Steven Gene Wold (né Leach, 19 March 1951), California Birth Index, 1905-1995. Sacramento, CA, USA: State of California Department of Health Services, Center for Health Statistics, Ancestry.com. Retrieved August 4, 2019 commonly known as Seasick Steve, is an American blues musician.   He plays mostly personalized guitars and sings, usually about his early life doing casual work.   From the late 1960s, he worked as a musician and recording engineer in the US and Europe; he played bass in Shanti, was in a disco band called Crystal Grass as well as other bands. He also pursued other works, including producing an album for  Modest Mouse. He achieved his breakthrough, initially in the UK, at the end of 2006 when he appeared on Jools Holland's annual Hootenanny as Seasick Steve. He has since released a number of commercially successful albums, including I Started Out with Nothin and I Still Got Most of It Left, Man from Another Time, and Sonic Soul Surfer.

Life and career

The publicity about Wold at the time he first became successful in Britain, in the mid-2000s, suggested that he was then aged in his sixties, and emphasised his past as a hobo in Tennessee and Mississippi.  In a 2008 interview in Memphis, Wold was quoted as stating: "I came down here as a young feller looking for the blues, but I didn't find them...   Wasn't in Clarksdale but an hour before a big, old redneck policeman ran me right out of town again. That was how it was back then, and there were some places hereabouts you just didn't go if you were a hobo."  By his own account, he would travel long distances by hopping freight trains, looking for work as a farm laborer or in other seasonal jobs.Op de Beeck, p. 159 He claimed that he had worked at a carnival, as a cowboy and as a migrant worker.On the BBC Four documentary Seasick Steve: Bringing It All Back Home  In a 2007 interview, he said: "I rode them [freight trains] for 14 years off and on..", adding "I've been married to this one girl for 25 years, so I’m a little bit settled down now..." Mike Butler, "Seasick Steve 2007 Interview", Dyverse Music, 9 January 2010. Retrieved 19 August 2019

In 2016, an unauthorized biography by Matthew Wright presented evidence that parts of Wold's backstory may have been exaggerated. Matthew Wright, "Seasick Steve – A Myth Unravels", The Arts Desk, 7 June 2016. Retrieved 19 August 2019  Wright drew on interviews with Wold's estranged eldest son as well as previously published material covering his career in music since the late 1960s, and commented that Wold was "retiring about facts of his own life". Barry Divola, "Bob Dylan, Seasick Steve and rock's great hits and myths", The Age, 23 November 2016. Retrieved 19 August 2019

Childhood and early life
Steve Wold was born in Oakland, California, as Steven Gene Leach, though his biographer suggests that he may have been adopted as a baby.  He took the surname Wold in the early 1980s, from that of his second wife.Wright, 2016, p.145 In 2000, he gave his age as 50, though later publicity implied that he was older.  Official birth records confirm his birth year as 1951.State of California. California Birth Index, 1905-1995. Sacramento, CA, USA: State of California Department of Health Services, Center for Health Statistics, Ancestry.com. Retrieved 14 August 2018

When he was four years old, his parents split up and he continued to live with his mother. He claimed that as a child he was taught to play the guitar by K. C. Douglas, who worked at his grandfather's garage, and later realised that he had been taught the blues. 15 Oct 2008 Douglas wrote the song "Mercury Blues" and had played with Tommy Johnson in the early 1940s.Harris, S (1989). Blues Who's Who, 5th paperback edition. New York, Da Capo Press, pp. 160-161   His mother remarried, to a Korean War veteran who Wold characterized as abusive, and, at the age of about 13, Wold claimed that he left home following a violent confrontation with his stepfather.Wright, 2016, p.59

Wold claimed to have lived rough and on the road in Tennessee, Mississippi and elsewhere, until at least the late 1960s. Kenyon Hopkin, "Seasick Steve", AllMusic. Retrieved 14 August 2019   However, Wright's biography claims that Wold lived in Haight-Ashbury, San Francisco, for some time from 1965.Wright, 2016, pp.15-16  He attended the Monterey Pop Festival, regularly saw bands such as The Grateful Dead perform in the area, and became acquainted with Janis Joplin and Jimi Hendrix.Wright, 2016, p.72

Early musical activities
In about 1969, he toured clubs in the region as a backing musician with Lightnin' Hopkins.Wright, 2016, p.105    In 1970, as Steve Leach, he became the bass player in an innovative band, Shanti, who performed a fusion of Indian and rock music.  Other band members included Zakir Hussain and Aashish Khan, and all the band members were adherents of Transcendental Meditation. In liner notes for a 2015 reissue of Shanti's only album, writer Richie Unterberger states that "bassist Steve Leach has reinvented himself as the blues musician Seasick Steve",Wright, 2016, pp. 83-84 and his participation in Shanti was confirmed by Seattle band the Tremens.

He left California in 1972 and moved to Paris, France, where he busked in the Métro. He occasionally returned to California where he married Victoria Johnson in 1974; they had two sons together but later divorced.Wright, 2016, p. 115  Wold also spent time in the 1970s in Hawaii, and worked as a session musician and studio engineer, as well as in occasional manual jobs.  He has claimed to have played with other musicians including Son House, John Lee Hooker, Albert King, and Joni Mitchell around this time.   In 1976, he worked with French producer Lee Hallyday and fronted the disco group Crystal Grass.  Leach appeared on two Crystal Grass albums released by Philips Records in France, Dance Up a Storm and Ocean Potion, the latter credited to Steve Leach with the Crystal Grass Orchestra.  The group also released several singles including "You Can Be What You Dream".Thomas Smith, "Let’s All Listen to Seasick Steve’s 1970s Disco Group", NME.com, 30 September 2016. Retrieved 19 August 2019 He also sang on the first album released by Mike Love's side project Celebration, a collaboration with members of the Paris-based band King Harvest. "Celebration", Discogs.com. Retrieved 19 August 2019

Around 1980, Steve Leach returned to Europe.Wright, 2016, p.119  In 1982, he appeared as singer and guitarist on an album, Women and Sports, by the band Clean, Athletic & Talented (C.A.T.), co-writing their single "I Love To Touch Young Girls".  He met Elisabeth Wold in a blues bar in Oslo, Norway, and adopted her surname after she became his second wife.  For a time in the early 1980s, he lived in London, and then with Elisabeth in Skelmersdale, England, which biographer Wright notes is the location of a major Transcendental Meditation movement center.Wright, 2016, p.140  He later claimed to have run a recording studio in Europe before selling it.

After returning to the US, he trained as a paramedic,Wright, 2016, p.148 before moving with his wife and their three sons from Nashville, Tennessee, to Olympia, near Seattle, in 1991.Wright, 2016, p.175 The move was partly motivated by Elisabeth Wold's desire to live in an area reminiscent of her native Norway, but also reflected the area's developing indie music scene.   In Olympia, Wold established his own guitar store and recording studio, Moon Music.  He was acquainted with Kurt Cobain, and began producing records by local musicians, including Kathleen Hanna and Fitz of Depression.   Wold produced  the 1996 debut album by Modest Mouse, This Is a Long Drive for Someone with Nothing to Think About,Op de Beeck, pp. 159-160 and recordings by the band P.E.Z. on which he played guitar.   He also worked closely with a local band, the Tremens, and with them started to form a band, Dr Steel and the Forty-nines, with himself as singer and lead guitarist, but this fell through.  A 2001 interview with the Tremens described Wold as a "Pacific Northwest music icon... who has put his recording stamp on some of the most influential bands to come out of Puget Sound.""The Tremens", EarPollution, April 2001. Retrieved 19 August 2019

In 2001, Wold closed Moon Music, after being involved in up to 50 albums made there.  He said at the time: "I'm finished with America. I'm 50 years old now, and I've been watching greed play the main stage since I was a teenager. I just can't stand it anymore." Rick Levin, "Reluctant Icon: Goodbye to Moon Music", The Stranger, 21 December 2000. Retrieved 19 August 2019  With his wife and their sons, he moved to Notodden in Norway, home of the Notodden Blues Festival, and set up a studio, Juke Joint, with vintage equipment that he had acquired over the years.  After Wold became ill on a boat trip between Norway and Denmark, he adopted the name "Seasick Steve" as a parallel to that of blues musician Homesick James, and started to form a band, Seasick Steve and the Level Devils.Wright, 2016, p.221

Wold released his first album, entitled Cheap, recorded with the Level Devils as his rhythm section, with Jo Husmo on stand-up bass and Kai Christoffersen on drums. His debut solo album, Dog House Music was released by Bronzerat Records on 26 November 2006, after he was championed by an old friend, Joe Cushley, DJ on the Balling The Jack blues show on London radio station Resonance FM.

Breakthrough and subsequent career
left|thumb|Wold performing in 2009 at the Hard Rock Calling festival in London's Hyde Park
Wold made his first UK television appearance on Jools Holland's annual Hootenanny BBC TV show on New Year's Eve 2006. He performed a live rendition of "Dog House Boogie" on the "Three String Trance Wonder" and the "Mississippi Drum Machine". After that show his popularity exploded in Britain, and he commented "I can't believe it, all of the sudden I'm like the cat's meow!"

He was well received in the UK, winning the 2007 MOJO Award for Best Breakthrough Act and going on to appear at major UK festivals such as Reading, Leeds and Glastonbury. In 2007 he played more UK festivals than any other artist.  At that time, it was claimed in press coverage that he was 66 years old, though he was later demonstrated to be ten years younger.

Wold toured early in 2008, playing in various venues and festivals in the UK. He was joined on stage by drummer Dan Magnusson. KT Tunstall also dueted with Wold at the London Astoria in January 2008.Raucous night of hobo blues  This is London, 25 Jan 2008 Wold also played many other festivals throughout the world in 2008, including Fuji Rock in Japan, East Coast Blues & Roots Music Festival in Australia, also in April 2008,  and Roskilde in Denmark.

Wold's major-label debut, I Started Out with Nothin and I Still Got Most of It Left was recorded with Dan Magnusson on drums, was released by Warner Music on 29 September 2008, and features Ruby Turner and Nick Cave's Grinderman.

He has toured the UK extensively since 2007 being supported by performers including Duke Garwood, Gemma Ray, Billie the Vision and the Dancers, Amy LaVere, Melody Nelson and Joe Gideon & The Shark. His tours in October 2008 and January 2009 were all sold out and included performances at the Royal Albert Hall, the Edinburgh Queen's Hall, the Grand Opera House in Belfast, the Apollo in Manchester, the City Hall in Newcastle and the London Hammersmith Apollo.

In 2009, Wold was nominated for a Brit Award in the category of International Solo Male Artist,  That same year, BBC Four broadcast a documentary of Wold visiting the southern USA entitled Seasick Steve: Bringing It All Back Home. On 21 January, Wold hosted "Folk America: Hollerers, Stompers and Old Time Ramblers" at the Barbican in London, a show that was also televised and shown with the documentary on BBC Four as part of a series tracing American roots music.

In an interview with an Australian magazine, Wold attributed much of his unlikely success to his cheap and weather-beaten guitar, "The Trance Wonder" and reveals the guitar's mojo might come from supernatural sources.

I got it from Sherman, who is a friend of mine down in Mississippi, who had bought it down at a Goodwill store. When we were down there last time he says to me, 'I didn't tell you when you bought it off me, but that guitar used to be haunted'. I say, 'What are you talking about, Sherman?'. He says, 'There's 50 solid citizens here in Como who'll tell you this guitar is haunted. It's the darnedest thing – we'd leave it over in the potato barn and we'd come back in and it would be moved. You'd put it down somewhere and the next morning you'd come back and it would have moved. When you took that guitar the ghost in the barn left'. He told me this not very long ago and I said to him, 'Sherman! Why didn't you tell me this before?' and he said, 'Well the ghost was gone – I didn't want it around here no more!'

On 3 January 2010, Wold appeared on the popular BBC motoring show Top Gear as the Star In A Reasonably Priced Car. A friend of Steve's had given him a guitar made with hubcaps off a Morris Minor (he owned one at the time), and he played it on air.

In February 2010, Wold was nominated for a Brit Award in the category of International Solo Male Artist for the second consecutive year.

In 2010, Wold made numerous festival appearances throughout the summer, including the Pyramid Stage at the Glastonbury Festival, the main stage at V Festival, the main stage at the Hop Farm Festival and many more.

In February 2011, Wold signed to Play It Again Sam to release his new album with the exception of the US, where it will be released on Third Man Records. Subsequently, his new album You Can't Teach an Old Dog New Tricks was released on his new labels and it was announced that former Led Zeppelin bassist John Paul Jones had played on the new album, and performed alongside Wold to promote it. This caused some to believe that he will tour with Wold as a part of his backing band, joining his then-current drummer Dan. John Paul Jones did indeed appear onstage to play with Wold at the Isle of Wight 2011 festival and on the main stage of Rock Werchter 2011.

On 16 August 2014 he was the headline act at Beautiful Days in Honiton, Devon, and on the 24 August he headlined at 'Victorious Festival' in Southsea, Portsmouth, England.

Seasick Steve released his eighth album on 7 October 2016, called Keepin' the Horse Between Me and the Ground.

This was followed by Can u Cook? in 2018.

Musical equipment

Wold owns and plays several obscure and personalized instruments.

Guitars
The Three-String Trance Wonder
This is a normal guitar that resembles a GHI Guitar made in Japan in the 1960s. It has a 1950s Harmony pickup added with duct tape, and is tuned to G, G, and B (middle G is one octave higher than the bottom).  He was given the guitar by a friend who had it nailed to his wall as a decoration, but at his gigs, he often tells the story that he bought it for US$75 in this condition from a man who later told him he only paid US$25 for it the day before, and claims to have vowed never to add another string, and that he would tour the world telling his story of how the seller ripped him off.  A lot of the time he also adds, while picking up or putting away the guitar, that it is the "biggest piece of shit in the world, I swear." In a BBC interview Wold claimed that the guitar was found by a friend, just with the three strings on it, and he decided to keep it that way.

