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Brian Wilson 6/2025

Brian Wilson (82) – The Beach Boys – was born June 20, 1942 in Inglewood, California, the first child of pianist Audree Korthof and Murry Wilson, a machinist who later pursued songwriting part-time. Wilson, along with his siblings, suffered psychological and sporadic physical maltreatment from their father. His 2016 memoir characterizes his father as “violent” and “cruel”; however, it also suggests that certain narratives about the mistreatment had been overstated or unfounded.

From an early age, Wilson exhibited an aptitude for learning by ear. His father remembered how, after hearing only a few verses of “When the Caissons Go Rolling Along“, young Wilson was able to reproduce its melody. His father Murry was a driving force in cultivating his children’s musical talents. Wilson undertook six weeks of accordion lessons, and by ages seven and eight, he performed choir solos at church. His choir director declared him to have perfect pitch. One of Wilson’s first forays into songwriting, penned when he was nine, was a reinterpretation of the lyrics to Stephen Foster‘s “Oh! Susannah“.

At age 12, his family acquired an upright piano, and he began teaching himself to play piano by spending hours mastering his favorite songs. He learned how to write manuscript music through a friend of his father. Wilson sang with peers at school functions, as well as with family and friends at home, and guided his two brothers in learning harmony parts, which they would rehearse together. He also played piano obsessively after school, deconstructing the harmonies of the Four Freshmen by listening to short segments of their songs on a phonograph, then working to recreate the blended sounds note by note on the keyboard.

I got so into The Four Freshmen. I could identify with Bob Flanigan‘s high voice. He taught me how to sing high. I worked for a year on The Four Freshmen with my hi-fi set. I eventually learned every song they did.

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Roberta Flack 2/2025

Roberta Flack (88) was born on February 10, 1937 in Black Mountain, North Carolina, to parents Laron Flack, a jazz pianist and U.S. Veterans Administration draftsman, and Irene Flack a cook and church organist. According to DNA analysis, Flack was of Cameroonian descent. Her family moved to Richmond, Virginia, before settling in Arlington, Virginia, when she was five years old.

Her first musical experiences were in church. She grew up in a large musical family and often provided piano accompaniment for the choir of Lomax African Methodist Episcopal Zion Church singing hymns and spirituals. She occasionally sings at the Macedonia Baptist Church in Arlington.  From time to time, she caught gospel stars like Mahalia Jackson and Sam Cooke performing there. Her father acquired a battered old piano for her, which she learned to play sitting on her mother’s lap and Flack took formal lessons in playing the piano when she was nine. She gravitated towards classical music and during her early teens excelled at classical piano, finishing second in a statewide competition for Black students aged 13 playing a Scarlatti sonata.
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David Sanborn 5/2024

David Sanborn (78) was born in 1945 in Tampa, Florida where his father was stationed in the US Air Force.  David grew up in Kirkwood, Missouri, a western suburb of St. Louis. He contracted polio at the age of three. He “accepted his fate stoically” and endured a “miserable childhood”. He was confined to an iron lung for a year, and polio left him with impaired respiration and a left arm shorter than the right.

While confined to bed, David Sanborn was inspired by the “raw rock ‘n’ roll energy” of music he heard on the radio, particularly saxophone breaks in songs such as Fats Domino‘s “Ain’t That a Shame” and Little Richard‘s “Tutti Frutti”. He loved the sound of the saxophone and at the age of eleven was happy to change to saxophone from piano lessons when doctors recommended that he take up a wind instrument to improve his breathing and strengthen his chest muscles. When he was 14, he was competent enough playing saxophone to play with blues musicians in local clubs. Alto saxophonist Hank Crawford, who was a member of Ray Charles‘s band at the time, was an early and lasting influence on Sanborn. Continue reading David Sanborn 5/2024

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Doug Ingle 5/2024

Doug Ingle (78) was born in Omaha, Nebraska, on September 9, 1945. His father Lloyd, a church organist and accountant, introduced him to music at an early age. The Ingles moved within three months of his birth to the Rocky Mountains in Colorado and later, when he was 11,  the family moved to San Diego, CA.

