not more) games, and they are just as elitist, although in a different way. The irony is that they view themselves as “progressive” or “radical” and superior to the mainstream, which makes them often EVEN MORE pretentious and insufferable than their mainstream counterparts. They don’t realize (or maybe they do and hate themselves because of it) that they are in the same game, played on the same gameboard, as those in the mainstream whom they feel superior to. If you refuse to validate their game or if you refuse to fall into their hierarchy in the place they have assigned to you, they will crush you and your work as fast as they’d step on a roach. One sees this in politics, in the arts (the poetry “alternative” establishment is a perfect example), in many other areas of society. Meet the new boss, same as the old boss, etc. Those who want to be in power are a mirror image of those who ARE in power. How can someone be a “kingmaker” of the underground when the underground is supposed to be opposed to the concept of kings and hierarchies….

Those who seek a “third way” are forever marginalized as JAYWALKERS.

That’s what this new six-part poem is about….and also what it embodies.

This is a poetry chapbook that walks down the street looking into the windows of cafes and bistros that it can’t afford to enter…or that it is not well-enough dressed to enter.

I began this in July but wrote most of it while on the road in Kansas, western Missouri, and Oklahoma in early August. I remember standing with Mary Anne on the sidewalk of the main drag in Lawrence, Kansas,  and looking across Massachusetts St., from one side to the other, as Saturday night cruising-traffic drove by—suddenly, the image patterns for this chapbook crystallized in my brain, and finishing the work was just a matter of connecting the dots. Lawrence is a great town, by the way…..we also found William Burroughs’ old house while there, it’s a beautiful area with an interesting history (Langston Hughes lived there), and there’s a great used bookstore (The Dusty Bookshelf)…among many other things. However, this piece is NOT set in Kansas the way some of my recent pieces have been set in specific geographical areas. As in a Harold Pinter play, it’s immediate and full of real-world specifics, but given a surface universality.

It’s the same post-Blackburn, post-Berrigan open-field poetry, full of particulars to chew on like VERY chunky peanut butter, you’ve come to expect, but each piece chooses its own form, its own voice, its own speaker/persona, its own tone. It’s a piece that cries the same primal howl that the Jandeks or the Harry Partches or the Andy Milligans or the DA Levy’s of the world have cried through both their works and their example. If you are out there  masked and anonymous but feeling the same thing, it’s for you.

Hand-assembled, hand-numbered, imprecisely-cut DIY edition of 39 copies. Get yours now.

$6 US / $7 elsewhere

OTHER  available poetry chapbooks ($6 each, ppd. in the US, $7 elsewhere…):

KSE #287 (poetry and photography chapbook), BILL SHUTE, “The Fellowship of the Frog”

KSE #282 (poetry and photography chapbook), BILL SHUTE, “Hot Combination”

KSE #276 (art-and-poetry chapbook), DAVID PAYNE & BILL SHUTE, “Blues With A Bridge”

KSE #280 (poetry and photography chapbook), BILL SHUTE, “Guide Dogs and Bartenders on the Gulf Coast”

KSE #273  (poetry chapbook), BILL SHUTE, “Someplace on Anywhere Road” (Sound Library Series, Volume 75)

We also have an excellent catalog of NEW experimental music from cutting-edge artists from four continents, but KSE began as a poetry press, so I’ll stick to promoting poetry in this post.

As always, thank you for supporting independent, non-aligned arts collectives such as Kendra Steiner Editions…..such organizations are the tortoises that will eventually win the race.

April 11, 2014

new poetry-and-photography chapbook, Bill Shute, “Guide Dogs and Bartenders On The Gulf Coast” (KSE #280)


“Guide Dogs and Bartenders on the Gulf Coast”

poetry and photography chapbook                KSE #280

$6 postpaid in US / $7 postpaid elsewhere

payment via paypal to   django5722(at)yahoo(dot)com

 guide dogs_20140410_0001

GUIDE DOGS AND BARTENDERS ON THE GULF COAST….8 pages of poems composed during my recent 5-day stay in Galveston County, the setting of the previous chapbooks SEAWALL and THE MOSQUITOES OF LA MARQUE…the photographs were taken a few months ago.

On my own both on the Island and the mainland in the first week of April 2014, armed with copies of THE COLLECTED LETTERS OF JACK SPICER, Diane Wakoski’s JASON THE SAILOR (Volume 2 in her four-volume ARCHEOLOGY OF MOVIES AND BOOKS), and that perennial favorite, Paul Blackburn’s JOURNALS… an actor improvising within character in a Cassavetes film, the narrator of this chapbook found himself thrust into re-inventing himself and creating a new life in Galveston County, Texas, circa 2014….kept on a short leash, crashing with acquaintances willing to help him get his footing, looking for work, having to re-learn the dirty little secrets on which this 2014 social and economic order is based….the chapbook is a series of open-field poetic assemblages, unified by the consciousness of our narrator, but also has an easy-to-follow narrative woven in…. The text covers the top 60% or so of each page, while the bottom 40% features Gulf Coast photographs I took in January 2014.

Together, text and photographs (we hope) take you deep into the poem’s setting and both the narrator’s consciousness and his immediate environment. See the flashing red and blue lights from the Sheriff’s patrol car, smell the oil-tinged salt air, taste the soggy all-you-can-eat burritos, hear the calls from the bingo parlor, feel the seaweed wrapped around your leg during a pre-dawn swim, during that brief window of time when shore access is not controlled.

It’s not an ideal life, but as Paul Laurence Dunbar put it so eloquently in the final lines of his 1903 novel THE SPORT OF THE GODS, “it was all that was left to them, and they took it up without complaint, for they knew they were powerless against some Will infinitely stronger than their own.” But of course, it’s all about finding the cracks in the wall, emerging through the margins, mapping the underground highway, and stealing small shards of ecstasy wherever/whenever one can….with the assistance of the Guide Dogs and Bartenders on the Gulf Coast.