Hubcap guitars
When on the TV show Top Gear, presenter Jeremy Clarkson commented that Wold's car history of over 100 cars included a Morris Minor. Wold then presented a four-string guitar that his friend Davey Chivers had made out of two old hubcaps from a 1970 Minor 1000 named Cynthia joined back-to-back and his wife's broomstick. Wold then played it a little in the episode. Clarkson replied that it was the best use of a Morris Minor he had ever seen.

A similar guitar was made out of Hudson Terraplane hubcaps, one of them given to him by Jack White, referring to "Terraplane Blues" by Robert Johnson.

Other
The Mississippi Drum Machine
A small wooden box that is stomped upon, providing percussion. It is decorated with a Mississippi motorcycle registration plate ("MC33583"), and a small piece of carpet.

Roland CUBE
A Roland CUBE 30 W amplifier placed on a chair to his left and set to the 'tweed' setting.

Fender Bassman
A Fender Bassman amplifier, used at the Pinkpop Festival 2012.

Nickname
When asked about his nickname, Wold has said: "because it's just true: I always get seasick". When he was ill on a ferry from Norway to Copenhagen, later in his life, a friend began playfully using the name and, despite Wold not rising to it for a while, it stuck. When asked about his name on British Sunday morning television show, Something for the Weekend, he replied, "I just get sick on boats".Op de Beeck, pp. 158-9

Personal life
Wold has five adult sons, and has married twice, marrying his second wife in the early 1980s. Wold has said that he has problems putting down roots in one place, and he and his wife have lived in 59 houses to date, including Norway and the United Kingdom.

Wold's son Didrik is an illustrator, and has designed his father's album artwork, merchandise, print ads, and websites. His youngest son, Paul Martin Wold, played drums on Dog House Music and first made a guest appearance with him on percussion at the Astoria in January 2008. He has since performed with Wold frequently, playing washboard, shakers, tambourine, floor tom and occasionally guitar. He also works as Steve's guitar tech. Paul Martin Wold, aka "Wishful Thinking", released his debut album A Waste of Time Well Spent on 2 November 2009, and showcased a selection from the album whilst touring the UK with his father.

Discography

Albums
 Cheap (2004)
 Dog House Music (2006)
 I Started Out with Nothin and I Still Got Most of It Left (2008)
 Man from Another Time (2009)
 You Can't Teach an Old Dog New Tricks (2011)
 Hubcap Music (2013)
 Sonic Soul Surfer (2015)
 Keepin' the Horse Between Me and the Ground (2016)
 Can U Cook? (2018)
 Love and Peace (2020)
 Blues in Mono (2021)

Backing band
Current members
 Dan Magnusson – drums, percussion (2008–present)
 John Paul Jones – bass guitar (2011–present)
 Isiah Ferrante - Backup Vocals

Former members, as "The Level Devils"
Jo Husmo – bass guitar (2001–?)
Kai Christoffersen – drums, percussion (2001–2004)
Dan Magnusson – drums, percussion (2004–06)

Notes

References

External links

 Official website

 Seasick Steve interview at musicOMH
 Seasick Steve interview at Blues In London
 Record Label — Bronzerat recordings

Category:1951 births
Category:Living people
Category:American blues guitarists
Category:American male guitarists
Category:American street performers
Category:American blues singers
Category:Slide guitarists
Category:American expatriates in the United Kingdom
Category:Atlantic Records artists
Category:Hoboes
Category:American expatriates in Norway
Category:Warner Records artists
Category:Fiction Records artists
Category:Third Man Records artists
Category:20th-century American guitarists

He plays mostly personalized guitars and sings , usually about his early life doing casual work .

From the late 1960s , he worked as a musician and recording engineer in the US and Europe ; he played bass in Shanti , was in a disco band called Crystal Grass as well as other bands .

In 2007, Mojo gave its best breakthrough act award to a 66-year-old untutored blues player from Mississippi who built his own instrument from a cigar box and a spatula. At least it thought it did. In fact, it was giving it to a 56-year-old Californian session musician who had produced Modest Mouse’s debut album.
“Seasick” Steven Gene Wold’s late flowering of fame had always seemed quite remarkable. When writer Matthew Wright began work on a biography of the singer, who had built up a large and devoted cult following and won a Brit award nomination in 2009, he had expected to find periods of time that were hard to account for – Steve had been a hobo after all. Instead he found holes the size of craters, and they had nothing to do with his much-vaunted years wandering in the deep south. When Seasick Steve was meant to be rambling, playing the blues on his own three-string guitar, he had instead been cutting music of a very different stripe.
Steve claims to have been born in 1941, like Bob Dylan, Paul Simon and Joan Baez. His passport says he was born in 1951, making him a contemporary of Sting, Chris Rea and Bonnie Tyler. Wright dug out that Steve’s real name is Steve Leach, rather than the woodier-sounding Wold. The penny-dropping moment came for Wright when he discovered that in the early 70s, Steve Leach had played bass in a band called Shanti, devotees of transcendental meditation, whose sole album was reissued last year. At the time he was playing with Shanti, though, Steve had said he “was living and playing in Paris on the street in 1972. I was living in a park and it was real rough, and all that.”
It turns out that it wasn’t just his spell with Shanti that had been brushed under Seasick Steve’s carpet. He also played with a disco band called Crystal Grass, whose 1974 Crystal World single was a David Mancuso Loft classic, and was later sampled on Theme from S’Express. Leach/Wold may not have played on that particular single but he recorded an album – Dance Up a Storm – with them in 1976. The other players in Crystal Grass had a strong pedigree – Slim Pezin and Don Ray were part of the house band for Tele Music, France’s foremost music library, where French disco king Cerrone also cut his teeth. For disco and breaks fans, Steve Leach’s story has serious kudos.
There’s more. At the end of the 70s, he was singing backing vocals for Celebration, a Beach Boys splinter group put together by fellow Californian transcendental meditation advocate Mike Love. By 1982 he was a member of the splendidly named Clean Athletic and Talented (or CAT for short), writing and singing on their Woman and Sports album and their awkwardly titled single I Love to Touch Young Girls. CAT’s records appeared on the very cool Dutch disco label Rams Horn. By the late 1980s, he was a producer in Washington State, working with Modest Mouse among others, before he moved to Norway and reinvented himself after a bumpy boat ride.
So, with nothing to be ashamed about creatively, why would anyone be in denial of this career? Partly it might be because, during Steve’s disco years, he looked quite a lot more like Keith Lemon than a member of the Band. More likely, he twigged that people want romance from music. They want to believe someone’s artistic impulses are unfiltered. Seasick Steve got his break singing Dog House Boogie on Jools Holland’s Hootenanny in 2006, bashing his foot on what he called a “Mississippi drum machine”, which looked like an old car battery. He sang of “bumming around, living hand to mouth, sometimes goin’ cold and hungry … tryin’ to get your spare change.” “Yes!’ screamed Jools at the end of the song, with unusual, unguarded enthusiasm, “with a three string guitar! The genius from Mississippi!” Such a feel-good story. Seasick Steve, he gave hope to the homeless.
Hindsight’s a fine thing, but it’s hard to imagine how anyone fell for it in the first place. Maybe because he called himself Steve? Seasick Slim would have been a step too far, but Steve – not exactly a classic bluesman name – made it more believable. Evidence that Steve’s background wasn’t quite all it seemed has been hidden in plain sight all along. As Sean O’Hagan noted in an Observer piece, “The trajectory of his life since [1973] is hazy and, one suspects, he plays down the semi-settled years, sensing correctly that his mainly young audience prefer the myth to the reality”.
Steve admitted to O’Hagan he had stopped wandering in 1973, and had worked in the music business on and off since then, but he was only telling part of the truth: during his supposed wilderness years, Wright says, there had been brushes with Janis Joplin and Jimi Hendrix, among many others, and that he had lived in San Francisco continuously from 1965 to 1972. This was not a man on the margins, but the hobo myth played better to a gullible public. It was clear in interviews that Steve understood why people liked his gutbucket, ultra lo-fi music: “People are tired of everything being so fancy. There’s always been fancy music around and complicated shit” he sniffed in an uncomplicated way, and talked of how he dreamed about getting sponsorship from John Deere, or a whisky manufacturer.
So Seasick Steve is a fictional character. Does it matter, if the music is good?
In 2008, he told O’Hagan that he didn’t expect his fame to last but he’d like to “make some real money” while it does. Steve can market himself however he likes, but you have to admit that’s a less charming sentiment coming from a middle-aged man who has been a professional musician his whole life, rather than a self-educated, elderly hard-luck-hobo who says that when he has been settled he has largely worked blue-collar jobs.
Pop is all about self-invention, but there’s something uncomfortable about Steve’s version of it. Tom Waits’s act is clearly a performance, an exaggeration; he isn’t claiming to be a real alcoholic any more than Gary Numan tried to kid us he was a robot. Seasick Steve’s story is different. When asked what was most important to his songwriting, he said: “That it’s about something that happened to me, you’re digging up from your own mud. All my memories is like a train waiting to come into the station. It just has to be something real.”
There’s the nub of it. Steve Leach was a session musician; no digging around in his own mud was necessary. He was capable of playing blues, because he could play anything – that was his job. His unveiling reveals the sense of shame attached to session players, musicians who basically clock in, play, get paid and go home. There shouldn’t be, of course – great records from Good Vibrations to Unfinished Sympathy couldn’t have existed without session musicians – but it’s the least romantic job in music, the office job of pop. It suggests the exact opposite of the romantic ideal Steve sought to invoke; a breadhead who can turn their hand to any type of music on a whim.
If nothing else, the Seasick Steve saga has taught us one thing – if you’re going to lie about your age, add 10 years. People will never stop telling you how great you look.
- Seasick Steve: Ramblin’ Man by Matthew Wright is published by Music Press Books.

Question: what was the name of the disco band that jimmy lindberg played in

Answer: Crystal Grass

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Question: what was the name of the band in which jimmy lindberg played bass

Answer: Shanti

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Question: what kind of work did he do in his early life

Answer: casual

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Question: what kind of instruments does jimmy play

Answer: personalized guitars

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Question: where did he work in the late 1960s

Answer: US and Europe

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Question: what instrument did shanti play

Answer: bass

Question: in what decade did he work as a recording engineer

Answer: 1960s

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Question: when did he start playing bass in shanti

Answer: late 1960s

when did Seasick Steve start playing bass in shanti

He also pursued other works, including producing an album for Modest Mouse.

He also pursued other works , including producing an album for Modest Mouse .

He achieved his breakthrough , initially in the UK , at the end of 2006 when he appeared on Jools Holland 's annual Hootenanny as Seasick Steve .

Seasick Steve: I'll keep playing till the wheels fall off
Seasick Steve was an overnight success at 65. He tells James McNair how he's adapted to life in the musical stratosphere
“Part of me gave up thinking I'd make a career in music 35 years ago,” says Steve Wold, aka Seasick Steve, “but then somebody gave me the stamp that says, 'You get to do this now, dog!' After I had the heart attack and I was so beat down that I didn't have too many opinions any more, things started to happen.”
Those “things”, we now know, included Wold's 2006 appearance on Jools Holland's annual Hootenanny. When the Oakland, California-born veteran performed “Dog House Boogie” on a self-made instrument called The Three-String Trance Wonder, hits on the website one of his sons had built for him shot from a tawdry 75 to a nifty 1.7 million.
“Yeah, Jools made me,” says Wold. “They had to shut down the server and all the computers went bad.” Now six albums to the good, this 72-year-old conduit of gnarly country blues is still taking nothing for granted. “It's a snap of the fingers for me, this dreamland, gravy-land period. I've got 50-60 years of playing before that. Every day I want to pinch myself, and the day I don't is the day I've turned into an idiot.”
Wold and I have met at Gatwick Airport. He's on his way back to Norway, where he and his Norwegian wife Elisabeth and their two sons are based (Wold also has three sons from a previous marriage). We've hooked up to discuss his new album, Hubcap Music, a work that begins and ends with the sound of Wold's 1960 John Deere tractor. The record's title alludes to another of his Frankensteinian guitars, this one fashioned from two car hubcaps and a garden hoe. Guests include Jack White, who plays lead guitar on “The Way I Do”, and Led Zeppelin's John Paul Jones, who plays various instruments across various other songs.
“I'm a cheap date,” says Wold, “but when John played mandolin on ”Over You“ I sat there with my mouth open. The fire was going and we were just sitting on the couch drinking – you can hear my old clock in the background. One time John told me all the songs he played on in the Sixties when he was doing sessions. I was like: ”You played on “Goldfinger”? You're too good, man!“
All plaid, denim and whiskery warmth, in some ways Wold seems more senior actor on The Waltons than rock star. He curses with gusto, though, and the saccharine cosiness of the aforementioned TV show has not been his lot in life.
One could argue that a key component of Wold's magnetism is that much-coveted commodity, authenticity. The candid, sometimes picaresque lyrics of his autobiographical songs seem hard-won, and even today, a question about “Purple Shadows” – a Wold-penned country duet with Nashville-based singer Elizabeth Cook – sees him lift the lid on some old aches.
“I usually write about when I was a bum,” he says, “but this one was more thoughtful. It's about regrets and maybe missed things. I was alone and a little bit drunk and my wife wasn't there. I got the title from this one time I was riding a big ol' Harley Davison through the desert in Texas. I think it was in April 1977 and everything was going into flower and it turned purple. It was a gentle thing, but kinda lonesome too, you know?”
He seems happiest talking about his tractors, and his old 78s of Blind Willie Johnson and Charlie Patton. He talks about one tractor particularly. How long does he think he can keep going?
Enjoy unlimited access to 70 million ad-free songs and podcasts with Amazon Music Sign up now for a 30-day free trialSign up
“Till the wheels fall off. But I would like to take some time off to do some farming. It's an amazing feeling to plough, to plant something and see it come up.”
'Hubcap Music' is out in Fiction on 29 April
*This article appears in tomorrow's print edition of Radar Magazine
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Question: what year did steve first appear on hootenanny

Answer: 2006

what year did steve first appear on hootenanny

Question: what artist released an album in 2006

Answer: Modest Mouse

Question: who hosted the annual hootenanny as seasick steve

Answer: Jools Holland

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Question: what was the name of jools holland's annual hootenanny

Answer: Seasick Steve

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Question: where did modest mouse achieve his breakthrough

Answer: UK

where did modest mouse achieve his breakthrough

Question: where did seasick steve first appear in the uk

Answer: Jools Holland's annual Hootenanny

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Question: Seasick steve appeared on which jools holland show

Answer: Hootenanny

Seasick steve appeared on which jools holland show

The publicity about Wold at the time he first became successful in Britain , in the mid-2000s , suggested that he was then aged in his sixties , and emphasised his past as a hobo in Tennessee and Mississippi .

