Schwarz

Schwarz

The rehearsal was in an old abandoned and condemned building in downtown Detroit on Cass Avenue, probably the old offices of Creem Magazine as publisher Barry Cramer was the group's original manager. When Steve Hunter walked into the rehearsal room the first thing he saw was a Marshall half stack....the first time he had ever seen one. The group jammed on Cream tunes under the offices of Creem magazine. He, of course, got the gig, and felt that the other players were awesome. As key as this epiphany was, another component that would figure in to his huge success was meeting producer extraordinaire Bob Ezrin. Hunter and Ezrin took an immediate liking to each other, Hunter appreciating the way Ezrin put music together. The Detroit with Mitch Ryder band toured, their April 1, 1972 gig a "Get Out The Vote" political performance on a bill with Spencer Davis Group remaining an important moment in their history. By this time activist John Sinclair had taken over management of the group from Barry Cramer, Sinclair's eight page liner notes for the CD, Live at the Hill Auditorium: Get Out The Vote, giving much insight. By the summer of 1972 the Detroit band dissolved, though by the next year Hunter and Ezrin would be at work on a masterpiece by Lou Reed, the Berlin album. On September 1, 1973 Steve Hunter appeared onstage with Dick Wagner, the first show of the tour that would promote the Berlin disc, which would culminate in the release of the Rock 'n' Roll Animal album. As David Bowie and Mott The Hoople would open their concerts with mood music, the Steve Hunter/Dick Wagner dynamic guitar duo took it a step further. Check out "Eldorado Street" on Hunter's 1977 album, Swept Away to see if you hear passages from "intro", the sound that launched thousands of guitarists into a new way of conducting business. Hunter says it wasn't a conscious effort to infuse the previous "intro" into "Eldorado Street", but it is good to have a point of reference to see how an artist's craft was evolving. Each night of the tour the show would open with that Steve Hunter instrumental, "Intro", morphing slightly from show to show. Even John Cougar Mellencamp got into the act, nicking the riffs from Hunter's intro and Reed's "Sweet Jane" for his "I Need A Lover" on 1978's A Biography lp. Where Mick Ronson and Mick Ralphs were supplemented by their respective front men's acoustic guitars, in Bowie and Mott The Hoople respectively, Lou Reed now had a two pronged guitar assault as credible as Keith Richards and Mick Taylor, the golden era of The Rolling Stones. As they were re-issuing compositions by The Velvet Underground, music that had already influenced major artists - from Roxy Music to Bowie, Mott The Hoople and even The Rolling Stones - just listen to the grunge version of "Gimme Shelter" on the album Liver Than You'll Ever Be to see Reed influencing Keith Richards - this re-designing of a major catalog would have profound ramifications behind the scenes in the music world. It would have even more of an impact on artists like John Cougar, Pat Benatar by way of Cougar, and most notably, Alice Cooper. Had Steve Hunter and Dick Wagner remained with Lou Reed for the rest of that artist's first stint with RCA Records, how would Sally Can't Dance and Coney Island Baby sounded? As Bob Ezrin returned to his work with Alice Cooper for the Welcome To My Nightmare album and tour, Lou Reed fans followed and watched their guitar heroes put their magical sound into Cooper's work.

abandoned welders shed

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calf shed

stable shed

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narrow width bathroom sinks

20" pedestal sink
bellacore tina

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