Limited,  (awkwardly)hand-cut, hand-assembled, hand-numbered edition of 39 copies. Get yours now. As this is a poetry and photography book, it’s possible that the poems (not the photos) might appear in some future “Selected Poems” volume (if people feel they are worthy of it), but they WILL NOT appear in this context with the dialogue of text and photograph, which is the way I created this volume and the way I prefer for it to be experienced.


more poetry chapbooks available from KSE:

these ones are $7 US postpaid / $8 elsewhere postpaid




(NOTE: last remaining copies on 258 and 259)


these ones are $6 US postpaid / $7 elsewhere postpaid

KSE #273  (poetry chapbook), BILL SHUTE, “Someplace on Anywhere Road” (Sound Library Series, Volume 75)

KSE #263 (poetry chapbook), BILL SHUTE, “Worried Men and Wooden Soldiers”

KSE #256 (poetry chapbook), BILL SHUTE, “Led Along” (Sound Library Series, Volume 73)

KSE #269 (poetry chapbook), BILL SHUTE, “That Eccentric Rag” (sound library series, volume 74)

KSE #261 (art-and-poetry chapbook), DANIEL HIPOLITO & BILL SHUTE, “Meditations on a One-Way Trail”


ps, please include a note w/ your paypal order listing the items ordered and your mailing address…


 As always, thanks for your support of independent DIY arts organizations such as KSE…direct from person-to-person, no middleman (or woman)…

March 24, 2014


“There was violence in Lou Reed’s music that made the tender moments ring true, just as there was tenderness that made the violence all the more stunning.” — Matt Krefting

“Lou Reed was simultaneously way too smart for rock n’ roll and dumb enough to believe in its redemptive power.”–Brad Kohler

$7 postpaid in US / $8 postpaid elsewhere………..payment via paypal to   DJANGO5722(at)YAHOO(dot)COM


now available…KSE #272 (poetry chapbook)…POLYMORPHOUS URBAN: POEMS FOR LOU REED.

LUIS CUAUHTEMOC BERRIOZABAL…JIM D. DEUCHARS….MICHAEL LAYNE HEATH….                                                                                                                                                    A.J. KAUFMANN….MATT KREFTING

Lou Reed. He was still alienating people in the last months of his life. People were walking out on his (brilliant) Metal Machine Trio shows because there were no “songs.” And do we even need to mention the polarizing LULU album or his head-scratching praise of Kanye West’s YEEZUS. In the local newspaper here, on the event of his passing, the musicians who’d opened for him or fans who’d tried to talk with him described with pride his telling them to “f*ck off,” with the same doe-eyed love in their tone as if they were a elderly lady who’d once been given a scarf by Elvis at a 1972 concert in Murfreesboro.

Reed’s work was life-changing for many listeners, no matter when they got onboard the train. I was too young to have heard or heard of the Velvets during their active years. I picked up 1969 LIVE while in high school and immediately had the sense that THIS IS HOW ROCK N ROLL OUGHT TO BE PLAYED. I then went back and found WHITE LIGHT WHITE HEAT, and as I’d already heard Anthony Braxton and Albert Ayler, when I heard Lou’s guitar solo on “I Heard Her Call My Name,” it all came together…and at the same time it all came apart. And I’ve never been the same…

I’m  old enough to remember reading Lester Bangs’s articles on Lou back while they were being published in CREEM, and like many teenagers, I got caught up in that long-running feud–whatever the reality behind it, it helped Lester’s visibility, it helped Lou’s visibility, and it sold copies of CREEM. I stayed with Lou over the years, and to his credit, he continued taking chances until the end. Lou Reed albums were not run past a focus group before release. They were not test-marketed. I think that one thing we all admired about him even when we did not like or enjoy particular albums was that he truly did not care at all what anyone thought of his work. All of us who labor in obscurity doing work that’s outside the norm, and also outside the alternative norm, can point to Lou as a man who never did what was expected and who liberated us from the model of allowing gatekeepers (or “underground” gatekeepers) to affect our work.

Reed opened doors…not out of politeness toward those following him, but because the door was in the way so he kicked it down without a thought. He needed room to breathe…down came the wall, in came the light…

As KSE is a press-label with a commitment to both cutting-edge contemporary poetry and contemporary music, the core of us here starting talking about what to do to celebrate Lou Reed’s life and work before the sun set on the day he died. Jim Deuchars suggested a poetry chapbook, and within a day I’d invited A. J. Kaufmann and Matt Krefting and Michael Layne Heath (all both musicians and poets…hmmm, do I sense a pattern here?) to come up with work that somehow was inspired by Lou Reed. The next day, my friend and longtime KSE poet Luis Cuauhtemoc Berriozabal sent me a poem he’d written about Lou in the past and thought I’d appreciate in the time of Lou’s passing. I knew that beautiful poem had to open any KSE collection….I asked Fossils co-conspirator David Payne, whose watercolor artwork I’ve long admired, to create new Reed-inspired work to grace the cover.

We’ve assembled our KSE poetry A-Team for this one…brand-new, white-hot poems inspired by Lou Reed from


JIM D. DEUCHARS  (Pittsburgh)


A. J. KAUFMANN (Poznan, Poland)

and MATT KREFTING (Western Massachusetts).

With cover art by DAVID PAYNE (Hamilton, Ontario). Edited and compiled by yours truly, Bill Shute


As with Lou Reed’s work, the experimental and the lyrical are intertwined here in these poems, the abrasive and the tender…

Limited hand-assembled edition of 125 copies, and more than half are already gone SO ACT NOW…


now available…KSE #272 (poetry chapbook)…POLYMORPHOUS URBAN: POEMS FOR LOU REED.