With the timing right in the mid-sixties and California becoming the hotbed for love-ins and psychedelic rock, Ingle formed the original line up for Iron Butterfly with Ron Bushy on drums. As soon as Iron Butterfly formed, they moved to Hollywood Hills and started an excruciating practice and performing schedule.

Of the four musicians in the In-A-Gadda-Da-Vida lineup, Ingle was the only one who was a founding member, having formed Iron Butterfly in San Diego in 1966. After a handful of lineup changes, a five-piece Iron Butterfly including Ingle and Bushy put out the band’s debut Heavy in 1968; soon after release, the other three members left and were replaced by Brann and Dornan, resulting in the lineup that would create the 17-minute psych-rock epic “In-A-Gadda-Da-Vida.” Released less than six months after Heavy and the lineup shuffle, In-A-Gadda-Da-Vida would sell a reported 30 million copies worldwide, and a three-minute version of the title track — whose title was based on Bushy’s mishearing of “In the Garden of Eden” — became a Top 5 hit on the Hot 100 and a classic rock staple. Continue reading Doug Ingle 5/2024

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Mike Pinder 4/2024

Mike Pinder (82) – The Moody Blues –  was born in Erdington, Birmingham on 27 December 1941. His father, Bert, was a coach driver and his mother, Gladys (née Lay), was a barmaid. As a child, he had an affinity for rocket ships and outer space which earned him the nickname “Mickey the Moon Boy”. These interests would be recurring themes throughout his career as a song writer. (Mickey the Moonboy. In 1995 Mike got a personal tour at NASA and a treasured memento.)

He was a member of several bands in Birmingham in his teenage years, among them the Checkers, who won first prize of £50 in a talent competition. In his first band, rock’n’roll combo El Riot and the Rebels, Pinder played support to the Beatles in 1963 in a show at Tenbury. As a member of the short-lived Krew Kats, he played for two months in clubs in Hamburg where the Beatles had played.

Between 1962–63, Pinder worked for 18 months as a development engineer, responsible for testing and quality control, at Streetly Electronics in Streetly, Birmingham, a factory manufacturing the first models of Mellotron in the UK. In May 1964 he left Streetly Electronics to co-found The Moody Blues with Ray Thomas, Denny Laine, Clint Warwick and Graeme Edge. Continue reading Mike Pinder 4/2024

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Gary Wright – 9/2023

Mr. Dream WeaverGary Wright was born on April 26, 1943 in Cresskill, New Jersey, to Ann (nee Belvedere) and Louis Wright. His father was a construction engineer, and his mother was a singer, as were his two sisters. His older sister, Beverly, enjoyed some success as a pop and folk singer in the 60s, while his younger sister, Lorna, released the album Circle of Love (1978) and several singles.

His mother encouraged Gary to take an interest in music and acting. He appeared in the TV sci-fi series Captain Video and His Video Rangers, and when he was 12 he was hired as an understudy for a Broadway musical, Fanny. This resulted in him going on stage in the role of Cesario, son of the titular Fanny, played by Florence Henderson, and in 1955, appearing with Henderson on The Ed Sullivan Show.

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Randy Meisner – 7/2023

Randy Meisner (the Eagles) was born on March 8, 1946, in Scottsbluff, Nebraska to a farming family.  He got his first acoustic guitar when he was around 12 or 13 and, shortly after, formed a high school band. “We did pretty good, but we didn’t win anything,” according to Meisner.
“We couldn’t find any work because there were a million bands out here,” he said.
Meisner moved to California in 1964/65 and played with the likes of Rick Nelson’s Stone Canyon Band and Poco, before co-founding the Eagles in 1971 alongside Don Henley, Glenn Frey and Bernie Leadon. 

They went on to define the country-tinged, laid-back West Coast pop-rock sound that ruled the US radio waves in the early 1970s, before later moving in a hard rock direction, essentially because of James Gang guitarist Joe Walsh being added to the line-up when Bernie Leadon left.