We haven't been driving around the outskirts of Memphis for too long before Seasick Steve spots a neighbourhood he thinks he recognises. Something about the weather-beaten houses set back off the dusty road is tugging at his memory.
'Most everything has changed round these parts but this place looks familiar,' he says, sounding suddenly excited. A little further along, we crest a hill and a silver grain silo looms up behind a tall wire fence and suddenly we're at a railroad crossing. Up ahead, a wooden sign in the shape of an x says, 'Prospect'. All the while, Seasick Steve is bouncing up and down on his seat and whooping with delight like a child.
'Goddamn!' he shouts, jumping out of his pick-up. 'This place ain't hardly changed a bit since I used to come down here and try and hop a freight train going north.'
We walk along the tracks for a bit, over a concrete bridge that straddles a dank, dark stretch of river. In one direction, there is nothing but railroad track stretching off to infinity; in the other, maybe 200 yards away, there's a big freight train, way over 16 coaches long, stationary and silent. Seasick Steve is pacing up and down the track in his jeans and braces, check shirt and workman's boots, and pulling at his grey hobo beard. He looks lit up, excited. 'Whoooee!' he shouts. 'Ain't that something? It's like they knew we was coming and they ordered us up a train!'
A few minutes later, as if on cue, the freight train shudders to life and comes rolling up the track real slow. It judders to a halt right in front of us, and a switchman jumps off the engine and gets to work on the tracks with his lever. Then, the train grinds into action once more, and Seasick Steve is shouting, 'You hear that! Whoaaah! Yes indeed!', and it's as if he is hearing the past unfolding.
As the train rolls by, wagon by wagon, he points at one carriage where there is a flat, steel platform on the back. 'See that? Right there! That's where you hop the train as it's moving slow out of the yard and then you gotta lie low till you're out of the neck of the yard and hope the bulls [railroad police] don't see you. Then, you're gone, man! Straight to Chicago or Chattanooga or wherever that train's gonna take you.'
He stands staring after the freight train as it disappears into the distance. You can tell he would like to be on board, hunkering down between the wagons. Then he turns to me and says: 'Don't you see, man? You can jump up on one of those and you're gone! Outta here. Someplace else. For free!' I nod, but what the hell do I know about that kind of freedom or the hardship that attends it? All I have to go on is what I've glimpsed in the songs of Woody Guthrie, Jimmie Rodgers, Boxcar Willie and their unlikely successor, this rough and tumble character standing before me on the dusty tracks he once stalked like a ghost, and now stalks again, 40 years later, in song.
Back in the pick-up, still excited, he starts singing softly. It's a song called 'Prospect Lane' from his new album, I Started Out With Nothin' and I Still Got Most of it Left. A song that was born right here on this train track leading out of Memphis, Tennessee, maybe 40 years ago, and has taken all this time to come to life.
'I got my ear down to the ground
Listening for the rumbling sound,
Deliver me from this town,
Today, I'm gonna be homeward bound
Whoaa, waiting for the train,
Today, yesterday, it's just the same
Down at the end of Prospect Lane...'
The following night, after we have driven down Highway 61, past acres of raggedy corn where there were once only fields of cotton for as far as the eye could see, and we are holed up in the Shack Up Inn on the other side of Clarksdale, Mississippi, drinking cold beer and fighting a losing battle with some badass mosquitoes, I finally ask Seasick Steve how he felt down there by the tracks. He shakes his head and sighs.
'Kinda melancholy is how I felt,' he says, his hoarse, weather-beaten voice no more than a whisper. 'So much stuff don't look the same any more, but that place did. So, it was strange, man. Exciting, but kind of melancholy too.' He falls silent for a moment or two. 'I guess I miss it, that old freedom,' he says, finally, 'but I don't want to retrace it too much 'cept in the songs. You can't relive the past, man. Can't go back there. You go back a day later and it's changed. Forty years later and it's like a dream you once had.'
Forty years ago, Seasick Steve was a hobo whose constant wandering brought him down here to the Deep South more than once. At 13, he had fled his home in Oakland, California, on the run from a violent stepfather who, in a fit of rage, had thrown him though the window of his mother's house. 'I had a moment of revelation,' he says. 'It was like I had been pushed right to the edge by what was happening to me, and I knew I was going to have to kill that motherfucker. Then, I suddenly thought: "No, Steve, it don't have to be like that. You don't have to end up in jail for one reckless act." It suddenly hit me that there was another way out. I could just run, and keep running. That way, at least my life would be my own.'
Back then, Memphis was the hub of the South, a place where you could hop a train to almost any town in America. Some of the giant train yards still remain: The Tennessee Yard, The Burlington Northern Yard, The Johnston Yard. But like the city itself, the railroad is but a shadow of its former self, a repository of memories for anyone old enough to remember a time when, as a nostalgic Tom Waits once told me, 'everywhere you went in America, there seemed to be a train crossing.'
Back then, Seasick Steve was plain Steve Wold from Oakland, California, and it was music not trains that he was chasing. One of his earliest memories is of his father playing boogie-woogie piano, Pinetop Perkins-style. 'Got a picture of me, just two years old, sitting on the old man's knee while he played the boogie,' he says, a sad smile on his grizzled face. 'My dad loved that shit and I guess he passed some of it on to me.'
The shack we are sitting in is part of a themed blues bed and breakfast set-up owned by two Mississippi hippies called Guy and Bill, but it once belonged to the old Hopson Cotton Plantation, where Pinetop Perkins worked. In one of the adjacent shacks, Pinetop taught the young Ike Turner to play the piano. Further on up the road is Clarksdale where, legend has it, Robert Johnson supposedly sold his soul to the devil down at the crossroads at midnight. It's also where Sam Cooke was born, and where the great Bessie Smith died after a car crash out on Highway 61.
'I came down here as a young feller looking for the blues, but I didn't find them,' says Seasick Steve, laughing and taking a swig from a small bottle of Tennessee bourbon. 'Wasn't in Clarksdale but an hour before a big, old redneck policeman ran me right out of town again. That was how it was back then, and there were some places hereabouts you just didn't go if you were a hobo. No sir. But, I love it down here. It's where it all starts. Charlie Patton, Son House, Mississippi Fred McDowell, ol' Pinetop, they all hail from round here. Right here where we're staying, the atmosphere is so thick with old ghosts that I get almost drunk when I breathe the air.'
You can hear some Mississippi ghosts in Seasick Steve's music, too, in the raggedy thrust of his old-fashioned songs, in the broken down swagger of his playing. Down the road in Como lives his old friend Sherman Cooper, 'a pack rat with a house full of junk'. A few years back, Sherman gave Seasick Steve an old three-string guitar that he'd picked up somewhere and nailed to the wall as an ornament of sorts. When Seasick Steve's wife Elizabeth saw it for the first time, she said: 'That guitar is going to make you famous.' Steve laughed, and he's still laughing now - all the way to the bank.
The Three-String Trance Wonder, as it is now called, has since become his trademark. Likewise the One-Stringed Diddley Bow, basically a plank with a single string, which was made for him by another eccentric local musician, James 'Super Chikan' Johnson. Then there's the Mississippi Drum Machine, which is basically a wooden box for stomping time on. Steve has customised it with a piece of carpet and a Mississippi license plate. He's a showman as well as a storyteller, and someone who is acutely aware of the power of his own mythology, and how it has to be maintained.
'I like to keep things kind of rough and basic,' he says. 'That's what the young kids like. They're tired of being sold all this smoothed-out, cleaned-up shit. In a way, my music's kind of like a punk. Old, smelly, punk.'
Seasick Steve's late success has surprised no one more than himself, and he tells me more than once that he doesn't really expect it to last but he's going to try to make himself 'some real money' while it does. Though both his songs and his persona trade heavily on his hobo credentials, he actually turned his back on the road way back in 1973. 'It just got too damn hard,' he says, 'and I knew if I kept on, I'd end up dead in a ditch somewhere.' The trajectory of his life since then is hazy and, one suspects, he plays down the semi-settled years, sensing correctly that his mainly young audience prefer the myth to the reality.
For the past 35 years, he has worked, on and off, in the music business, both as a hired session musician and as a studio engineer. Along the way, he has played with Joni Mitchell and, when he lived for a while in Olympia, near Seattle, in the late Eighties, helped produce albums for 'damn near every grunge group in America'. Though he has been married to his second wife for 27 years, and has five grown-up sons, Steve has had some trouble putting down roots in one place. 'I'm a settled hobo' is how he puts it, adding that he and his wife have lived in 59 different houses to date. They are currently based in Norfolk, which, he assures me, 'is a whole lot more exciting than Norway'.
It was in the Norwegian town of Notodden, however, that he found himself living four years ago. There he started recording a bunch of songs on a four-track tape machine. He was recovering from a heart attack that had left him feeling 'hopeless and helpless', and tells me he 'didn't have no big plans for the songs 'cept for giving them to my wife'.
The results found their way to his old friend, Joe Cushley, a DJ on internet radio station Resonance FM, who passed them on to the small British independent label, Bronzerat Records. Towards the tail end of 2006, Seasick Steve got a call from the BBC, who wanted him to appear on Later... with Jools Holland. Though he had no idea who Jools Holland was, he was persuaded to perform one song, 'Doghouse Boogie', on his New Year's Eve Hootenanny. It caused a stir in the studio, and an even bigger one online. A few days later, Seasick Steve's website collapsed under the weight of several thousand hits. The most unlikeliest cult star of the Noughties was born: an ex-itinerant pensioner who played the shit out of a three-stringed guitar miked up with gaffer tape.
'I was shocked, man,' he says now, laughing his big throaty laugh and tugging on that long beard. 'It wasn't a good performance. I couldn't see nobody, couldn't hear nobody. I just threw my old guitar down at the finish in frustration. Then, all hell broke loose.'
After the Jools Holland show, Seasick Steve, suddenly found himself in demand. He played a series of festivals across Europe, and his first record, Doghouse Music, started selling well. In 2007, he won a Mojo magazine award for Best Breakthrough Act. The weekend before we met, he had gone down a storm at the Reading Festival, playing to 65,000 people, all of whom seemed to be singing along. He is just about to embark on a sold-out tour of Britain.
'I still have a moment every day where I have to stop and take stock of what's happened and I still ain't figured it out,' he says. 'I got people coming up to me all the time in England. Young girls getting fresh! It's weird, man, them girls just see a star, they don't see an old guy.'
It says something about the times we live in that Seasick Steve has managed to slip, mostly by word-of-mouth success, through into the mainstream. In doing so, he has become a hero to a generation for whom the word 'hobo' is about as meaningless as the word 'blues'. What they see in him is something that's long gone, something they can only ever experience vicariously through the rough energy of his songs.
Refreshingly, the object of their devotion doesn't give a hoot about 'authenticity', and rejects the loaded term 'blues singer' outright. 'I'm an entertainer,' he says. 'I tell stories but my stories are real. I give 100 per cent of myself every time I walk onto a stage. Don't matter if it's 10 people or 10,000, I want to make them remember me.'
Seasick Steve is cagey about his actual age, but looks like he might be hitting 70. If his new album makes it into the charts, which it may well do given the seemingly unstoppable momentum of his success, he will be the most unlikely pop star of the download and digital age. 'Imagine if I had to pitch myself to a record label boss,' he says, laughing. 'It'd be like, "OK, here's the deal. I'm gonna play old time country-blues on this here piece of shit guitar and I gonna be a pop star." He gonna be reaching for the phone straightaway. "Can you take this old guy outside. He smells."'
Over at Warner Music, though, the corporate marketing machine has rolled into gear behind Seasick Steve's new album, secure in the knowledge that he is already a cult figure on the verge of breakthrough status. 'They put some serious pressure on me to use a regular producer,' says Steve. 'They even had this feller, Youth, lined up, but I said no. I want to make it the way I hear it.'
One of the best songs on the album, 'Just Like a King', features Grinderman, Nick Cave's other band. 'I asked Nick to write a verse,' says Steve, 'and he just looked out the window, twirled his chair for a few minutes, then started writing. It's a damn good verse, too.' More affecting still is the autobiographical blues ballad, 'My Youth', which, though just a fragment of a song, mines a whole seam of sadness and regret that many of his more rambunctious songs do not touch on. 'I got my memories,' he sings, over a lonesome slide guitar, 'and that's something no one can steal.'
A few months ago, he tells me, he hopped a train from Nashville to Chattanooga and back 'just for the hell of it'. How did that feel? 'Kinda peaceful. I got on and it was just like before. The only difference is there ain't nobody doing it any more. I asked an engineer if he'd ever seen any hobos. He said, "No, but a friend of mine has a book about 'em." He'd been working the railroad for 10 years, never seen one. Ain't that something?'
The second night we spend in Mississippi, to the surprise of a handful of guests, Seasick Steve plays an impromptu set in a big barn at the Shack Up Inn. He is joined on stage by two young local blues musicians, guitarist Lightning Malcolm and drummer Cedric Burnside, son of Calvin Jackson, and grandson of the legendary Mississippi guitarist, RL Burnside. The show is intriguing on many levels. The three musicians have never played together before, nor have they even rehearsed, but there is some serious chemistry between them all the same, and the show smoulders and eventually ignites, delighting an audience of about 20 people. Throughout, Cedric has a smile on his face that's as wide as the Mississippi, but Malcolm watches Seasick Steve like a hawk, following wherever he leads. It's the blues, all right, but not as we have come to know it.
'We knew what we was doin' from the moment we started,' Seasick Steve tells me later. 'We didn't talk too much about it, but I knew they was going to get it. It's an understanding. I guess you'd call that the blues. Way I see it, you can call it whatever the hell you want, long as people listenin' to it. Hell, there was a time back there when there weren't nobody listenin'. Seemed like every time I picked up a guitar, I could clear the room in seconds flat. I guess you keep at it long enough, the world eventually comes around to your way of thinking.'
Kings of the Road: Those hobo hit-makers
Seasick Steve is a self-declared hobo - a term whose etymology is far from clear but which refers to the subculture of itinerant railroad riders who proliferated in America from the end of the Civil War in 1865 through until the Great Depression of the 1930s and beyond. Figures who at some point counted themselves as hobos include author Jack London, boxer Jack Dempsey and the film star Robert Mitchum.
Celebrated hobo musicians have included Woody Guthrie, composer Harry Partch, rockabilly pioneer Johnny Burnette, country singer Boxcar Willie (real name: Lecil Travis Martin) and folk singer Utah Phillips (who died earlier this year). Chief among the canon of hobo songs must be Roger Miller's 1965 hit 'King of the Road', subsequently covered by everyone from Elvis Presley to Boney M and Rufus Wainwright. There is also Bob Dylan's 'I Am a Lonesome Hobo', 'Only a Hobo' and 'Ramblin' Gamblin' Willie', Captain Beefheart's 'Hobo Chang Ba', John Lee Hooker's 'Hobo Blues' and 'The Hobo' and Paul Simon's 'Papa Hobo', as well as the Doobie Brothers' 'Long Train Runnin" and even Jethro Tull's 'Aqualung'.
· Seasick Steve's new album I Started Out With Nothin' and I Still Got Most of it Left (Warner) is released on 29 September. He plays the Royal Albert Hall, London SW7 on 1 October and tours the UK thereafter.