LUIS CUAUHTEMOC BERRIOZABAL…JIM D. DEUCHARS….MICHAEL LAYNE HEATH….                                                                                                                                                                          A.J. KAUFMANN….MATT KREFTING

$7 postpaid in US / $8 postpaid elsewhere………..payment via paypal to   DJANGO5722(at)YAHOO(dot)COM


January 26, 2014

now available from VCI: THE JERRY WARREN COLLECTION, Volumes 1 & 2


Among the most exciting and anxiously awaited cult-film releases of the year, VCI Entertainment and Kit Parker films have brought us TWO volumes of JERRY WARREN films as part of VCI/Parker’s POSITIVELY NO REFUNDS series, previous entries of which have included WHITE GORILLA (which resembles a Jerry Warren film in some ways) and CUBAN REBEL GIRLS.



jerry warren one



jerry warren two

SIX of Jerry Warren’s mind-bending features in the finest picture quality we’re ever likely to see, at a cost of about $5 per film. If you are not familiar with the body of Warren’s work, here’s a quick filmography…

the films of Jerry Warren:

MAN BEAST (1956–original film)


TEENAGE ZOMBIES (1959–original film)

INVASION OF THE ANIMAL PEOPLE (1959–patchwork film)

TERROR OF THE BLOODHUNTERS (1962–original film)

ATTACK OF THE MAYAN MUMMY (1963–patchwork film)

A BULLET FOR BILLY THE KID (1963–patchwork film–this feature is presently considered LOST although the Mexican source film survives and can be seen online)

FACE OF THE SCREAMING WEREWOLF (1964–patchwork film–this not only cannibalizes footage from two Mexican features, but it also borrows original Warren footage from ATTACK OF THE MAYAN MUMMY–in fact, it features only a few minutes of “new” material, yet it’s in many people’s view Warren’s most fascinating film)

CURSE OF THE STONE HAND (1964–patchwork film)

CREATURE OF THE WALKING DEAD (1965–patchwork film)

HOUSE OF THE BLACK DEATH (circa 1965–this was an unfinished film directed by Harold Daniels to which Jerry Warren added new scenes with his “stock company” players such as Katherine Victor,  so in a sense it belongs in the “patchwork” category)

THE WILD WORLD OF BATWOMAN (1966–original film)

FRANKENSTEIN ISLAND (1981–original film)

Warren’s films fall into two basic categories: those which were original creations  (using only occasional stock footage for scenes too expensive to shoot, which is standard operating procedure in any low-budget film); and the patchwork films, where the majority of the feature consists of footage from foreign films (Swedish, Chilean, or usually Mexican) which Warren “recontextualizes” though voice-over narration and through his American-shot scenes which impose a new “plot” onto the assemblage of foreign and Warren-shot footage. In these curious hybrids, Warren was following in the shoes of the makers of WHITE GORILLA (where newly shot scenes with Ray “Crash” Corrigan and a handful of others show the new actors “reacting” to scenes from a silent jungle feature) and, what probably gave Warren the idea for this method, the American release of Godzilla, where Raymond Burr and various Asian-American actors are cut into an edited version of the Japanese original Godzilla film. The American release of Godzilla was cleverly done, and if one did not know that there was a different Japanese original, one might believe that Burr was part of the original production. I believe that the example of Godzilla gave Jerry Warren the idea he could do the same with foreign films he could acquire inexpensively and put his personal stamp on, without having to go through the hard work of creating his own feature film from scratch, as he did with this first three features.

MAN BEAST, his first feature, an Abominable Snowman film, was somewhat ambitious for a low-budget independent 50’s monster film. While a number of rungs below a Universal 50’s monster film, or even an American International one,  it was an entertaining film. Warren’s next project, THE INCREDIBLE PETRIFIED WORLD, was an even more ambitious project, including underwater photography and name stars such as Robert Clarke, Phyllis Coates, and John Carradine–though it can be faulted in a number of ways when compared to higher-budgeted “monster” films of the period, it too was competent on a drive-in/z-grade level and showed Warren as someone who enjoyed playing with complex scientific ideas on a pulp level. Warren’s next film, however, TEENAGE ZOMBIES, though 100% his own creation, was a sloppily made film with lots of static master shots, but it has a zany over-the-top feel to it, it has that unique 50’s rock-and-roll teen feel that one loves so much about AIP films of the period, and it introduced some of the members of Warren’s stock company of actors,  including Katherine Victor and Chuck Niles. TEENAGE ZOMBIES, as Fred Olen Ray perceptively observed in his book THE NEW POVERTY ROW, showed that Jerry Warren was wanting to cut corners yet still “create” feature films.

With his fourth feature, INVASION OF THE ANIMAL PEOPLE, Warren purchased the North American rights to a Swedish sci-fi film, TERROR IN THE MIDNIGHT SUN, shot in English with American stars Barbara Wilson and Robert Burton, and directed by the American Virgil Vogel (of THE MOLE PEOPLE fame), but rather than release it as is (and it would have played just fine here in North America, as it was shot in English, had impressive Northern Swedish locations, and was fast-moving), Warren took about 60 % of the Swedish film (the most impressive looking parts of it) and with newly shot US footage, some of which included actress Barbara Wilson, who’d been in the original film, Warren grafted a new plot onto the hybrid creation and included long passages of John Carradine making vaguely scientific speeches and providing narration to “explain” the proceedings. The result was an odd creation, and although only about half of Jerry Warren’s films fall into the “patchwork” category, those were the films that, for better or worse, have come to be associated with his name.

