Peter Sarstedt - Career

Career

Sarstedt was born in Delhi, India, where his parents were civil servants in the British administration. He attended Victoria Boys' School in Kurseong, in the Darjeeling district of West Bengal. His family returned to England in 1954. He is the younger brother of the 1960s pop star Eden Kane for whom he briefly played bass and the elder brother of pop singer Clive Sarstedt. He is best known for his 1969, UK number one hit, "Where Do You Go To (My Lovely)?", a portrait of a poor-born girl who becomes a member of the European jet-set. Set to a faux European waltz tune, it reached the top chart position in 14 countries and was a minor hit in the U.S. The song was awarded the 1969 Ivor Novello Award (together with David Bowie's "Space Oddity"). Other Sarstedt songs include "Beirut", "Take Off Your Clothes", "I Am a Cathedral" and "Frozen Orange Juice" (UK #10 in 1969).

In the 1980s and 1990s, Sarstedt frequently toured the UK as part of the "Solid Silver '60s" package tours. "Where Do You Go To" was later used in the 2007 Wes Anderson films Hotel Chevalier and The Darjeeling Limited, which sparked new interest in his music. In the '90s and 2000s, he has continued to release new albums and tour. In 1997 he released England's Lane, and in 2002 an album of brand new material called On Song. His latest, in 2012, is a compilation of songs called Highlights — the Demos

Read more about this topic:  Peter Sarstedt

Famous quotes containing the word career:

    Whether lawyer, politician or executive, the American who knows what’s good for his career seeks an institutional rather than an individual identity. He becomes the man from NBC or IBM. The institutional imprint furnishes him with pension, meaning, proofs of existence. A man without a company name is a man without a country.
    Lewis H. Lapham (b. 1935)

    I seemed intent on making it as difficult for myself as possible to pursue my “male” career goal. I not only procrastinated endlessly, submitting my medical school application at the very last minute, but continued to crave a conventional female role even as I moved ahead with my “male” pursuits.
    Margaret S. Mahler (1897–1985)

    The problem, thus, is not whether or not women are to combine marriage and motherhood with work or career but how they are to do so—concomitantly in a two-role continuous pattern or sequentially in a pattern involving job or career discontinuities.
    Jessie Bernard (20th century)