#steve turner

[looseygoosey66]

[goodmotorfinger]

Steve Turner (Green River, Mudhoney) on his first impressions of Stone Gossard. From his book Mud Ride.

[fashionbooksmilano]

Jack Kerouac L'angelo caduto

Steve Turner

Fazi Editore, Roma 1997, 224 pagine, 19x21,5cm, ISBN 9788881170598

euro 22,00

email if you want to buy booksinprogressmilano@yahoo.it

Bella biografia (asciutta ma completa) che racconta Kerouac dagli inizi fino alla morte, molto ben scritto e con molte foto, consigliato agli appassionati e anche ai neofiti.

Steve Turner é uno scrittore e giornalista inglese, collabora con "Rolling Stone", "Mojo", "Q" e il "Times". Autore di diverse biografie tra cui "L'angelo caduto: vita di Jack Kerouac" (Fazi, 1997), "Paperback Beatles. Le storie, i personaggi, i segreti dietro tutte le canzoni dei Fab Four" (Olimpia, 2006) e "Johnny Cash. La vita, l'amore e la fede di una leggenda americana" (Feltrinelli, 2013).

18/11/23

[red-lilith]

[sounwise]

Paul’s Christmas gift to his fellow Beatles [in 1965] was an acetate disc of a radio-style show that he’d taped at home featuring music tracks by artists he thought they should take note of, linked by Paul speaking in the style of a New York DJ. “It was something crazy, something left-field just for the Beatles . . . that they could play late in the evening,” he later explained. “It was called Unforgettable and started with Nat King Cole’s ‘Unforgettable.’ It was like a magazine programme full of weird interviews, experimental music, tape loops and some tracks that I knew the others hadn’t heard.” He was clearly hinting at the direction the Beatles might go when they reconvened in the studio, offering the sort of rich palette from which they might choose. Besides “Unforgettable” and the experimental sounds there was “Down Home Girl” by the Rolling Stones, “Don’t Be Cruel” by Elvis, Martha and the Vandellas singing “Heat Wave,” the Beach Boys with “I Get Around,” and the Peter and Gordon LP track “Someone Ain’t Right.” Reflecting on the record selection a few months later George said, “It was a peculiar overall sound. John, Ringo and I played it and realized Paul was on to something new. Paul has done a lot in making us realize that there are a lot of electronic sounds to investigate. If we’re in the studio we don’t mentally think that this is the Beatles making a new hit LP or single. It’s just us, four blokes with some ideas, good and bad, to thrash out.”

[—from Beatles ’66: The Revolutionary Year, Steve Turner]

[heidismagblog]

[rodpower78]

Green River

[chansaw]

𝖎 𝖜𝖎𝖑𝖑 𝖕𝖗𝖔𝖙𝖊𝖈𝖙 𝖞𝖔𝖚

[jjmichie]

'I’m not an overly nostalgic person but I realized through my life I’m nostalgic for things I didn’t get to live through. When I was a teenager, I became obsessed with ‘60s garage punk and I was, like, “Why couldn’t I have been born fifteen years earlier?!"'

[kiki-de-la-petite-flaque]

I want to work in revelations, not just spin silly tales for money. I want to fish as deep down as possible into my own subconscious in the belief that once that far down, everyone will understand because they are the same that far down.

Jack Kerouac: Angelheaded Hipster (1996) by Steve Turner, p. 117

[looseygoosey66]

Green River babies 1985. Is Preppy Punk a genre? 🤔😏

[goodmotorfinger]

More interesting first impressions: Steve Turner (Green River, Mudhoney) meets Mike McCready, excerpt from Mud Ride.

(I'm really having way too much fun reading this book)

[johns-diqi]

“Two of us sounds like a song about their Liverpool teenage years together- burning matches, lifting latches and going home to play more music together. But the ‘two of us’ were not Paul and John but Paul and Linda.” -Steve Turner, A Hard Days Write

STEVE TURNER WHEN HE LIES ???

[red-lilith]

[sounwise]

After the Brian Matthew interview at the BBC [on May 2, 1966] Paul and John went to the nightclub Dolly’s at 57–58 Jermyn Street, accompanied by Neil Aspinall and Rolling Stones Keith Richards and Brian Jones. Already at the club was Bob Dylan, who’d arrived that afternoon from Copenhagen for a European tour that would start in Dublin on May 5. Later in the night all six men returned to Dylan’s suite at the Mayfair Hotel, where Paul and Dylan played pressings of their latest songs. The ace in Paul’s pack was “Tomorrow Never Knows,” proof, he thought, that the Beatles were at the experimental cutting edge of pop. Dylan didn’t show any emotion and then turned to him and said, “Oh, I get it. You don’t want to be cute anymore.” This was a typical Dylan put-down of the period, implying that “cute” was all the Beatles had ever been and suggesting that “Tomorrow Never Knows” was a mere exercise in confounding expectations rather than a substantial change in their art. One of the few people to observe the dynamic in the relationship between the two musicians was director D. A. Pennebaker, who was filming the tour in the same way he’d filmed Dylan’s last UK tour for the documentary Don’t Look Back. In Pennebaker’s view Dylan didn’t really connect with Paul. Even though the two of them were talking in the same room, Dylan’s thoughts were always elsewhere.

[—from Beatles ’66: The Revolutionary Year, Steve Turner]

Dylan on Paul McCartney [interviewed on April 23, 1966]. “Like, man, he’s a great actor, interested in everything. He writes most of the Beatles’ songs.”

[—from “Dylan – man in a mask,” Rosemary Garrette, Canberra Times (May 7, 1966)]

[spilladabalia]

Mudhoney Hate The Police