When I first saw Warren’s films on television back in the late 60’s and early 70’s, I was fascinated by them. As most of them used a similar font on the opening credits, it was easy to spot a Warren film even before the directorial credit came up. Believe it or not, at one time Warren was second only to K. Gordon Murray as an importer and exhibitor of English-language versions of Mexican horror films. However, unlike Murray, who had a staff of Spanish-speaking workers at his Soundlab studio in Coral Gables, Florida, and who worked hard to create relatively faithful dubbed versions of the Mexican originals (yes, the dubbing is cartoonish, but that was certainly intended) and who showed a lot of respect for the original films, Jerry Warren picked sections out of the Mexican films the way a finicky eater might pick the meat out of a stew, while leaving the vegetables. And, what’s even more odd, he rarely dubbed the Spanish language scenes–instead, he had voice-over English narration explaining what was happening in those scenes, as they had been recontextualized into his new plot (so he was not at all telling us what was happening in the original, in most cases).

For the rest of his career, Warren alternated between original productions and the patchwork films, leading up to the outrageous WILD WORLD OF BATWOMAN in 1966, which has been widely viewed and enjoyed. That film generated a lawsuit from DC Comics, and whether the sting of the lawsuit or just changes in the marketplace motivated him, Warren did not release another film for 15 years, until FRANKENSTEIN ISLAND in 1981, a color film with an excellent cast (old favorites such as Katherine Victor, John Carradine, and Robert Clarke, joined by Cameron Mitchell and Andrew Duggan), and a film that re-visited a number of earlier motifs and plot elements–in some ways a remake of TEENAGE ZOMBIES.

Warren passed away in 1988, but fortunately the indefatigable Tom Weaver tracked him down for an interview prior to his passing, and that interview showed a complex man–has any independent filmmaker ever written off his own work in the manner Warren did? Yet at the same time, he was trying to impress his interviewer by making claims that were not true (such as his working with Lon Chaney Jr. on FACE OF THE SCREAMING WEREWOLF…all of Chaney’s scenes in that were taken from the Mexican source film, LA CASA DEL TERROR).

Say what you will, Warren’s films are instantly recognizable, they have fascinated cult-film fans for decades, the man had a unique METHOD of making films (or cobbling them together, if you will), and films such as Warren’s could only have been created during the 1950’s/1960’s period when drive-ins were still hungry for B&W indie horror films and television horror packages welcomed the kind of product Warren created. Continuity inconsistency and confusing plots did not matter much when the films would be watched ONCE and not rewound on VHS or freeze-framed on DVD—what mattered was a good title and a haunting  (or at least odd and off-putting) atmosphere, and Warren delivered both of those.  When he said in the Weaver interview that you didn’t need to make it “good,” you just needed to make it “weird,”  he was truly showing his hand. He did not have the opportunity to make higher-budgeted films and he did not make the effort to create better-crafted films (in the traditional sense), but what he did create is a body of work that’s unique and strange and puts one in what’s almost an altered state of consciousness. With this new two-volume set from VCI and Kit Parker Films, a good number of Warren films can now be seen in the best quality they are ever likely to be seen in and Warren can now be appreciated alongside other independent filmmakers such as Andy Milligan, Phil Tucker, Al Adamson, Coleman Francis, Ray Dennis Steckler, and Larry Buchanan as part of the Golden Age of z-grade independent auteurs whose works came out of left-field and provided viewers of the period with a cheap (and/or confusing!) thrill. Like a garage-band rocknroll record or a paperback original crime novel, the films of Jerry Warren are fascinating artifacts of an age long gone, and they show evidence of an inquiring mind and of considerable risk-taking as an artist—-can anyone deny that FACE OF THE SCREAMING WEREWOLF is a truly avant-garde creation? Whatever Warren’s intentions (and they may well have been that ‘confusing equals mysterious”), the world would have been a less interesting place had he NOT made these curious and still-enjoyable films. And with that in mind, as readers of this blog know by now, I am co-writing a book on the films of Jerry Warren, we have an interested publisher, and my co-author Rob Craig and I hope to have the book finished by early 2015. I hope you’ll look for it in a year or two…

jerry warren creature

Now, what’s on these new JERRY WARREN COLLECTION dvd’s from VCI/Kit Parker Films?

First of all, the quality of the transfers on these is superb. Of course, these were VERY low budget films and in the patchwork films little effort was put into the shooting of the “new” footage, but the films look as good, if not better, than the first day they played theatrically, and they look fine on large-screen televisions. Warren’s films have never been regularly available since the dawn of the VHS age…CREATURE OF THE WALKING DEAD was available on a slow-speed Goodtimes VHS back in the day, ATTACK OF THE MAYAN MUMMY and MAN BEAST and WILD WORLD OF BATWOMAN were available on Rhino VHS and then DVD, but those were adequate at best. I don’t believe CURSE OF THE STONE HAND has EVER had a legitimate release, and most of the grey market copies floating around are taken from murky dupe 16mm prints. STONE HAND literally looks like a different film here. The Chilean film from which the first half of STONE HAND was adapted had top-notch production design (for a low budget film), and one can savor that in this new restoration. You can throw out any previous editions of the film. The 1950’s and early 1960’s were a Golden Age of horror filmmaking in Mexico, and the men and women making these films clearly studied the 1940’s Universal horror films closely while adding their own unique Mexican gothic touch. Jerry Warren knew the quality of the visuals in these source films (no matter what he might have said in his interview with Tom Weaver), and he knew that a few impressive scenes can “make” a horror film—-maybe not make it a classic, but make it something the undiscriminating viewer and/or the horror film addict will feel positively about. All the crispness and richness of the Mexican films comes through clearly in these DVD’s.

