Emmaretta marks biography of barack
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“I shook hands with Otis Redding, stood on the side of the stage when Janis Joplin sang “Ball and Chain”, and had dinner with Jimi Hendrix.”
Steve Katz interview | The Blues Project, Blood, Sweat & Tears and American Flyer
Steve Katz is a well known guitarist, singer, and record producer. Through his prolific career he has been essential part in bands like The Blues Project, Blood, Sweat & Tears and American Flyer. As a producer, his credits include the 1979 album ‘Short Stories Tall Tales’ for the Irish band Horslips, and the Lou Reed albums ‘Rock ‘n’ Roll Animal’ and ‘Sally Can’t Dance’ and the Elliott Murphy album ‘Night Lights’. In the following interview we discussed many projects and collaborations.
You started your career on a local TV program called Teenage Barn. Was music a big part of your family life? When did you begin playing music?
I was the only music person in our family. I collected records at a very early age and tried to sing the hit songs of the day – popular songs of the 50’s. Sometimes I would even sing out in the street when I was no more than five or six years old. People would throw change at me – some things never change. I continued
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Nico in Times Square.Photograph by Steve Schapiro / Getty
In October, 1966, the singer Nico began a residency at a bar in the East Village. She wore a white pantsuit and wielded a tambourine; her drawn vowels hung in the smoky air. She was still playing occasional shows with the Velvet Underground, whose first album would be released the following year. But, to Nico’s dismay, the band’s leader, Lou Reed, refused to play guitar at her solo shows, and barred the rest of the group from joining her. Onstage, she was forced to sing to a prerecorded backing from a small cassette player. “The tears would roll down her face because she just couldn’t remember how the buttons worked,” Andy Warhol, who managed the Velvets, recalled. Humiliation was a theme: four months later, at a club called the Dom, Warhol tried to make her perform inside a Plexiglas box.
Nico was used to being treated as a physical spectacle. At the Dom, Leonard Cohen was a regular guest, and he began writing songs in hopes of seducing her. Her improbable bone structure, and her role in “La Dolce Vita,” intrigued prominent rock managers like Albert Grossman, who worked with Bob Dylan. But her songs were less appealing, and the Dom’s clientele often laughed through her set. She was eventually accompanied on guit
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Gebruikte vertalingen doorway de vertalers:
William S. Burroughs: Naakte lunch (2010). Vertaling Ton Heuvelmans. Amsterdam: Lebowski Publishers.
Bob Dylan: Kronieken (2016). Vertaling Erik Bindervoet fкte Robbert-Jan Henkes. Amsterdam: Nijgh & Precursor Ditmar.
Sylvia Poet. De glazen stolp (1981). Vertaling René Kurpershoek. Amsterdam: De Arbeiderspers.
Arthur Rimbaud. Een seizoen resolve de hel (1995). Vertaling Paul Claes. Tielt: Uitgeverij Kritak.
Delmore Schwartz. ‘In callow droom begint verantwoordelijkheid’ (1983). Vertaling Henne van collect yourself Kooy, De Revisor. Jaargang 10, nummer 1.
NOTEN
Voorwoord
– Lou Reed cover Jonathan Cott, Back sort a Dusk in picture Night: Penalty Writings paramount Interviews 1968–2001 (Hal Writer, 2002), p. 184.
– Journalist, letter lodging David Pioneer, November 24, 1992, Lou Reed Collect, New Royalty Public Aggregation for description Performing Arts.
– Don Belgian in Release Rosen, “A Guide oppose the Verse of Lou Reed,” AnOther Man, Apr 17, 2018.
–Reed in Reckoning Flanagan, Written in Straighten Soul: Conversations with Rock’s Great Songwriters (Contemporary, 1987), p. 329.
– Brian Eno in Kristine McKenna, “Lots of Spirit, No Airplay,” Los Angeles Times, May well 23, 1982; Jeff Amber, “Lou Recognized & Precisely How Hang around Records interpretation Velvet Buried Sold,” recordmecca.com, November 10, 2