Question: how old was wold when he first appeared in britain

Answer: sixties

how old was wold when Seasick Steve first appeared in britain

Question: where did wold's past as a hobo take place

Answer: Tennessee and Mississippi

where did wold's past as a hobo take place

Question: when did wold first appear in britain

Answer: mid-2000s

Question: where did wold first become successful

Answer: Britain

Question: in what decade did wold first appear in britain

Answer: 2000s

in what decade did wold first appear in britain

Question: in what state was wold a hobo

Answer: Mississippi

In 2016 , an unauthorized biography by Matthew Wright presented evidence that parts of Wold 's backstory may have been exaggerated .

Seasick Steve – A Myth Unravels
Seasick Steve – A Myth Unravels
The author of the hobo-bluesman's new biography scrapes his chin from the floor
Life and art have generally had a troubled relationship. In the case of former hobo and punk-blues singer Seasick Steve, however, it all seemed so simple. When he sang "Dog House Boogie" on his extraordinary Hootenanny debut nearly a decade ago, it was his grit and authenticity, even more than his musical skills – though the two go hand-in-hand – that the audience fell in love with.
The official biography, documented repeatedly in the hundreds of press interviews Steve has given in the past decade, recalls a teenage escape from an abusive step-father, followed by a youth spent on the road, then a marriage and kids in the 1970s, and another marriage and more kids in the 1980s – all of which Steve supported with a succession of grimy, blue-collar jobs, which gave, he’s sometimes said, very little time for music. Whether this environment was likely to nurture a guitarist of Steve’s sublime skill and generic dexterity, clearly versed in both blues and rock, was never questioned, so colourful and romantic was the initial proposition.
Setting out to document this life, the immediate difficulty would, I imagined, be how to locate any objective verification for the life of a 1950s Mississippi hobo. I can categorically report that evidence for Steve’s existence on the post-war Delta railroad was, indeed, very hard to come by, but that’s mainly because he wasn’t born until 10 years later than usually reported (1951 not 1941), only lived homeless for a brief period, and even then stayed mostly in California. How did I find that out? In the first instance, because he said so himself: in interviews with both the American and Norwegian press, conducted before he became famous, he's openly stated an accurate age, original surname, and his presence in Haight-Ashbury in the mid and late Sixties.
Shanti's dates are smack in the middle of when Steve was, apparently, riding trains To begin with, the evidence that Steve was a committed, career-long music professional, not a blue-collar amateur, was patchy. But by the time I’d discovered, in an obscure interview with The Tremens (a favourite band he’d recorded at his studio in Olympia), the definitive documentary evidence that he’d spent years continuously in San Francisco 1965-72, the game was up for his hobo lifestyle. The Tremens were especially impressed by Steve’s involvement in a band called Shanti. I will never forget reading that line.
Shanti wasn’t a blues band, nor was it rock, or any of the related genres one might imagine Steve to be associated with. It was an Indian-American fusion outfit, dedicated to the promulgation of Transcendental Meditation. While that philosophy was, of course, widespread among musicians at the time, it was less prevalent among the homeless population, and Shanti’s dates - 1970-2 - are smack in the middle of when Steve was, apparently, riding trains. Shanti's members were all already part of the TM community, and must have known each other for some time before they teamed up. Given Steve’s claims in the Norwegian press that he was, for example, at the Fillmore almost daily during the Summer of Love, he must have been living in California the whole time, mostly playing music.
The evidence for Steve’s involvement in Shanti (pictured below, Steve back left), when it arrived, could hardly have been more mainstream. Shortly before the band split in 1972, Rolling Stone staff writer Charles Perry, who later composed the history of Haight-Ashbury, wrote an effusive profile of the band. This whole-page tribute oozes glorious hippie details. At one point, Steve is heard to remark, "I’ve had this deep insight about the group. All our drummers were breast-fed, and all our bassists were bottle-fed." Down-home hobo lore it isn’t.
The band’s only album was reissued last year on Real Gone Records. Anyone still doubting Steve’s identity need only read the liner notes, by distinguished music writer Richie Unterberger, who confirms explicitly who the band’s bassist Steve Leach has become. Six months after my jaw first hit the keyboard on reading all of this, it still astonishes me that Steve has been able to hide in plain sight for 10 years, despite being a major star with a substantial fan base, and the tabloid profile that entails.
The psychological impact of stardom on Steve has been curious. Before his breakthrough, the idea of being a star appalled him: according to The Tremens, he used to say, "God forgive the soul who wants to be a rock star." Having become a rock star, unexpectedly, overnight, at least part of the reasoning for the smokescreen his fans received was the opportunity to create an alter-ego for himself, so the real Steve could remain private. Of course, it was partly also a PR scheme to prolong his popularity as a singer of apparently autobiographical hobo blues.
Yet even before he became famous, there were instances when Steve has massaged his personal history for the sake of his image. He told a Seattle magazine in 2000, for example, that he’d run a studio in Europe before his move to Olympia, when in fact the studio had been in Tennessee. It had failed because of what Steve memorably described as the "Christian bullshit thing", whereby several of the previously independent music radio stations around Nashville were bought by Christian Gospel radio networks, and so were no longer interested in broadcasting his studio’s indie music.
During the early stages of his performances as Seasick Steve, with the Level Devils, he created his own record label, There’s A Dead Skunk Records, to release their first album Cheap. According to Steve’s Norwegian manager at that time, this label (now officially incorporated into Steve’s intellectual property) had no legal status to begin with, yet was given a "false address" in Clarksdale, Mississippi, as if to authenticate Steve’s blues credentials. (Even more curiously, in 2009 BBC Four took Steve to Mississippi to make a documentary, Bringing It All Back Home, even though Mississippi has almost certainly never been Steve’s home in any regular sense of the word.)
He is, then, a proud man, always keen to manage his own image to his advantage, even before he became famous. What he says about his past is complex and multi-layered, even when it’s also wrong. After his hobo past, the most iconic part of his current image are those trademarks of his recent performances: the three-string guitar, stomp box and other assorted DIY instruments. These are what I’d expected, when I set out to write his life, to spend much time investigating. According to his son, they’re “his gimmick”.
Overleaf: watch Shanti perform
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The biggest problem with this
My comments were based on
My comments were based on having read the whole book -- not this article. I wouldn't critique your work without having read it properly first.
And again, whatever you may have heard or read in another article or press release, Steve never had a studio in Tennessee. You completely missed a number of years when after living in England, Steve did not go to Tennessee, but back to Norway and a few other places, before the couple years spent in Tennesse.
The move to Washington was motivated, as Steve has said, by his wife wanting to get out of Tennessee (hot and dry) and go somewhere more like Norway. Steve had been to Washington briefly in his earlier years and liked it, and there was also an opening for a paramedic, and Steve being recently qualified, applied for the job. It was only after he injured his back and wasn't able to continue as a paramedic that he opened the guitar shop in Olympia. There was no master plan to take over the grunge scene.
Another key thing: in several places you hinge your argument and timeline on the notion that in Dog House Boogie, Steve says that he was homeless for 11 (eleven) years. "Eleven years of bumbling around" as you put it. I don't know where you got that idea from, but here are the correct lyrics from the original Dog House Boogie:
"I left home before I was 14 years of age / I figured I'd do it better on my own / well then followed a number of years of bummin' around / and livin' kinda hand-to-mouth / sometimes getting locked up and sometimes just going cold and hungry" -- yes, a *number* of years.
Out of curiosity, I listened to several other versions of the song, and he always says "a number of years". Either way, being skint in Haight Ashbury or wherever else, playing odd gigs and trying to be a musician still sounds a lot like "living hand to mouth / sometimes going cold and hungry".
You also point out that Steve then sings "I never really had me no school education" -- and use that to backup your surprise that he was a qualifed paramedic at one point. Bear in mind that Steve is singing about being 14 years old (roughly) and leaving home -- and at that time didn't have much education so didn't have many options. He's not saying that he never had any education in his whole life. The paramedic training was, what, several decades later?? Nevermind that I've heard Steve mention being a paramedic and firefighter (amongst many other random jobs) in interviews before -- so why you think this is such a big revelation, I really don't know.
Seems to me like you're just trying to make mountains out of molehills.
Do you like his music? Great, listen to it. If you don't, that's great too, but why try and spoil it for other people? For money? Attention? I really don't get it. The guy has worked hard, hasn't intentionally misled anybody (the UK press did that all on their own) and now has a measure of success, really for the first time in his life. I, for one, am happy for him.
I've kept myself anonymous
I've kept myself anonymous for the very simple reason that you clearly have zero respect for peoples' privacy and are willing to twist words and history to suit your own theories and/or for your personal gain. I want no part of that.
At any rate, you've clearly spent a lot of time on your book, and I'm sure you would happily argue anything I put forward, regardless of the facts, for as long as I have the energy. Frankly, I don't think you're prepared to accept any alternative reality to the one you've constructed, and as such, further debate isn't likely to be productive. With every error I've pointed out, you've essentially said that I'm trying to distract from the main issue -- but the main issue for me is that your book is littered with half-truths at best. The examples I used, are simply to prove the point -- that there are errors -- and if one fact is inaccurate, then how many others are as well?
At the end of the day, I happen to be in a pretty unique position to know with complete certainty that there are many fallacies throughout the book, both in the timelines and your assessment of Steve's character/motives, and I feel like it's important to put that little bit of truth out there.
Just as the press jumped on the hobo thing and virtually refused to print anything unrelated to that, I imagine now that the press could potentially take your book (or even worse, your summarised article/review of your own book -- rather unorthodox, that, by the way) and do the same.
The sense of entitlement/ownership that some writers seem to possess is truly astounding. As we speak, Steve's friend Jack White is going through a similar situation -- unauthorised biography full of all sorts of suprious claims (even claiming to have interviewed Steve about Jack!) What gives you (or any author) the moral right to publish an incomplete/inaccurate/unauthorised biography of a living person? Your intentional slander, or even just misguided errors, could have a real effect on a real live human being's professional and/or personal life. And we 're not talking about some unscrupulous billionaire businessman, or a political candidate running for office, but rather an artist/musician whose primary goal is to entertain and make others happy. But I don't imagine that crossed your mind during your little crusade...?
I just hope that the readers will use their common sense and understand that just because something is printed, doesn't make it so. Just as shoddy journalism and misquoted interviews started most of the misconceptions about Steve, your book, in trying to reveal the 'true' Seasick Steve, only really accomplishes the dissemination of more inaccurate/misleading information.
Again, I applaud your determination and commitment, and there are plenty of things in the book that are more or less accurate. It's also well written (though you should speak to your proofreader as there were several little typos). But a supposedly factual book that is only partly accurate (even if we're very generous and say 60% accurate and 40% inaccurate) is essentially worthless as a reference unless the reader, as in my case, knows the story already and can differentiate between the facts and conjecture.
Caveat lector
I've been a friend of Steve's
I've been a friend of Steve's since he's been Seasick. I made a couple of his stage instruments, took a few photos for his album packages, and ran his fan forum. I've spent time with Steve back stage at dozens of shows, on stage, and once or twice in private too.
I can't comment personally on Steve before Seasick. However, I have read, watched and listened to many interviews, and I recall him stating publicly that the popular image of his life's history is only one part of his story, indeed he's lamented that the media has often chosen to ignore other aspects of his life, propagating only the hobo edged aspects. It's only natural that Steve's official biog tells only the part of the story relevant to his audience today. If he told the whole story he'd no doubt need more than your 70,000 word biography to do so - not ideal for a brief press biog.
What I believe I can comment on with authority (having run his forum and known personally a sizeable number of his most loyal fans), is why Steve's fans are attracted to him, and why they remain loyal. Sure, Steve's authenticity is part of it. And really, does the fact that Steve spent only a proportion of his life homeless diminish that authenticity? I've been lucky enough never to have been homeless, but I'd imagine that if I had even a month living without my own roof over my head I'd be qualified to talk, and write songs about it for life.
But even putting authenticity to one side, I believe from countless conversations with them, that Steve's fans are loyal to him because of who he is today. They love his music and energy. They recognise his loyalty to his fans, and his unquestionable determination to play every show as if it's his last - ensuring everyone who's bought a ticket gets to see a top quality show. They value that Steve recognises many of his fans and knows more than a few by name, and will stop (even mid show) to say hello. A fact that has to my knowledge never been publicised, is that Steve has personally written to a number of his fans just to say thanks for their support - I know this to be fact as I have sourced addresses and posted notes out for him. This is just one example to illustrate his genuine affection and loyalty to his fans.
So to summarise, Steve's never made a secret of the fact he's done many more things in his life than sleep under a bridge (indeed he's sang about more than just homelessness). He has lived rough and thus, in my view, has all the credentials needed to write and perform songs about the experience. And in my experience, Steve's fans are more interested in the Steve they know today, his charm on stage, his loyalty, and above all his music.
Thank you, davey.
I feel a little sorry for
I feel a little sorry for both seasick and Matthew. for seasick mainly because anything that is or will be written about him are from clips of interviews and other writings. in the end it will turn into some sort of "Chinese whisper". I was going to buy Mr wrights biography on seasick, hence the reason why I feel sorry for him too, because the majority of people will read reviews on what they want to buy, and the first thing I wanted to know is, that this book is an actual account of seasicks life as if it was narrated by him and then written by Mr wright.
therein lies the solution to this dilemma. people often ask seasick in interviews about his past life and in one interview I saw on YouTube he sort of got tired of talking about this subject and wanted rather to discuss his new album. so why not get a truthful biography out to the world then when anybody asks about seasick history he can say. "wanna know about my past? then buy the book"
yours
Christian chappell UK hull
Who gives a shit about the
Who gives a shit about the anonymous wanker above or Seasick Steve? Made a few good songs, lot of his work is 'samey stuff' and you don't listen to it anymore after a while. Fact is that Steve's a lier and an actor but hey, downloading makes good for that. Next!
Seems that this column has
Seems that this column has not raised many comments and none since June. Hopefully Mr Wright will fade away and be forgotten quickly. If his claim to fame is as the guy that "exposed" Seasick Steve, they he deserves an amount of sympathy I suppose, sad man as he is.
Really should we be interested in times dates, who did what and when. Seasick Steve history has made him what he is, I was at Wembley last Friday and it was a brilliant night. If Seasick Steve decided to quit because of people like Mr Wright, what a loss that would be. If we loose Mr Wright I would be surprised if anyone would even notice. Enjoy your little bit of infamy Mr Wright, Then go away!
I too was at Friday's concert
I too was at Friday's concert and thought it was great. I hadn't read about his 'fakery' then and therefore was confused about him saying something about did his fans love him only for his image/past, or was it because he was so handsome and sexy. And of course saying he doesn't recognise himself in the paper sometimes. I understand now.If the book is true then of course many of his fans will be disappointed - as I am. But I've loved every minute of the 5 concerts i've been to and they inspire a seductive image of an old american past - true of him or not. My greatest feeling is pity for steve if his world comes crashing down. He always appears a unique, humble and lovely man. (Loved his put down of the scuffle at the concert). Can we predict his retirement now? And do these revelations have something to do with the cancellation of his Californian concert? Surely they know the truth over there anyway.
Having said all this, and being angry with Wright's exposure, steve should have been honest from the start. It was all going to catch up with him eventually. But still love you Steve - I always wished he would pick me to sing his ballad to.
Appreciate I'm a bit Late on
Whatever year he was born.
Whatever year he was born. Whatever is the truth. I love Steve's music and he seems a kind and good hearted man. We need more of this in our world! God bless him! That's what's important to me!