VOLUME ONE contains MAN BEAST, Warren’s first feature, built around stock footage of the Himalayas he’d acquired, a solid third-tier 50’s sci-fi/monster film which shows that Warren could make a standard genre film, and it did quite well at the box office, no doubt inspiring Warren to continue in the business, for which we all should be grateful. The Himalayan footage and the location shooting at Lone Pine look impressive in this remastered version—throw out the old Rhino VHS. Also, as an extra, Kit Parker includes from his archives about 8 minutes of footage that was included in a dubbed Spanish version of the film that played in Latin America but was not included in the American release footage.

Next in this set is the patchwork film CURSE OF THE STONE HAND, which combines footage from two Chilean (I believe) features from the 1940’s (yes, the source films were ALMOST TWENTY YEARS OLD when Warren released his film). This is NOT typical of Warren’s method in the patchwork films, and because of that, it might be a good starting point for an investigation of Warren’s work. He essentially cuts down the source films to about 30 minutes each, shoots some framing footage about a cursed estate that is related to the characters in each of the stories/source films, so it plays somewhat like an anthology film and is far less fragmented and surreal than most of Warren’s patchwork films. CURSE looks about 2000% better than any version I’ve seen before. All previous versions, probably taken from 16mm dupes, were dark and murky. I was not looking forward to “analyzing” this film in our Jerry Warren book because it was so hard to see in detail what was happening, but now the film is crystal clear–and the two Chilean films are well-mounted and quite attractive with period settings. Warren has tacked an outrageous ending onto the two edited features to “tie things up,” the kind of ending you could only get away with back in the pre-VHS/DVD days when people could just watch a film ONCE and not go back and re-view scenes. The outrageous out-of-the-blue ending happens, you scream “what!?” and then the film is over. You can find a detailed discussion of this film at the Braineater website.


Closing volume one is Warren’s 1966 THE WILD WORLD OF BATWOMAN. This film is often attacked and was the subject of an MST3K episode, and in the interview re-enactment included with the disc, star Katherine Victor seems embarrassed by the project (she was promised it would be in color and have a significant budget—it wasn’t and didn’t), but any lover of over-the-top screwloose cult films can’t help but love the film. It’s closest in spirit to a Ray Dennis Steckler film—-one might say that this film is to Columbia late 1940’s Sam Katzman movie  serials what Steckler’s LEMON GROVE KIDS was to the Bowery Boys. Warren does borrow a little footage from the Swedish drama NO TIME TO KILL, with John Ireland (an English language film that he distributed in the US), but otherwise, it’s a 100% original creation. If you can imagine a SUPER cheap, b&w, “outsider” attempt to cash in on the Batman TV series with its cartoonish pop-art ambiance, and you realize that the film was MEANT as a comedy, you should find it very entertaining. After a lawsuit, Warren changed the title to SHE WAS A HIPPY VAMPIRE, and this package contains trailers for both versions.

VOLUME ONE of the Jerry Warren Collection contains a diverse sampling of Warren’s work and is a good introduction to this much-maligned but fascinating cult film-maker. You get his first film, you get the most coherent of the patchwork films, and you get Batwoman—-all in sharp, clear transfers and with trailers. It’s an essential purchase.

Then we move into VOLUME TWO of the Jerry Warren Collection, and this one digs a little deeper and is definitely the stranger of the two sets, with THREE patchwork films from the 1960’s, once Warren had this cut-and-paste technique down to a science. He had a definite method to his madness, and that’s something we’ll be going into in detail in our Jerry Warren book. The technique might have grown out of finding the cheapest possible method of cobbling together a feature film with the least effort—-but it was a technique he turned to again and again, and now that the principals involved with the films are largely gone, all we have are the works themselves. And for the hardened cult/outsider film devotee, something like ATTACK OF THE MAYAN MUMMY, the first film on this set, is truly jaw-dropping—-if you like the films of Al Adamson, or Creation of the Humanoids, or the films of Andy Milligan or the films of Godfrey Ho, you will howl with joy when you see ATTACK OF THE MAYAN MUMMY, which is perhaps the one Warren film I would screen to an audience of cult film devotees. Warren takes footage from the Mexican horror classic LA MOMIA AZTECA (and now that the three original Aztec Mummy films from Mexico are available on DVD for study and enjoyment, you can see how Warren appropriated and recontextualized the footage–we’ll be getting into that in the book) and inserts it into a tale of a scientific researcher and science journalist who is burned out and looking to tell his story of the scandal at “Cowan Research” (an outfit also used in Warren’s next film, FACE OF THE SCREAMING WEREWOLF) to newspaper editor Bruno VeSota. This frame story allows a series of flashbacks to tell the convoluted story of past-life regressions and mysterious goings-on in the Yucatan. There are a number of impressive visuals of Aztec rituals (for some reason Warren changed that to Mayan, though that really did not matter with his target audience) and Yucatan pyramids. Seeing this film on television as a child, I was quite impressed with its eerie feel, and the “mystery” elements of the US footage seemed mysterious (or more likely, confusing, which equaled mysterious to a child, and to most of Warren’s target audience)—the film plays fast and loose with traditional concepts of continuity, but that just adds to its weirdness appeal. And once again, there is an ending out of left field that’s totally a cheat and somewhat nihilistic, but the film is so elliptical and so unlike a traditional narrative that one would not expect any kind of well-developed and properly-seeded payoff at the end. ATTACK OF THE MAYAN MUMMY should be high on cult-film lovers’ lists of favorites. If you are the kind of person who has watched MONSTER A GO GO more than a few times, you will be glad to make the film’s acquaintance…and it looks SO MUCH better than the previous Rhino issue.