Once dubbed “the sweetest man in the music business” by former bandmate Don Felder, bass player Meisner stepped out of the shadows on the mournful, lovelorn waltz-time ballad Take It to the Limit – a song later covered by the likes of Etta James, Willie Nelson and Waylon Jennings. He was with the band when they recorded the albums “Eagles,” “Desperado,” “On the Border,” “One of These Nights” and “Hotel California.”
“Hotel California,” with its mysterious, allegorical lyrics, became the band’s best-known recordings. It topped the Billboard Hot 100 in 1977 and won a Grammy Award for record of the year in 1978. Continue reading Randy Meisner – 7/2023

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John Giblin – 5/2023

John Giblin was born on 26 February 1952, in Bellshill, a suburb of Glasgow in Scotland.

Little is known about John Giblin’s early years, but he must have picked up a guitar at an early age, considering how he became one of those musicians that gave rock and roll a foundation for others to shine on.

He worked as an acoustic and electric bass player spanning jazz, classical, rock, folk, and avant-garde music. Best known as a studio musician, recording film scores and contemporary music, Giblin also performed live and recorded with Peter Gabriel, John Martyn, Elkie Brooks, Annie Lennox, Manfred Mann’s Earth Band, Phil Collins, Empire with Peter Banks, Fish, rock/pop band Simple Minds,and has been closely associated with artists ranging from Kate Bush, Jon Anderson (Yes), to jazz fusion group Brand X, and with the avant-garde recordings by Scott Walker (including the album Tilt).
Later in life, Giblin moved further into the direction of acoustic bass, with projects involving drummer Peter Erskine (of Weather Report), and pianist Alan Pasqua (of Tony Williams Lifetime).

To get a feel for John Giblin’s work with the top of the crop, check out his oeuvre on AllMusic

Following his death, Kate Bush released a statement, saying: ” I loved John so very much. He was one of my very dearest and closest friends for over forty years. We were always there for each other. He was very special. I loved working with him, not just because he was such an extraordinary musician but because he was always huge amounts of fun. We would often laugh so much that we had to just give in to it and sit and roar with laughter for a while. He loved to be pushed in a musical context, and it was really exciting to feel him cross that line and find incredibly gorgeous musical phrases that were only there for him. He would really sing. It was such a joy and an inspiration to see where he could take it. We’ve all lost a great man, an unmatchable musician and I’ve lost my very special friend. My world will never be the same again without him.”

Giblin died from sepsis on 14 May 2023, at the age of 71.

 

 

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Jim Gordon 3/2023

Jim Gordon (77) – Derek & the Dominos et al – was born July 14, 1945. He was raised in the San Fernando Valley of Los Angeles and attended Grant High School. He passed up a music scholarship to UCLA in order to begin his professional career in 1963, at age 17, backing the Everly Brothers. He went on to become one of the most sought-after recording session drummers in Los Angeles. The protégé of studio drummer Hal Blaine, Gordon performed on many notable recordings in the 1960s, including Pet Sounds, by the Beach Boys (1966); Gene Clark with the Gosdin Brothers (1967); The Notorious Byrd Brothers(1968); and the hit “Classical Gas”, by Mason Williams (1968). At the height of his career Gordon was reportedly so busy as a studio musician that he flew back to Los Angeles from Las Vegas every day to do two or three recording sessions and then returned in time to play the evening show at Caesar’s Palace. Continue reading Jim Gordon 3/2023

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Michael Rhodes 3/2023

Michael Rhodes 3/2023 (69) was born on September 16, 1953 in Monroe, Louisiana and taught himself to play the guitar by age 13 and the bass soon after. In the early 1970s, Rhodes moved to Austin, Texas, where he performed with local bands. Four years later, Rhodes moved to Memphis, Tennessee, where he performed with Charlie Rich’s son Alan. Honing his chops he became a sought after session and touring musician. In 1977, Rhodes moved to Nashville, and he joined local band The Nerve with Ricky Rector and Danny Rhodes. He worked as a demo musician for Tree Publishing Company, and then as a session player.
Rhodes joined Rodney Crowell, Steuart Smith, Eddie Bayers, and Vince Santoro in the Cicadas. They recorded one album in 1997, but had been playing together for more than a decade. Rhodes was also a member of The Notorious Cherry Bombs, with Crowell, Bayers, Vince Gill, Hank DeVito, and Richard Bennett.