Question: who published an unauthorized biography of wold in 2016

Answer: Matthew Wright

who published an unauthorized biography of wold in 2016

Question: when did matthew wright write a biography about wold

Answer: 2016

when did matthew wright write a biography about wold

Question: what did matthew wright say about parts of wold's backstory

Answer: exaggerated

what did matthew wright say about parts of wold's backstory

Question: what did an unauthorized biography by matthew wright show about wold

Answer: Wold's backstory may have been exaggerated

what did an unauthorized biography by matthew wright show about wold

Question: what did matthew wright claim may have been exaggerated

Answer: Wold's backstory

what did matthew wright claim may have been exaggerated

Question: matthew wright presented evidence of what in 2016

Answer: unauthorized biography

matthew wright presented evidence of what in 2016

Question: what kind of biography did matthew wright write in 2016

Answer: unauthorized

what kind of biography did matthew wright write in 2016

Matthew Wright , " Seasick Steve – A Myth Unravels " , The Arts Desk , 7 June 2016 .

Retrieved 19 August 2019 Wright drew on interviews with Wold 's estranged eldest son as well as previously published material covering his career in music since the late 1960s , and commented that Wold was " retiring about facts of his own life " .

Seasick Steve - Ramblin' Man
John Blake Publishing, Jun 2, 2016 - Biography & Autobiography - 288 pages
I STARTED OUT WITH NOTHIN', AND I’VE STILL GOT MOST OF IT LEFT'.
It remains one of the most remarkable breakthroughs in music history. Until New Year's Eve, 2006, former hobo Steven Gene Wold, a 65 year-old blues musician, playing a beat-up, three-string guitar (aka The Three-String Trance Wonder, or 'the biggest piece of shit in the world') and stomping on a wooden box with a Mississippi motorcycle plate stuck on (aka The Mississippi Drum Machine), was hardly known outside his tiny community of fans. That performance of 'Dog House Boogie' before Jools Holland and his dumbstruck Hootenanny audience projected Seasick Steve into the big league. Dog House Music sold out overnight. 2007 brought a MOJO, Reading and Glastonbury, and 2008 worldwide success and his major label debut. The rest, as they say, is history.
Behind this unique and authentic performer's rise is sixty-five years of fascinating life story: he left home at thirteen to escape his stepfather's beatings, and his professional career only began after decades on the road. But blues guitar was in his blood: he learned from blues legend KC Douglas in his grandfather's garage. Part of Steve, the hollerin', stompin' blues, and the gorgeous homemade guitars (Jeremy Clarkson described Steve's Morris Minor hubcap instrument as the best use of a Morris Minor ever) is magical musical history. But he's also a modern, versatile musician, who can rock as hard as Dave Grohl, and who's rubbed shoulders with the likes of Janis Joplin, Joni Mitchell and Kurt Cobain. Larger than life, and a legend in his own lifetime – an incredible true story, told in this, the first full biography of Seasick Steve.

Question: who wrote the book 'Seasick steve - a myth unravels'

Answer: Matthew Wright

who wrote the book 'Seasick steve - a myth unravels'

Question: who did matthew wright draw inspiration from

Answer: Wold's estranged eldest son

who did matthew wright draw inspiration from

Question: when will matthew wright's seasick steve be released

Answer: 19 August 2019

when will matthew wright's seasick steve be released

Question: who did matthew wright interview in seasick steve

Answer: estranged eldest son

who did matthew wright interview in seasick steve

Question: in what decade did matthew wright begin writing about seasick steve

Answer: 1960s

in what decade did matthew wright begin writing about seasick steve

Question: who is matthew wright's estranged

Answer: eldest son

Question: where can i find matthew wright's "Seasick steve - a

Answer: The Arts Desk

where can i find matthew wright's "Seasick steve - a

Question: when was matthew wright's "Seasick steve - a myth un

Answer: 7 June 2016

when was matthew wright's "Seasick steve - a myth un

California Birth Index, 1905-1995.

Retrieved 14 August 2018

Sacramento , CA , USA : State of California Department of Health Services , Center for Health Statistics , Ancestry.com .

Perhaps a quick scan of the various slipcovers decorating the walls of Moon Music will give you a better idea of who Steve Wold is and why it's significant and more than a little bittersweet that he's packing it in after eight years of ear-bruising service in the sonic bunkers of the Northwest. Tacked to every available surface in this cozy Olympia-based recording studio--along with Wold's more personal and/or historically nostalgic memorabilia--are albums from Fitz of Depression, C Average, Murder City Devils, 764-HERO, Dub Narcotic, the Need, the Crabs, Tight Bros, Red Stars Theory, lots of early Modest Mouse.
The entire studio, both equipment-crowded and rec-room-comfortable, serves as an ad hoc museum dedicated to the genesis of the Olympia music scene, such as it is and was. A homey, almost atavistic authenticity presides here, as well as an aura of integrity, hard work, and a deep, abiding love of interesting and innovative music. Paul Allen can eat his gold-plated, grunge-in-amber heart out. This is where it's at, one of the unadorned trenches of local music production. Not for much longer, though. Sometime next June, the guts of Moon Music--amps, recorders, microphones, cords, mixing boards, everything--will be packed and stacked into a freighter bound for Europe, to be followed over air by Wold and his family.
"This is it," says Wold about his reasons for leaving. "I'm finished with America. I'm 50 years old now, and I've been watching greed play the main stage since I was a teenager. I just can't stand it anymore."
According to Wold, the albums hanging in his studio represent only a small portion of the bands he's captured over the years on all those thick black spools of analog tape. I ask him for a ballpark estimate. He hesitates. "I haven't really thought about that," he says. "Must be like 30 or 40 or 50, a lot of albums. Maybe more than that. I don't know what happens to a lot of them. It's hard to keep track. People come, make a record, and I never hear from them again.
"Some I never want to hear from again," he adds, laughing.
One band Wold has wanted to hear from again--and record one last time before he moves away--are the Tremens, a "totally refreshing" Seattle trio he's been hooked on ever since he saw them play a show in Olympia years ago. "With the Tremens," he says, "it was really like I heard them by accident. I just walked into this bar here in Olympia, and these guys were smokin'. I told them, 'If you guys ever want to record, I've got a studio and I'll be happy to record you.' Then they were told by other people that I wasn't just a bum.
"Well," he laughs, "I am a bum, but I wasn't just making it up totally."
The result of this chance meeting was the Tremens' first full-length album, belmont smiling racehorse downtown, a collection of brief but complex rock songs shot through with rapid-snap time changes, great guitar work, and a frenetic, jazzy energy. It didn't take much friendly arm-twisting for the band to convince Wold to record one last album before he left the country--a sort of coda to both a lasting friendship and to Wold's substantial stint as a producer for a multitude of great Northwest bands. Or maybe it's best to consider these final sessions as a quiet farewell to a somewhat reluctant local icon, the last, low-key hurrah of a guy who often seems genuinely amused, even surprised by the things he's seen and done over the last decade. (Like, for instance, going on tour as a backup guitarist for Modest Mouse.)
Wold began recording local bands shortly after he and his family moved from Europe--where he'd been running a studio--to Olympia in 1991. Whatever Wold's immediate plans had been at the time of relocation, they didn't include opening up another studio, at least not professionally. "I got sick of recording," he says. "It had been a few years, because I had sold my studio in Europe and I wasn't going to do it again."
Wold's resolve began to crumble--or maybe it's more correct to say his interest was revitalized--when musicians, in need of recording facilities and/or guidance, began seeking out his services. "I just got sucked in," he says, "and I was doing it again. You know, people started bringing bands around. Kathleen Hannah did some of the early stuff here. She brought something and Calvin [Johnson] brought Fitz of Depression.
"I didn't really know what this music scene was," he adds. "It was the pretty early days here. I just started doing little bands. There wasn't any real studio here."
Soon enough, and certainly to his mild disbelief, Wold was right back in business. One of the first Moon-produced albums to see release was a recording of a band Wold and Paul Shuster put together called Pez, the record coming out on London's Rough Trade label. There followed, according to Wold, "a never-ending stream of albums" that include, along with many others, early records by Modest Mouse, Satisfact, 764-HERO, and Murder City Devils.
"This studio has its little place in what it did here," Wold says about the long- term impact of Moon Music in this region. "I understand the history of it. I can see that for a period of time it was, you know, important. I enjoyed what was going on for a while, all the innovative bands. It was fun to record some of the early bands.
"This period of time in the Northwest over the last 10 or 12 years has been sort of a strange island in the history of recording, because before that it was all just big record companies paying for bands to go into studios. All of a sudden, you get this so-called indie scene where people, either through little record companies or by themselves, were doing something on their own. For a while, I had great hopes for it. But so many of those indie record companies were just like miniature major companies.
"I just think it ruined it for a lot of the bands themselves," Wold says. "It's the same amount of work to make a record for three or four thousand dollars as it is to make a record for a hundred thousand dollars. Every time an indie label would get successful, someone would buy them. It's just all the majors gobbling each other up."
Obviously, Wold has persisted, despite whatever success he's achieved, in championing such lesser-known bands as the Tremens, whom he considers one of the best around. "A lot of the bands that I have continued to really like over the years were the ones that were attitude-less," he says. "The bands that became famous, they've already got too many people waving flags about them. The bands that really have stuck in my heart are the people that came in and were groovin' being in [the studio]. Those are the ones I remember and I still really like."
In the studio, his love of the Tremens' music translates into an absolute concern with getting their sound right. His approach is both casual and entirely concentrated, unhurried yet always focused. When guitarist Quentin Ertel begins describing a particular guitar effect he has in mind, Wold sits silently, rocking back and forth in his chair, allowing him the full expression of his idea.
"He's a great listener," says Ertel. "He hears things that I would never hear.
"With him," he continues, "it's really sort of a performance-based approach to recording. It's all about the entire piece of music. It's very emotional."
"I've never had a recording experience remotely like this," adds bassist John Mitchell. "There's really something unusual and special about working with Steve."
The gap between the roles of producer and musician, in this instance, is virtually non-existent. It's a perfect collaboration, solidified by mutual respect and the bonds of a lasting friendship. "There's so many things about him that I admire," says Ertel. "He's just a remarkable person."
From a technical standpoint, a large part of Wold's appeal as an engineer rests in his paradoxical ability to obscure himself in the act of engaging his talents for reproduction--for lack of a better term, he serves the music. The consequences of such receptivity are made especially apparent when everyone listens back to the basic tracks, which were recorded in the space of a day, many being first takes. Even in roughest form, the songs sound amazing: clean, full, heavy, crackling with the energy of a live performance. Everyone is really happy with what's happening. Everyone smiles. At one point, Wold, stepping outside for a cigarette, tells Mitchell that "this is the most kick-ass record that's ever come out of Moon studio." High praise.
And, as has been said, it will be the last record that carries with it the imprint of Moon Music. "It's really home to us," Mitchell says of the studio. "It's where we started. It's where we came from."
"One thing I can say about Steve," says Ertel. "Obviously I'd love the opportunity to keep making records and work with other producers, but if that never happened, I'd be perfectly thrilled to have only recorded with him.
"I'm really sad that he's moving away," he says.