Next in this set is CREATURE OF THE WALKING DEAD, which takes an atmospheric Mexican horror film called LA MARCA DEL MUERTO (which you can watch online…just google for it) and adds Jerry Warren-shot scenes which attach themselves to the original film the way a tapeworm attaches itself to a dog. Because Warren rarely dubs the Spanish originals (he prefers to have his American actors NARRATE what’s going on in his re-contextualized usage of the footage), there are long periods in this film without dialogue, and with the deep, shadow-filled, gothic feel of the source film, along with the grandiose and repetitive musical score, CREATURE truly creates an eerie feel in many scenes. I would imagine that if one had seen this at a drive-in in 1965, it would make a serious impression. This got wide distribution in the VHS era on a slow-speed Goodtimes Video release, but once again, the film is much brighter and clearer here, which really helps with a film that has so much atmosphere. One can’t really praise Warren’s new footage in this one—it has the infamous eight-minute “massage” scene with Bruno VeSota—-but the cheap, cinema-verite feel of Warren’s static talky exposition scenes create an almost documentary feel in texture, which doesn’t really sync with the long soliloquies the actors are reading in a single take. It’s that unique feel that makes a Jerry Warren film INSTANTLY recognizable. With so much CGI and so many interchangeable films playing at today’s multi-plexes, Warren’s z-grade cinema is a refreshing change of pace that cuts through all traditional “standards” of film-making the way an off-key 60’s garage-band 45 cuts through all standard of professionalism, yet retains an odd sense of “outsider” appeal and uniqueness. Warren’s films were odd when they were released, and time has only heightened their uniqueness…the world in which (and for which) they were created is long gone. CREATURE may seem slow-moving to some, but it’s a film about atmosphere, and when you slow down to its funereal pace, it can be quite entertaining.

Sabrina (Norma Sykes)

The final film on this set is not really a Jerry Warren film….it’s a z-grade horror/witchcraft film directed by Harold Daniels (of My World Dies  Screaming, Port Sinister, and Roadblock fame) that starred Lon Chaney Jr. and John Carradine and Tom Drake and Sabrina (of Satan In High Heels and The Phantom Gunslinger) called HOUSE OF THE BLACK DEATH. Evidently the film was not finished, or not finished in a way acceptable to the producers/ investors, and Jerry Warren (known for being able to cobble together a feature film in an inexpensive manner) was called in to shoot some new scenes with members of his stock company such as Katherine Victor and create something that could be released on TV and on the lower-rungs of multi-film horror packages at drive-ins  (I remember it playing in the Denver area as BLOOD OF THE MAN DEVIL on a four-film BLOOD package, and in his book THE NEW POVERTY ROW, Fred Olen Ray remembers seeing it as part of a FIVE-film “Blood” package at a Florida drive-in). With Warren’s signature opening credits and library music, and with the opening narration (which is in rhyming verse and in the persona of Satan!)  done by Warren regular George Mitchell (over footage shot by Daniels of close-ups of Chaney, Carradine, Drake, and Sabrina), Warren’s stamp is on the project from the first frame. However, only about 15 minutes of the film are from Warren—-mostly, two long scenes of a Satanic Ritual featuring Katherine Victor and George Mitchell and a few young ladies who are pledging allegiance to the devil, accompanied by Orgy of the Dead-style dancing. One such sequence runs until about nine minutes into the film, and then another runs from 46:39 through 52:15. Two aspects of these scenes are especially of interest: one, the “vow” is quite reminiscent of the pledge to Batwoman at the beginning of WILD WORLD OF BATWOMAN; and two, the scenes were clearly shot with two cameras and have a much more dynamic look than Warren’s static expository dialogue footage in the filler sequences in his own films.


HOUSE OF THE BLACK DEATH is actually a quite engaging, genuinely eerie feature. Except for Warren’s sequences, it doesn’t really play like a Warren film. The quality of the acting is above average, with former MGM star Tom Drake giving the role his best effort and attempting to make the character (the semi-normal member of the Desard family) three-dimensional, something we don’t usually expect or get in such a low-budget genre film, and Lon Chaney Jr. and John Carradine do what they did best at this point in their careers, providing the needed horror-film star power, here playing battling warlocks who are both patriarchs of the Desard family. Both Chaney and Carradine always raised the quality of whatever they were in, and they do that here. Some reviews of this have mentioned the films lack of continuity, but compared to Warren’s usual patchwork films, it’s a somewhat linear narrative. I first saw this on local TV in Denver in the early 70’s, and I found it to be quite atmospheric and effective. Clearly shot on a few cheap sets, any film that begins with a close-up of Lon Chaney Jr. staring into the camera while being lectured by Satan is off to a good start, and as with Monogram horror films of the 40’s (some of which John Carradine himself was in), the low budget helps to create a barren mood that works to the film’s advantage. With the faux-Satanic vibe, the B&W photography, the fog, the occult rituals, and the presence of Chaney and Carradine, HOUSE OF THE BLACK DEATH should appeal to fans of the z-grade horror and of Lon and John. I don’t know how much editing Jerry Warren did of the footage shot by Harold Daniels, or how much if any Warren put the film into its present order/structure, but Warren doesn’t seem to get in the way of the core story. His original characters, played by Victor and Mitchell and the young ladies, basically comment on the action as members of the same coven—-they are “outside the action,” commenting on how they are related TO the action. This is not just an entertaining horror film; it also shows us some insight into Warren’s method, and as such, it fits well on this set…and if nothing else, Kit Parker’s transfer of this film, which has ALWAYS been murky in the past, will have you throwing away your old copies. Of course, we don’t know how much Warren re-ordered or edited the Daniels-shot footage, or how much if anything from the original footage he did not use. Also, one perceptive online commentator mentioned that the initial shots of the four major characters staring into the camera were possibly test shots or for costume purposes and not intended to be in the actual film. As Warren is a master of putting commentary on top of footage meant for other purposes, perhaps that’s what he’s done here.  I hope someone is able to find a shooting script for the original film, so we can discover what Warren’s role was beyond shooting new footage. He must have done SOMETHING with the original footage, since his new scenes could be discarded and the film would still hold together, somewhat (another possibility is that the film simply was not long enough and that Warren shot footage to extend it, the way B-movie makers would extend their 59 minute features to 75 minutes for TV syndication packages, usually with talky, static, and unnecessary footage that ruins the flow of the films). In any event, though Warren himself did not work with either Carradine or Chaney on this project, if the thought of a film with those two actors AND Jerry Warren involvement gets you as excited as it does me, you’ll want to check out HOUSE OF THE BLACK DEATH.