Rhodes has contributed to the recordings of numerous Nashville Royalty artists, including Neal McCoy, Chely Wright, Pat McLaughlin, Doug Stone, Wynonna Judd, Steve Winwood, the Dixie Chicks, Reba McEntire, Tanya Tucker, Hank Williams, Jr., Rosanne Cash, Vince Gill, J.J. Cale, Dolly Parton, Randy Travis, Faith Hill, Toby Keith, and Kenny Chesney.

And, while many of his recording credits involve country music, his work with Elton John, Larry Carlton, Peter Cetera, Mark Knopfler, Shawn Colvin, and Joe Bonnamassa prove that his talents on the bass transcended any single genre.

In 2013 he became an active sideman in recordings and touring of guitar virtuoso blues rocker Joe Bonamassa.
 
Besides session work, Michael Rhodes was a member of several local bands who play frequently in Nashville-area venues.
•The Fortunate Sons, with Gary Nicholson, Kenny Greenberg, Chad Cromwell, and Reese Winans.
•The Players, with Eddie Bayers (drums), John Hobbs (keyboards), Paul Franklin (steel guitar), and Brent Mason (guitar).They often perform with other artists, such as Vince Gill. 
•The Vinyl Kings, playing original Beatles style music, with Jim Photoglo, Vince Melamed (keyboards), Larry Byrom (keyboards), Larry Lee (percussion), Josh Leo (guitar), and Harry Stinson (drums).
•TAR (Trapp, Abbott, and Rhodes), a power trio with Guthrie Trapp (guitar), and Pete Abbott (drums).
•The World Famous Headliners, led by Al Anderson, and featuring Shawn Camp, Pat McLaughlin, and Greg Morrow.
In 2016, Rhodes won the Bass Player of the Year Award by the Academy of Country Music and was inducted into the Musicians Hall of Fame and Museum in 2019. 

Michael Rhodes died on March 4, 2023, at the age of 69 of pancreatic cancer in Nashville, Tennessee, U.S.

He skillfully integrates chord inversions, reaching for melodic lines that move from 3rd to 5th rather than root to root. His knack for sneaking in high fifth or dominant 7th chords is uncanny, as is the phrasing and placement of many of his fills. While his approach is often varied and surprising, it rarely catches the listener off guard, thereby enhancing instead of overplaying. He exudes the confidence of a master, the musical lexicon of a seasoned linguist, and the humility that comes from recognizing the power of a song.

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David Lindley 3/2023

David Lindley (78) was born in San Marino, California, on March 21, 1944. Growing up in Los Angeles, his father had an extensive collection of 78 rpm records that included Korean folk and Indian sitar music, as well as Spanish classical guitarists Andrés Segovia and Carlos Montoya. Lindley took up the violin at age three, and kept at it despite breaking the fragile bridge. He then moved on to the baritone ukulele in his early teens. Next he learned the banjo. By his late teens, he had won the Topanga Banjo•Fiddle Contest five times. He played banjo with the Dry City Scat Band which included multi-instrumentalist Chris Darrow, and Richard Greene on fiddle. Lindley and his bandmates aspired to emulate multi-talented folk singer Mike Seeger.

Lindley began to frequent the Los Angeles–area folk music scene of the 1960s, primarily going to the Ash Grove club, and the Troubador in West Hollywood, encountering an eclectic assortment of music including flamenco, Russian folk music, and Indian sitar music. At Ash Grove, Lindley shared ideas with local musicians such as Ry Cooder and Chris Hillman. Lindley formed an especially close relationship with Cooder as the two shared a love of “exotic music”, and they both turned away from corporate mainstream music to focus on less popular idioms such as folk and world music. Lindley also learned from traveling blues and folk musicians the “right” way to play certain styles, and he learned violin methods from local star Don “Sugarcane” Harris.