Question: when was the california birth index created

Answer: 1905-1995

when was the california birth index created

Question: when was the california birth index last updated

Answer: 14 August 2018

when was the california birth index last updated

Question: where can i find the california birth index

Answer: Ancestry.com

where can i find the california birth index

Question: what is the state of california birth index

Answer: California Birth Index

what is the state of california birth index

Question: what does the state of california department of health services use

Answer: Center for Health Statistics, Ancestry.com

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Question: who publishes the california birth index

Answer: Center for Health Statistics

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Question: what is the state capital of california

Answer: Sacramento

In 1976 , he worked with French producer Lee Hallyday and fronted the disco group Crystal Grass .

Leach appeared on two Crystal Grass albums released by Philips Records in France , Dance Up a Storm and Ocean Potion , the latter credited to Steve Leach with the Crystal Grass Orchestra .

Crystal Grass
Profile:
French disco group.
Led by producer Lee Hallyday.
Led by producer Lee Hallyday.
Members:
Variations:
Albums
|6325 164||Crystal Grass||You're All I Ever Dreamed Of (Album)||Philips||6325 164||Italy||1974||Sell This Version|
|9120 159||Crystal Grass Featuring Steve Leach||Crystal Grass Featuring Steve Leach - Dance Up A Storm (Album)||Philips||9120 159||Greece||1976||Sell This Version|
|9120 156||Steve Leach With The Crystal Grass Orchestra*||Steve Leach With The Crystal Grass Orchestra* - Ocean Potion (LP, Album)||Philips||9120 156||France||1976||Sell This Version|
|7102 680||Crystal Grass With Kristi B.*||Crystal Grass With Kristi B.* - Love Train (Album)||Philips||7102 680||Spain||1978||Sell This Version|
Singles & EPs
|6009-620||Crystal Grass||Crystal World / Love To Dance This One With You (Single)||Philips||6009-620||Canada||1974||Sell This Version|
|PD 15109, 2066 603||Crystal Grass||She's Got The Style To Love Me||Polydor, Polydor||PD 15109, 2066 603||US||1974||Sell This Version|
|6009 515||Crystal Grass||Crystal World (Single)||Philips||6009 515||Greece||1974||Sell This Version|
|6837 237||Crystal Grass||You're All I Ever Dreamed Of (Single)||Philips||6837 237||France||1974||Sell This Version|
|PD 15109||Crystal Grass||Love To Dance This One With You (7", Single)||Polydor||PD 15109||US||1974||Sell This Version|
|6837 309||Crystal Grass||I Sure Like The Change / Dream On (Single)||Philips||6837 309||France||1975||Sell This Version|
|6042175||Crystal Grass||Fio Maravilha - Taj Mahal / Lemme See Ya Gitcher Thing Off, Baby Hustle (Single)||Philips||6042175||Greece||1975||Sell This Version|
|6009618||Crystal Grass||I've Got The Music In Me (7")||Philips||6009618||Greece||1975||Sell This Version|
|SFL-2057||Crystal Grass||Lemme See Ya Gitchyer Thing Off, Baby (Hustle) / Crystal World (7", EP)||Philips||SFL-2057||Japan||1975||Sell This Version|
|6042 181||Crystal Grass||You Can Be What You Dream (Single)||Philips||6042 181||France||1976||Sell This Version|
|SFL-2382||Crystal Grass||Hot Love In Spain (Single)||Philips||SFL-2382||Japan||1978||Sell This Version|
|6042 408||Crystal Grass With Kristi B.*||Crystal Grass With Kristi B.* - Arrivederci Roma||Philips||6042 408||Italy||1978||Sell This Version|
|SFL-2298||Crystal Grass||California Summer = カリフォルニア・サマー (7")||Philips||SFL-2298||Japan||1978||Sell This Version|
|AS 5000 481||Crystal Grass With Kristi B.*||Crystal Grass With Kristi B.* - Arrivederci Roma / What Now My Love "Et Maintenant" (7", Promo)||Philips||AS 5000 481||Italy||1978||Sell This Version|
|6010 634||Crystal Grass||You Can Be What You Dream / You're All Ever Dreamed Of (7", Single, RE)||Philips||6010 634||France||1983||Sell This Version|
|none||Crystal Grass / Jimmy Castor||Crystal Grass / Jimmy Castor - Crystal World / E - Man Boogie||Angel Sound||none||US||Unknown||Sell This Version|
|Acetate||Barrabas / Crystal Grass||Barrabas / Crystal Grass - Hi-Jack / Crystal Grass (Acetate, 10", TP)||Angel Sound||Acetate||US||Unknown||Sell This Version|
Compilations
|9101 240||Crystal Grass||A French Disco Super Star Production (Comp)||Philips||9101 240||France||1979||Sell This Version|
Add Review

Question: who did steve leach work with in 1976

Answer: Lee Hallyday

Question: in what year did steve leach front crystal grass

Answer: 1976

in what year did steve leach front crystal grass

Question: steve leach fronted which disco group in 1976

Answer: Crystal Grass

steve leach fronted which disco group in 1976

Question: what was the name of steve leach's first crystal grass album

Answer: Dance Up a Storm

what was the name of steve leach's first crystal grass album

Question: crystal grass albums were released by what label in france

Answer: Philips Records

crystal grass albums were released by what label in france

Question: what were steve leach's two crystal grass albums called

Answer: Dance Up a Storm and Ocean Potion

what were steve leach's two crystal grass albums called

Question: who fronted the crystal grass orchestra

Answer: Steve Leach

The group also released several singles including " You Can Be What You Dream " .

Thomas Smith , " Let ’s All Listen to Seasick Steve ’s 1970s Disco Group " , NME.com , 30 September 2016 .

Retrieved 19 August 2019 He also sang on the first album released by Mike Love 's side project Celebration , a collaboration with members of the Paris - based band King Harvest .

More images
|Label:||Pacific Arts – PAC7-122|
|Format:|
Vinyl, LP, Album
|Country:||US|
|Released:|
|Genre:||Rock, Pop|
|Style:||Pop Rock|
|A1||Gettin' Hungry|
Words By, Music By – Brian Wilson, Mike Love
|4:29|
|A2||Sailor|
Music By – Ron Altbach
Words By – Dave Robinson (7)
|3:04|
|A3||Lovestruck|
Music By – Ron Altbach
Words By – Eddie Tuleja*
|3:25|
|A4||She's Just Out To Get You|
Words By, Music By – Mike Love
|3:09|
|A5||I Don't Wanna Know|
Words By, Music By – Mike Love
|3:31|
|B1||Starbaby|
Words By, Music By – Mike Love
|4:31|
|B2||Go And Get That Girl |
Music By – Ron Altbach
Words By – Eddie Tuleja*
|3:05|
|B3||How's About A Little Bit|
Words By, Music By – Brian Wilson, Dianne Rovell*, Mike Love, Ron Altbach
|2:33|
|B4||Song Of Creation|
Music By – Ron Altbach
Words By – Dave Robinson (7), Ron Altbach
|2:56|
|B5||Country Pie|
Music By – Ron Altbach
Words By – Eddie Tuleja*
|3:13|
|Title (Format)||Label||Cat#||Country||Year|
New Submission
|Celebration (LP, Album)||Metronome||0060.233||Germany||1978|
New Submission
|Celebration (LP, Album)||Stetson Records||SRLP 10||New Zealand||1979|
New Submission
|Celebration (LP, Album)||Killroy||KIL 19945 KL||Netherlands||1980|

Question: what is the name of mike love's side project celebration with

Answer: King Harvest

what is the name of mike love's side project celebration with

Question: what is the name of mike love's side project

Answer: Celebration

what is the name of mike love's side project

Question: who sings you can be what you dream

Answer: Mike Love

Question: what is the name of Seasick steve's first number one single

Answer: "You Can Be What You Dream

what is the name of Seasick steve's first number one single

Question: who sings you can be what you dream with seasick steve

Answer: Thomas Smith

who sings you can be what you dream with seasick steve

Question: what website is thomas smith on

Answer: NME.com

Question: when does seaick stevens album come out

Answer: 19 August 2019

159-160 and recordings by the band P.E.Z. on which he played guitar.

159 - 160 and recordings by the band P.E.Z. on which he played guitar .

He also worked closely with a local band , the Tremens , and with them started to form a band , Dr Steel and the Forty - nines , with himself as singer and lead guitarist , but this fell through .