mayan mummy poster

While Jerry Warren claimed that he never aspired to create something worthwhile, merely something adequate for the lower rungs of the genre-film marketplace, when we are confronted with the actual films, and when we ignore the usual condescending “bad film” mindset that some bring to films of this style, we find that they are curious and unique creations. Warren’s monologues put into the mouths of his characters often dance around a number of deep topics, enough to make us wonder what issues interested Warren the man. What kind of books did he read? What was his personal philosophy of the cosmos or of government? Also, as we get further away from the decades that produced these films,  it is hard to not admit that Warren’s film grammar has a curiously post-modern flavor. Whether or not Warren had read about the aesthetic theory behind the concept of BRICOLAGE,  or whether or not he’d seen the films of Jean-Luc Godard or Alain Resnais  (and my guess is that he had not read or seen them), Warren’s works feature the ruptured narratives, overlapping and contradicting points of view, incorporation of found elements, and incorporation of randomness and chance into the finished work that we associate with post-modern works. Warren’s intentionality should not matter in our evaluation of the work. Once the work enters the marketplace, it no longer belongs to the man who created it (or threw it together, if you prefer). A lot of the eerieness and mystery that radiates from a Warren film is due to illogical/a-logical construction and the manipulation of images….also, Warren certainly knew what buzzwords to drop in his advertising. And he knew how a good title can condition us to view a work in a particular way. On the low level of poverty-row genre film where Jerry Warren worked, the standards might not have been high, compared to mainstream Hollywood efforts, but one was also allowed a lot of freedom, as long as your film had an exploitative title, a hysterical poster and ad campaign, and a name like John Carradine. No exhibitor really cared what the product was like, once you got the customers in the door…or through the drive-in gate. This gave an outsider film-maker such as Jerry Warren (or Andy Milligan or Godfrey Ho or Phil Tucker or Ed Wood or Doris Wishman) a lot of creative freedom, and love him or hate him, you must admit that JERRY WARREN TOOK ADVANTAGE OF THAT. How else to explain the chutzpah of someone getting a totally strange and avant-garde creation as FACE OF THE SCREAMING WEREWOLF in front of paying audiences.

It’s about time Jerry Warren receives the attention his unique work is due. We intend to illuminate the Warren method and Warren’s body of work in our book on THE FILMS OF JERRY WARREN, which we hope to have available in 2015. Until then, why not get these excellent collections from VCI and get to know these odd and fascinating works. You’ve got a good and representative chunk of Warren’s body of work right here. If you like these, you can find TEENAGE ZOMBIES, FRANKENSTEIN ISLAND, FACE OF THE SCREAMING WEREWOLF, and the others online or on DVD. And who knows, maybe some company like Vinegar Syndrome (if they can discover Albert Zugsmith’s THE PHANTOM GUNSLINGER, which was thought lost until recently) can dig up a copy of BULLET FOR BILLY THE KID…

These two sets are MUST purchases for the cult-film fan and will surely rate among the most important releases of the year to those who enjoy the work of outsider film auteurs such as Andy Milligan, Godfrey Ho, or Ray Dennis Steckler. Let 2014 and 2015 be the years of Jerry Warren! Kit Parker has done the same great job with the Warren library as he’s done with the Lippert films catalogue (check out the various HAMMER NOIR volumes) and the Weiss Global archives. Now that the films are out there in excellent shape and at an attractive price, let the Jerry Warren Revival begin…

stone handWhy not order BOTH volumes of the Jerry Warren Collection from VCI right now!

You can find volume 1 here…                                                                               ….then just search within VCI’s online store for Volume 2…

January 3, 2014

last call for KSE 2013 releases…very few remaining on most…

KSE has a strong release schedule of both music and poetry lined up for 2014 beginning in February with our EGG, EGGS album, but until then, we still have some great 2013 items available in limited quantity–no wholesale on any of these. About a dozen other 2013 releases are sold out and/or have been deleted from the catalog in the last week (Forbes Graham, Unmoor, Bill Shute & Marcus Rubio, Venison Whirled, etc.). Here’s what you can still get if you act fast:



full-sized CDR’s ($8.00 each, ppd. in US—outside US $11 )


tom creandjin pcw everafter r6fossilsA23H  4ERNESTO LIVE ALBUM .    .

KSE #240 (CDR) SPRILLS OF ORE (Eva Kelly), “Time Mirrors”











KSE #260 (CDR) TOM CREAN, “Wired Love” (solo guitar and banjo explorations)


KSE #257 (CDR),  ALFRED 23 HARTH, “Micro-Saxo-Phone, Edition  IV.”