by Craig Young
|
There's a quality to The Tremens that you don't find very often in the music world today: an ability to take their music seriously while still being able to inject some noticeable fun and humor into the process. In a musical day that, on the national level, showcases both the chest beating apes of nu-metal and the Barbie Doll sex of bubblegum pop, and, in the local scene, the shoe-gazing too-cool-for-you indie sounds, it's difficult to find an honest band with these qualities.
|
But it's a quality that's not gone unnoticed. Pacific Northwest music icon Steve Wold, who has put his recording stamp on some of the most influential bands to come out of Puget Sound, speaks highly of The Tremens. Commenting before his recent move to Europe, Wold said that the band was the one he'd miss the most, and the one he'd always hope to work with again. That's no lightweight compliment, friends. Their music is reminiscent of the tightly wound jazz-as-told-through-punk-on-a-surfboard sound of '80s seminal punksters the Minutemen, with singer/guitarist Quentin Ertel's lyrics focusing on girlfriends, his dog, and his house instead of D. Boon's (R.I.P.) political manifestos, but the end result is identical: fast, fresh and fun--with the live setting the place to best absorb the band's sound.
I first met Quentin a year ago at Seattle's Luau, where he tends bar. On the eve of moving to New York, nursing the warm comfort of several Bushmills, and watching a friend's hand suddenly erupt without rhyme or reason in a bloody stigmata, Quentin introduced me to his band's sound as we exchanged our mutual admiration for Minutemen bassist Mike Watt. [Click here to read Craig's Mike Watt interview. --Ed.] A year and two Tremens' album later, I had the opportunity to sit down again with Quentin--along with bassist John Mitchell and drummer Curtis Andreen--to discuss his band's music.
Things open up with a round of beer and a round of questionable jokes
Quentin Ertel: Why do guitar players keep drumsticks on the dashboards of their vehicle?
Why?
Quentin: So they can park in the handicap zone.
Ha ha! That one sounds familiar.
Quentin: Yeah, I picked that up from Chunklet.
How many lead singers does it take to screw in a light bulb?
Quentin: How many? Just one. He holds it up and the world turns around him.
Everyone: Ha ha ha ha!
Hey, how many indie rockers does it take to screw in a light bulb?
Curtis Andreen: How many?
[In a condescending tone] You mean you don't know?
Quentin: That's a great one!
I've been hitting a lot of all-ages shows lately and they seem to be pretty fertile places for light bulb jokes. Anyway, let's talk about the history of The Tremens and how you three got to where you are now, which is here at the seedy-but-blue-collar-comfy of Leny's Tavern.
Curtis: Quentin and I were in a group called Toothpaste 2000. I was filling in with that band for awhile because they needed a drummer. Quentin and I found musical similarities with each other that we didn't have with the other members so we just kinda split off and did our own thing. He was really into tight, funky guitar rhythms and I just locked in on that.
Quentin: It became apparent really quickly that Curtis and I clicked. [Toothpaste 2000] were great at what they did, but it was pretty much a straight ahead Brit pop band.
Quentin: So we packed up our gear one day and moved it into [John] Mitchell's basement and set about playing our own stuff. We had a few ideas but no songs.
[To John Mitchell] How did they end up playing in your basement?
John Mitchell: Quentin was working with me at Shaky Records, and Curtis I knew because we played in a band together years before. He and I are old friends, and Quentin and I met when Curtis joined Toothpaste 2000. Curtis and Quentin became fast friends and we just hit it off from there.
So you decided to start a band together and fuck all that good friends stuff up?
Quentin: Yeah. Nah, actually I think we're really lucky. If we weren't playing music together, we'd all still be hanging out together. Curtis and I were playing in Mitchell's basement and he'd come down and play with us for awhile before running back upstairs. We would egg him on to join the band; dangle little carrots out there even though we really had nothing to offer him even though we didn't even have a show, much less any songs.
photo by craig young
|
Curtis: We didn't even have any carrots!
|
Mitchell: I was in Dyke Van Dick at the time.
Quentin: We tried out bass players and everyone was horrible. So I called him up one night when I was shit-faced drunk and said, "Hey, man...you're going to be our bass player, dammit!"
How do you go about the songwriting process? Does everyone contribute equally?
Curtis: Oh, yeah. It's pretty equal.
Mitchell: It's Curtis and Quentin, really.
Curtis: Nah...it isn't.
Quentin: One of the things Curtis and I decided when we started this is that we wanted to have a band that didn't have rules, because we had just come from a situation where we were tired of dealing with that. So sometimes Curtis will come up with an idea on bass and I'll change it, then Mitchell will add to it, I'll change the guitar part and Curtis will add something else.
Mitchell: My writing is simple, straight ahead stuff. [Gesturing towards Curtis and Quentin] These guys write interesting, musically challenging pieces.
Huh, that's interesting because the bass lines in most of your songs are rather intricate.
Mitchell: Most of them are written by Curtis.
Wait, isn't Curtis the drummer? Are drummers allowed to do that?
Mitchell: He has an amazing ear for music--better than mine. My whole thing about bass is: don't be noticed. In this band I'm really a guitar player playing bass. When I first moved to Seattle I played bass because every band always needed one. So I've always struggled to separate guitar from bass, because the stuff I listen to and the stuff I emulate is very, very different from the stuff Curtis writes for bass. All the intricate bass lines in this band are written by him or Quentin, so I can't really can't claim much responsibility for what I play. Heh heh.
Quentin: That's not true, you've thrown down your own stuff, you're just a modest gentleman about it.
I was really blown away the first time I saw the band play live. There's a noticeably intense style, but when you listen closely to the different parts of the songs there's all sorts of clever little care-free hooks to get yourself hung up on. It seems there's as much importance put on making a strong presence with the song as there is to making sure you don't take yourselves too seriously in the process. How much of that is a crafted, conscious effort, and how much of it is just the way things turn out?
Curtis: You totally nailed it.
Quentin: Some songs on our records are ideas that I four-tracked years ago. Some songs we just came up with on the spot. We don't take ourselves too seriously, but we are serious about what we do. It's fun to write music that's interesting to play but that other people can enjoy too.
Not get stuck too far up your own ass.
Mitchell: Yeah. I mean if you want to watch someone jerk off onstage, you can go to Champ's Arcade.
Ha ha ha! Yeah, that levity shows up in a lot of the song titles you have: "Don Karaoke," "Crack Puppy," "Can of Ass." And the title of the new album: Lipsicate. Where does that come from? What does the word mean?
Curtis: It's Quentin's.
It's a Quentinism?
Quentin: Yeah. That was just something that popped into my head. I have a writing background, so I get excited about words. When "lipsicate" popped into my head I thought, "This is great!" I ran to the dictionary and didn't find it listed and said, "Perfect!" So it's not a word, per se.
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Was it the sound that turned you onto it? It flows off the tongue nicely.
|
Quentin: It was an idea as a lyric first, and it just sort of worked. I was also under extraordinary pressure at the time to come up with lyrics because we had about a week's notice before we were to go into the studio and record the new album.
Tying into the issue of balance between seriousness and levity, how much work do you put into lyrics as opposed to the music?
Quentin: A lot of the lyrics just come out when I sit down. What rhymes with this, what idea works with that. Boom, boom, boom...and it's all there. The music always comes first. And a lot of that comes from doing so much writing and having it be such a tortuous process where you sit in a room for six hours and at the end you have three sentences.
Oh, how I know that feeling so very, very well...
Mitchell: But all of your writing is very real in regards to your current life. Most of the words are about your girlfriend or your dog.
Quentin: Yeah...or my house!
Let's talk about Shaky Records, its history, and how it intertwines with the band.
Mitchell: I was working for Tower Records for a long time and hadn't played or written any music in awhile. A friend of mine that I had played in bands with in college had a new band called the Hate Fuck Trio from Denver. I had been toying with the idea of starting a label and I got home from work one night and there was a tape of a demo he had done. I listened to it that night and thought "Holy fuck...this is awesome!"
Quentin: The first time I heard that Hate Fuck Trio tape I was amazed.
Mitchell: It was just so different from anything else I'd heard before. They had put out a seven-inch on their own of a couple of the songs from the demo, and I thought this was the perfect opportunity for me to start my own label.
Because the idea had popped into my head some time ago to start a label, I had gone and worked for a couple of labels--C/Z and Empty--in my free time. Both of those labels were very different with their approach to the business. I went back home to New York and got a few people interested in the idea, raised some money, and started putting out Hate Fuck Trio records.
How long ago was that?
Mitchell: Shaky Records was officially incorporated on Friday the 13th--September 13, 1996. When my lawyer called me to tell me it had been incorporated on Friday the 13th I didn't quite know how to take it...so I just took it as a stroke of good luck.
[Laughs all around]
Mitchell: But anyway, when I met Quentin we had talked about it very briefly. I asked him if he was into it, which he was, and that was when we became Shaky Records.
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Question: what was the name of the band the tremens and the treens formed together

Answer: Dr Steel and the Forty-nines

what was the name of the band the tremens and the treens formed together

Question: what local band did p.e.z. work with

Answer: the Tremens

Question: what instrument did p.e.z. play

Answer: guitar

Question: what band did taylor play guitar for

Answer: P.E.Z.

Question: what was the name of the band the forty-nines formed with p.e

Answer: Dr Steel

what was the name of the band the forty-nines formed with p.e

Question: what was the name of the band that he played guitar with

Answer: P.E.Z

what was the name of the band that Seasick Steve played guitar with

Question: what was the name of dr steel's band

Answer: Forty-nines

He said at the time: "I'm finished with America.

He said at the time : " I 'm finished with America .

I 'm 50 years old now , and I 've been watching greed play the main stage since I was a teenager .

Question: what was the main stage of his speech

Answer: greed

Question: how old was johnson when he said he was finished with america

Answer: 50

how old was johnson when Seasick Steve said Seasick Steve was finished with america

Question: what country did he say he was finished with

Answer: America

what country did Seasick Steve say Seasick Steve was finished with

Question: how old was kanye when he said he was finished with america

Answer: 50 years old

how old was kanye when Seasick Steve said Seasick Steve was finished with america

Question: when was greed first played on the stage

Answer: teenager

when was greed first played on the stage

Question: how old was he when he said he was finished with america

Answer: 50 years

how old was Seasick Steve when Seasick Steve said Seasick Steve was finished with america

Question: what statement did he make about america at the time

Answer: I'm finished with America

what statement did Seasick Steve make about america at the time

Wold toured early in 2008 , playing in various venues and festivals in the UK .

From Joni Mitchell to Nick Cave to Modest Mouse, Seasick Steve has fans in them all
Which musician nominated for Best International Male Solo Artist at the upcoming Brit Awards can you see getting down and dirty at a blues festival, and in an intimate club setting this coming April? Neil Diamond? Nope. Jay-Z? I don’t think so. Kanye West. Aw, hell no! The nominated artist visiting our shores is none other than the blues belting, dungaree wearing, Jack Daniels swigging, one and only Seasick Steve.
Already announced as part of the 20th Anniversary line up for the Byron Bay Bluesfest and the West Coast Blues n Roots Festival, today Chugg Entertainment is thrilled to announce that the stand out musical discovery of 2008 is going to be playing two very
special sideshows of his own in Sydney and Melbourne.
The tour will closely follow the release of his second album, ‘I Started Out with Nothin and I Still Got Most of It Left’. Since its release in the UK in September of last year it has already sold over 100,000 copies and includes appearances by Nick Cave, KT Tunstall and Ruby Turner.
Seasick Steve will be heading back to Byron Bay to kick off his 2009 tour, helping to open Bluesfest in style on Thursday 9 April and then hitting the stage again on Saturday 11 April. From there he heads down to Melbourne for the first of his sideshows, performing at the Corner Hotel on Monday 13 April. The tour will then take Steve to Sydney’s Metro Theatre on Wednesday 15 April, before finishing off on
Saturday 18 April, at the West Coast Blues n Roots Festival in Fremantle.
Steve Wold (better known as Seasick Steve) plays old-time beat-blues music from a life on the street and on the road, having been kicked out of home at the age of 13. Before becoming a professional musician, Steve was a carnie, a cowboy and a migrant worker.
In the sixties he started touring and performing with fellow blues musicians, and in the nineties he worked quietly as a recording engineer and producer. The quiet times have passed and it’s been a big couple of years for Steve. After he made his first UK television appearance on Jools Holland’s ‘Annual Hootenanny’ BBC TV show in 2006 he went on to win the 2007 MOJO Award for Best Breakthrough Act – no
mean feat at the ripe old age of 66 (ish). That same year he was invited to a number of large UK festivals (including Glastonbury, Reading and Leeds Festivals), which resulted in him playing the most UK festivals of any act in that year.
I
n the UK, his debut solo album, ‘Dog House Music’, has sold 140 000 copies since its release in 2006, and ‘I Started out with Nothin’ and I Still Got Most of It Left’, made it into the Top 10 in 2008, around the same time that he played to a capacity crowd at London’s illustrious Albert Hall.
To top it all off, now, in 2009, he has been nominated for a Brit Award for Best International Solo Male, putting him in the same company has such superstars as Bruce Springsteen, Bob Dylan and Justin Timberlake. This time last year the question on everybody’s lips was “who the hell is Seasick Steve?”. This year the question you should be asking is “how the hell can I get tickets?!”
Do yourself a favour and do NOT miss this amazing man in action, tickets on sale now!
13 April – Melbourne, The Corner Hotel
Tickets on sale through Corner Box Office
http://www.cornerhotel.com or 03 9427 9198
15 April – Sydney, Metro Theatre
Tickets on sale through Ticketek
http://www.ticketek.com.au or 132 849

Question: when did wold start touring the uk

Answer: 2008

Question: where did wold play in 2008

Answer: the UK

Question: where did wold play in the uk

Answer: festivals

Question: where did wold tour in 2008

Answer: the UK.

In 2009 , Wold was nominated for a Brit Award in the category of International Solo Male Artist , That same year , BBC Four broadcast a documentary of Wold visiting the southern USA entitled Seasick Steve : Bringing It All Back Home .

Seasick Steve: Bringing It All Back Home
Documentary which joins ex-hobo and festival favourite bluesman Seasick Steve on a trip back to the juke joints, roadside diners and freight-train yards of America's Deep South.
Documentary which joins former hobo and festival favourite bluesman Seasick Steve on a trip back to his old stomping grounds in America's Deep South. Filmed in Mississippi and Tennessee, the programme follows the musician into his natural habitat of run-down juke joints, roadside diners and freight-train yards, as he reflects on his past life and recent rise to fame.
In addition to Steve's raw, stomping tunes, the soundtrack features Mississippi Fred McDowell, Robert Johnson, RL Burnside and BB King.
Clips
Introducing Seasick Steve
Duration: 01:04
Seasick Steve on Beale Street
Duration: 01:04
Music Played
Timings (where shown) are from the start of the programme in hours and minutes
Robert Johnson
Crossroads Blues
Sonny Terry
Whoopin' The Blues
Robert Johnson
Crossroads Blues
Mississippi John Hurt
Frankie
Cedric Burnside & Lightnin' Malcolm
She Don't Love Me No More
Seasick Steve
Hobo Low
R.L. Burnside
Come On In Pt. 3
Seasick Steve
Walking Man
Seasick Steve
Chiggers
None
Deleted Record
Seasick Steve
Yellow Dog
Jimmy Witherspoon
Ain't Nobody's Business
Seasick Steve
Falling off a Rock
Seasick Steve
Last Po' Man (Re-mix)
B.B. King
You Done Gone Lost Your Good Thing Now

Question: which bbc station showed a documentary of wold visiting the southern usa

Answer: BBC Four

which bbc station showed a documentary of wold visiting the southern usa

Question: in what year was seasick steve nominated for a brit award

Answer: 2009

in what year was seasick steve nominated for a brit award

Question: what award was wold nominated for in 2009

Answer: Brit Award

what award was wold nominated for in 2009

Question: what was the name of the documentary shown by bbc four about british solo

Answer: Seasick Steve

what was the name of the documentary shown by bbc four about british solo

Question: in which category was wold nominated for a brit award

Answer: International Solo Male Artist

in which category was wold nominated for a brit award

Question: what nationality was seasick steve

Answer: Brit

Question: where did seasick steve bring it all back home

Answer: southern USA

where did seasick steve bring it all back home

Question: what was the name of the documentary shown by bbc four about september w

Answer: Seasick Steve: Bringing It All Back Home

what was the name of the documentary shown by bbc four about september w

I got it from Sherman , who is a friend of mine down in Mississippi , who had bought it down at a Goodwill store .

When we were down there last time he says to me , ' I did n't tell you when you bought it off me , but that guitar used to be haunted ' .