KSE #254 (cdr), DJIN AQUARIAN/SIR PLASTIC CRIMEWAVE & THE EVERAFTER, Live in San Francisco 10/2011

KSE #239, (CDR) FOSSILS, “Bells and Gulls” 


SPECIAL EDITION POETRY CHAPBOOKS from Lambkin and Krefting ($7 each US postpaid…or $8 each postpaid outside US)—VERY LIMITED STOCK ON THESE TWO


graham cover


dusk with carol

OTHER poetry chapbooks ($6 each, ppd. in the US, $7 elsewhere…):

KSE #265 (art-and-poetry chapbook), BILL SHUTE, ‘The Language of Construction”

KSE #263 (poetry chapbook), BILL SHUTE, “Worried Men and Wooden Soldiers”

KSE #250 (poetry chapbook), DOUG DRAIME, “Dusk With Carol” (cover art by Wyatt Doyle)

KSE #249 (poetry chapbook) A. J. KAUFMANN, “Hosannah Honeypots” (Sound Library Series, Volume 72)

KSE #236 (poetry chapbook)  JIM  D.  DEUCHARS, “Thelonious Fakebook”  (Sound Library Series, Volume 71)

KSE #261 (art-and-poetry chapbook), DANIEL HIPOLITO & BILL SHUTE, “Meditations on a One-Way Trail”

KSE #249 (poetry chapbook), A.J. KAUFMANN, “Hosannah Honeypots” (Sound Library Series, Volume 72)


KSE #256 (poetry chapbook), BILL SHUTE, “Led Along”



payment via paypal to    django5722(at)yahoo(dot)com

led along

Questions? Write to  django5722 (at) yahoo (dot) com   . Thanks for your support!

December 8, 2013

Bill Shute/KSE Top 27 Albums of 2013 (in no particular order)

Once again, although it’s been a horrible year in many ways and a mediocre year in many other ways, it’s been a GREAT year for the arts, both in new work in a variety of disciplines and in archival reissues/rediscoveries of earlier work, much of it unappreciated or even unreleased in its day. As far as new creations from 2013, it will take future archivists 100 years to catalog what’s been done this year…and with all the micro-editions and unique art-editions and the proliferation of formats for artworks of all kinds and the ephemeral creations such as installations, the depth and breadth of what’s been created in 2013 is stunning…and the archival presentations of past works have never been more thoughtfully and beautifully presented. There has been a lot to discover and to appreciate this year.

Of the hundreds upon hundreds of new cd/cassette/cdr/vinyl releases I’ve enjoyed in 2013, here are the 27 that I would most recommend…ranging from 20’s jazz to 20th century composers to 60’s garage bands to free-improv/free-jazz to a solo album by an ex-Ellingtonian to Jandek’s 9-cd set of solo piano to a 4-cd box of “old-time” music from late 1920’s Tennessee to cassettes from contemporary noise/drone/improv masters to Los Angeles R&B of the late 40’s to a Henry Mancini soundtrack and much much more…thanks to all the artists and labels listed below for making this such a great year.

THESE ARE NOT IN ANY ORDER…they are all FIRST in my book…

1. KEITH ROWE/GRAHAM LAMBKIN, “Making A” (Erstwhile, cd, US)


2. various artists, “Oklahoma Rocks, Volume 14: The ‘Ruff’ Label” (no label, cdr, US)

ruff records

3. various artists, “Beating The Petrillo Ban: The Late December 1947 ‘Modern’ Sessions” (ACE, 2-cd set, UK)


4. ANGELICA SANCHEZ/WADADA LEO SMITH, “Twine Forest” (Clean Feed, cd, Portugal)


5. various artists, “Book A Trip 2: More Psych-pop Sounds of Capitol Records” (Now Sounds, cd, UK)

book a trip 2

6. JEF GILSON, “Archives” (Jazzman, cd, UK)


7. ALFRED 23 HARTH, “As Yves Drew A Line. Estate.” (Re-Records, cd, Hong Kong)

a23h a

8. various artists, “The Johnson City Sessions, 1928-1929” (Bear Family, 4-cd box, Germany)


9. WALT DICKERSON QUARTET, “The Complete New Jazz Recordings” (Solar, 2-cd, EU)


10. SMOKEY EMERY, “Quartz” (Indian Queen, vinyl EP, US)


11. BARRY ALTSCHUL, “The 3Dom Factor” (Tum, cd, Finland)


12. JIMMY LYTELL, “The Complete Pathe Recordings, 1926-1928” (Jazz Oracle, CD, Canada)


13. DEREK ROGERS, “Don’t Stop Bereaving” (Bridgetown, cassette, US)

derek dont

14. SIMONE MANCUSO, “John Cage–Works For Percussion” (Stradivarius, CD, Italy)


15. JANDEK, “The Song of Morgan” (Corwood, 9-cd box, US)

song of morgan three

16. HENRY MANCINI, “Original Motion Picture Soundtrack, THE WHITE DAWN” (Intrada, CD, US)


17. BROTHER JOHN RYDGREN, “Silhouette Segments” (Omni, 2-cd, Australia)


18. various artists, “Long-Lost Honkers & Twangers” (Ace, CD, UK)


19. FOSSILS, “Brainville” (Banned Productions, cassette, Canada)

fossils tape

20. THE CHICO HAMILTON QUARTET featuring CHARLES LLOYD, “A Different Journey” (WEA International, CD, Japan)

Chico Hamilton - A Different Journey (Front)

21. ANTON HEYBOER, “Rules Of The Universe” (Kye, 2-LP set, US)


22. HAROLD ASHBY QUARTET, “Harold Ashby Quartet” (Progressive, cd, US)


23. VALES, “Boreal Head Trip” (Skell, cassette, US)


24. JANDEK, “Athens Saturday” (Corwood, 2-cd set, US)

JANDEK  athens saturday

25. BOB DYLAN, “Another Self-Portrait, 1969-1971: The Bootleg Series, Volume 10” (Colunbia, 2-cd set, US)


26. various artists (Huey Meaux productions), “South Texas Rhythm ‘n’ Soul Revue” (Ace, cd, UK)

south texas

27. GREG “STACKHOUSE” PREVOST, “Mississippi Murderer” (Mean Disposition, LP, Spain)

greg prevost

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