Not only is hobo bluesman Seasick Steve the most unlikely music star to emerge in the last decade, you also couldn’t hope to chat with a more genial and down to earth character. The easygoing troubadour’s new album I Started Out With Nothin’ And I Still Got Most Of It Left finds Steve once again spinning yarns about his remarkable past while he slides and plucks his way through a raggle-taggle selection of beaten guitars. Steve has returned to Australia for an encore performance at the Byron Bay Bluesfest after an amazing debut in 2008. Now aged in his 60s, Seasick Steve’s biography reads like a blues version of Forrest Gump. After riding trains across his homeland of the US in the ‘60s and hanging out with Janis Joplin in San Francisco, Steve spent part of the ‘70s fending off vagrancy charges in France before meeting his Norwegian wife. Moving to Olympia, Washington, in the late ‘80s, Steve crossed paths with Nirvana’s Kurt Cobain on multiple occasions. “When I moved to Olympia, Kurt was living there and I’d run into him and stuff,” Seasick Steve states. “I know from the outside how it looks, but to me it seems that if you happen to live in these places it’s no big deal. It was a very small music scene in Olympia and everyone who lived there knew Kurt real well. He was in a band just like everyone else, except his band got famous. “And when I was living in San Francisco in the ‘60s, if you lived in Haight[-Ashbury] everybody knew Janis. Those bands lived in a three or four block area, a small neighbourhood there in Haight. All the bands lived there – the [Jefferson] Airplane, The [Grateful] Dead, Big Brother… you could just go to anyone’s house you wanted to, or they’d be down at the bar or the theatre. “It wasn’t that mysterious to know these people,” Steve chuckles. Since his pivotal 2006 appearance on UK music program Later… With Jools Holland, Seasick Steve has found himself becoming hot property despite his appearance having more in common with a 1940s potato farmer than a rock star. The affable storyteller finds it difficult to believe his authentic and glitz-free tunes about life on the road have found such a large audience. Now based in the UK, Steve’s most recent sell-out tour packed fans into iconic venues such as London Hammersmith Apollo and Royal Albert Hall. “It’s pretty strange. I still get this feeling when I’m sitting in the backstage area that no one’s gonna come tonight. Even when I walk out there, every time I’m real surprised. When you’re young you might take this stuff for granted, but me – I don’t take anything for granted. I would have been a complete idiot if this’d happened when I was young, I’m pretty sure. I wouldn’t have minded having some money earlier on, since we’ve been pretty poor bringing up five children, but that’s just the way it goes.” After meeting Nick Cave at the Mojo Awards last year, Seasick Steve invited Grinderman to collaborate on his new album’s track Just Like A King. “The girl that was doing the press for the little label I was on around that time married Jim [Sclavunos] the drummer, so I guess he had come and seen me. I’d never heard of their band, but I loved them. I thought they was amazing and when it came time to do my record I think that gal again asked them if they wanted to play. They just kill me – I love them.” Despite I Started Out With Nothin’ And I Still Got Most Of It Left being recorded on a Norfolk farm, Cave, Sclavunos and violinist Warren Ellis all turned up wearing their trademark suits. “It was this old farmhouse way out in the country and they showed up looking like ‘70s pimps. I was like, ‘Why you guys all dressed up for?’ and Nick says, ‘We always dressed up all the time’.” I can’t imagine you would have worn a suit since your wedding day, Steve? “I didn’t wear no suit on my wedding day!” Steve splutters. “Me and my wife got married on the front lawn of a courthouse in California, where they’ve got these retired judges who just come down and marry you. “My wife Elizabeth is here with me in Australia now. We realised at one point that this is it now – if we don’t spend time together now then when will it be, you know? We’re just trying to have a life and we do it together.” Seasick Steve attributes much of his unlikely success to his cheap and weather-beaten guitar, The Trance Wonder. Steve reveals the guitar’s mojo might come from supernatural sources. “I got it from Sherman, who is a friend of mine down in Mississippi, who had bought it down at a goodwill store. When we were down there last time he says to me, ‘I didn’t tell you when you bought it off me, but that guitar used to be haunted’. I say, ‘What are you talking about, Sherman?’. He says, ‘There’s 50 solid citizens here in Como who’ll tell you this guitar is haunted. It’s the darnedest thing – we’d leave it over in the potato barn and we’d come back in and it would be moved. You’d put it down somewhere and the next morning you’d come back and it would have moved. When you took that guitar the ghost in the barn left’. He told me this not very long ago and I said to him, ‘Sherman! Why didn’t you tell me this before?’ and he said, ‘Well the ghost was gone – I didn’t want it around here no more!’” Seasick Steve plays Byron Bay Bluesfest on Thu Apr 9 and Sat Apr 11. I Started Out With Nothin’ And I Still Got Most Of It Left is out now through Warner.

Question: where did the guitar come from

Answer: Sherman

Question: where did sherman get his guitar from

Answer: Mississippi

Question: what does the guitar used to be

Answer: haunted

Question: where did sherman buy the guitar

Answer: Goodwill store

Question: what instrument did sherman buy that used to be haunted

Answer: guitar

what instrument did sherman buy that used to be haunted

Question: why did sherman tell me when he bought it off

Answer: guitar used to be haunted

why did sherman tell me when Seasick Steve bought it off

I say, 'What are you talking about, Sherman?'.

I say , ' What are you talking about , Sherman ? ' .

Question: what did sherman say the guitar used to be

Answer: haunted

what did sherman say the guitar used to be

Question: how did sherman describe his guitar

Answer: haunted'

Question: who said the guitar used to be haunted

Answer: Sherman

Question: why did sherman tell me he bought a guitar

Answer: guitar used to be haunted

why did sherman tell me Seasick Steve bought a guitar

Question: when did sherman tell me about his guitar

Answer: When we were down there

when did sherman tell me about his guitar

Question: what used to be haunted

Answer: that guitar

Question: who said what are you talking about, sherman

Answer: Sherman?

who said what are you talking about, sherman

A similar guitar was made out of Hudson Terraplane hubcaps , one of them given to him by Jack White , referring to " Terraplane Blues " by Robert Johnson .

Seasick Steve performs at Bluesfest
FIVE years ago Seasick Steve made his British television debut. Steven Wold (Seasick) played on the Jools Holland show and found himself with a legion of fans.
Central Queensland
Don't miss out on the headlines from Central Queensland. Followed categories will be added to My News.
FIVE years ago Seasick Steve made his British television debut.
Steven Wold (Seasick) played on the Jools Holland show in the UK and found himself with a legion of fans the next day.
At the time he was nearing 70 years old and had recorded his debut album two years earlier after recovering from a heart attack.
"After I got sick my wife encouraged me to play," he says.
"She wanted me to record some of the songs I'd been playin' my whole life.
"I think she thought I wasn't going to live much longer.
"I also think she wanted to give me something to do."
A friend of his from England, who ran a label and drove bands around, passed on the recording to a band he was driving to the Jools Holland show.
"I think what he said was 'you should check this guy out because he ain't gonna be round for long," Seasick says in his thick Southern accent.
Before he knew it he was playing on the show, but he was far from happy with the performance.
"It's kind of horrible to me," he says.
"I couldn't hear myself, it was a disaster to me.
"It was only when I got done throwing my guitar down and everyone was cheering.
"I certainly didn't think much about it."
Whatever he thought of it, Seasick has been touring ever since including sellout shows (including London's Royal Albert Hall) and festival slots around the world.
He's now signed to Jack White's Third Man Records, who recorded his fifth album, You Can't Teach An Old Dog New Tricks.
White gave Seasick a hubcap on the way out of the studio one day, which he later made into a guitar.
"It's from a Hudson Terraplane," Seasick says.
"I have no idea why he had it or why he gave it to me.
"Maybe because I was playing Terraplane blues.
"As I was walking out the door he just handed it to me."
As his name became better known, Seasick says people suddenly started asking him to play all the time and as he didn't have any hubcap guitars on him one day, he decided to make one with the hubcap White gave him; as well as a garden hoe and a barbecue spatular.
After making instruments his whole life, and thinking nothing of it, he is still surprised when people are impressed by his handy work.
"I don't really make anything very good," he says.
"Nobody ever cared before. No one was asking me to play.
"But after I started getting better known people are like, 'wow'. They're not so wow at all.
"Most of the time it's a real challenge to play them; they keep me awake that's for sure."
Though he lived most of his life in America, Seasick became well known in Europe, where they started questioning his back story.
Weaved through his bluegrass, country, blues and folk, Seasick sings about his struggles, including living on the streets.
So how did he feel about people questioning his life?
"I don't give a shit," he says.
"You know it's the funny thing, in America it's nothing special to have a life wandering around. But in Europe they don't do that.
"No one ever cared what I did in my life. Yeah, I sing about being a bum - well, I was a bum.
"I don't care what they say. I couldn't believe anyone was listening to me."
Seasick Steve plays Bluesfest on the Saturday and Sunday of the festival.
Bluesfest is on at Tyagarah Tea Tree Farm April 5-9.
For the line-up and ticketing head to bluesfest.com.au.
Originally published as Seasick Steve performs at Bluesfest

Question: who made a guitar out of hudson terraplane hubcaps

Answer: Jack White

who made a guitar out of hudson terraplane hubcaps

Question: what was jack white's guitar made out of

Answer: Hudson Terraplane hubcaps

what was jack white's guitar made out of

Question: who wrote terraplane blues

Answer: Robert Johnson

Question: what instrument was made out of hudson terraplane hubcaps

Answer: guitar

what instrument was made out of hudson terraplane hubcaps

Question: jack white's guitar was made out of hudson terplane hubcaps. what

Answer: Terraplane Blues

jack white's guitar was made out of hudson terplane hubcaps. what

Question: jack white's guitar was made out of what hubcaps

Answer: Hudson Terraplane

jack white's guitar was made out of what hubcaps

Question: what song did robert johnson sing about

Answer: "Terraplane Blues

He also works as Steve's guitar tech.

Paul Martin Wold , aka " Wishful Thinking " , released his debut album A Waste of Time Well Spent on 2 November 2009 , and showcased a selection from the album whilst touring the UK with his father .

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Paul Martin Wold, aka Wishful Thinking showcases a selection of his songs from debut album 'A Waste Of Time Well Spent' this November when he tours with dad, Seasick Steve:
|
November
2 Newcastle City Hall
3 Edinburgh Picture House
5 Leeds Academy
7 Liverpool Olympia
9 Manchester Apollo
10 Birmingham O2 Academy
12 Cardiff Millenium Centre
13 Warwick Arts Centre
15 Cambridge Corn Exchange
17 Brixton O2 Academy
*
Wishful Thinking
âA Waste Of Time Well Spentâ
We Make Mistakes
2nd November 2009
Paul Martin Wold, aka Wishful Thinking, was born on the island of Kauai, Hawaii in 1988 but spent most of his childhood in Olympia, Washington. Growing up in this town at this time he had an unprecedented childhood experience: being amidst one of the most significant indie rock scenes there ever was. His father, Steve Wold (better known these days as Seasick Steve), ran Moon Studios there, and Paul Martin was exposed to music at its purest and rawest from an early age, as bands such as Modest Mouse, 764 Hero, Fitz of Depression, and Murder City Devils passed through.
In 2001, at the age of 12, Wold moved with his family to Norway, where his mother is originally from. Dabbling in âsong-writingâ since the age of 6, and experimenting with âband-matesâ in his early teens, Wishful Thinking was born when Paul Martin Wold was 16. This was when he realised his own brand of introspective melancholia called for no more than his voice and a guitar. Drawing inspiration from the likes of Bright Eyes, Elliott Smith and eventually Nick Drake and Neutral Milk Hotel, Wold played small gigs in the town he was living in, eventually moving to Oslo when boredom set in. In 2007 - ennui creeping up on him again - he was lured to London, joining his fathers touring band and continuing to explore his own music.
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The result, debut album 'A Waste of Time Well Spent', is reverie at its most alluring. A collection of beautiful songs, intense in their intimacy, skewed by an outright rejection of mainstream formulas and conventions, yet at the same time, astoundingly relaxed.
Released on his own imprint, We Make Mistakes on November 2nd, Wishful Thinking will showcase a selection from the album whilst touring the UK with Seasick Steve on these dates:

Question: when did paul martin wold release his debut album

Answer: 2 November 2009

when did paul martin wold release his debut album

Question: what is the title of paul martin wold's 2009 debut album

Answer: A Waste of Time Well Spent

what is the title of paul martin wold's 2009 debut album

Question: who released a waste of time well spent

Answer: Paul Martin Wold

Question: what does paul do for steve

Answer: guitar tech

Question: what is paul martin wold's real name

Answer: Wishful Thinking

Question: who plays the guitar on wishful thinking

Answer: Steve

who plays the guitar on wishful thinking

Question: what does paul work as

Answer: Steve's guitar tech

Question: who was touring with paul martin wold

Answer: his father

Former members, as "The Level Devils" Jo Husmo – bass guitar (2001–?)

Former members , as " The Level Devils " Jo Husmo – bass guitar ( 2001 – ? )

Kai Christoffersen – drums , percussion ( 2001–2004 ) Dan Magnusson – drums , percussion ( 2004–06 )

Blues
*Cheap* is the debut album from Seasick Steve. It consists of songs by him and his Swedish band The Level Devils, and also two stories from his life as a hobo.
The Level Devils consisted at this time of Kai Christoffersen playing the drums and Jo Husmo bass. Dan Magnusson subsequently took over drumming duties.
**
Resoundingly lo-fi and raw, this album from Seasick Steve and the Level Devils
thunders out of the speakers just like the late R L Burnside used to do. Ragged
and loud, it makes most other modern music sound distinctly artificial.
Interspersed with stories of his life as a hobo, he lays down a fearsome groove.
"Sorry Mr Jesus" and "8 Ball" hit you hard with their sheer intensity. "Xmas
Prison Blues" comes straight from the heart and "Rooster Blues" ends the album
with a slice of pure Chicago style blues. Not so much produced as persuaded on
to tape, this music sounds like it should be on an old 78 rather than the
pristine digital clarity of our modern age.
Raw and at the same time unassuming, Seasick Steve is about as far from the
commercial forefront as you can get these days. Maybe that explains his appeal.
Out of time but not out of place, who said a white man cannot feel the blues?
The truth is on show here and to (over) use a phrase the Bluesbunny is fond of,
Seasick Steve is the real deal.
**
Seasick Steve- Guitars and Foot Percussion
Jo Husmo- Bass
Kai Christoffersen- Drums
**
01. Cheap 4:05
02. Rockin' Chair 3:36
03. Hobo Blues 3:01
04. Story #1 5:45
05. Sorry My Jesus 4:17
06. Love Thang 3:44
07. Dr Jekyll & Mr Hyde 5:14
08. Story #2 7:07
09. 8 Ball 3:41
10. Xmas Prison Blues 4:16
11. Levi Song 4:20
12. Rooster Blues 10:47
**
NoPassword
*
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Question: who were the members of the level devils

Answer: Kai Christoffersen

who were the members of the level devils

Question: jo husmo and dan magnusson are members of which band

Answer: The Level Devils

jo husmo and dan magnusson are members of which band

Question: who are the members of the level devils

Answer: Jo Husmo

Question: what instrument did jo husmo play

Answer: bass guitar

Question: when did dan magnusson leave the level devils

Answer: 2004–06

when did dan magnusson leave the level devils

Question: when did the level devils go on hiatus

Answer: 2001–2004