From 1966 to 1970, Lindley was a founding member of the psychedelic rock band Kaleidoscope which released four albums on Epic Records during that period. After Kaleidoscope broke up, Lindley went to England and played in Terry Reid’s (former Yardbirds and Renaissance vocalist) band for a couple of years. In 1972, he teamed with Jackson Browne, playing in his band through 1980 and occasionally afterward. During the 1970s he also toured as a member of the bands of Crosby-Nash, Linda Ronstadt and James Taylor.

In 1981, Lindley formed his own band, El Rayo-X. Jackson Browne produced their first album. The band’s final show was December 31, 1989. 

Lindley was especially known for his work as a session musician. He contributed to years of recordings and live performances by Jackson Browne, and also supported Warren Zevon, Linda Ronstadt, Curtis Mayfield, James Taylor, David Crosby, Graham Nash, Terry Reid, Dolly Parton, Bob Dylan, Bruce Springsteen, Toto, Rod Stewart, Joe Walsh and Dan Fogelberg. He collaborated with fellow guitarists Ry Cooder, Henry Kaiser and G. E. Smith. Ben Harper credited Lindley’s distinctive slide guitar style as a major influence on his own playing, and, in 2006, Lindley sat in on Harper’s album Both Sides of the Gun. He was known in the guitar community for his use of “cheap” instruments sold at Sears department stores and intended for amateurs. He used these for the unique sounds they produce, especially with a slide.

After that in the early 1990s, Lindley toured as a solo artist, first with Hani Naser accompanying on hand drums, then with reggae percussionist Wally Ingram. He also played on a multitude of studio sessions. Between his work in the studio as a session musician or on tour as a sideman or bandleader, Lindley learned new instruments. He was famous for having written the only song glorifying a brand of condoms, “Ram-a-Lamb-a-Man,” from his album Win this Record!. The media often commented on his colorful polyester clothing, with jarring contrasts between pants and shirt, earning him the nickname Prince of Polyester.

Lindley also toured extensively and recorded with reggae percussionist Wally Ingram.

Lindley’s voice may be heard in the version of “Stay” performed by Jackson Browne. Browne’s version is a continuation of “The Load Out”, and its refrain is sung in progressively higher vocal ranges. The refrain of “Oh won’t you stay, just a little bit longer” is sung first by Browne, then by Rosemary Butler, then by Lindley in falsetto.

Lindley joined Jackson Browne for a tour of Spain in 2006. Love Is Strange: En Vivo Con Tino, a 2-CD set of recordings from that tour, was released May 2010, with Browne and Lindley touring together starting in June of that year. They played together at Glastonbury Festival in 2010, and they won an Independent Music Award for Best Live Performance Album in 2011.

He mastered such a wide variety of instruments that Acoustic Guitar magazine referred to him not as a multi-instrumentalist but instead as a “maxi-instrumentalist. The majority of the instruments that Lindley played are string instruments, including violin, electric guitar, upright and electric bass, banjo, mandolin, dobro, hardingfele, bouzouki, cittern, bağlama, gumbus, charango, cümbüş, oud and zither. He was the unparalleled master of the lap steel guitar in the rock music sphere, and an expert in Hawaiian-style slide guitar blues.

Lindley had obviously a large collection of rare and unusual guitars and other instruments from the Middle East and various parts of the world. He listed and categorized many of them on his website but admitted that he had “absolutely no idea” how many instruments he owned and played, having gathered them since the 1960s. A journalist described his home in 1994 as containing a “tidal flood of instruments strewn all over the house. In every room. On the floor, balanced against the wall, lying atop cabinets and just literally occupying virtually every inch of available floor space.”

David Lindley died after a long illness on March 3, 2023, at the age of 78. He had had COVID-19 in 2020, which his family said developed into Long COVID, with chronic kidney damage.

David Lindley was the epitome of a musician’s musician, not only for his comprehensive skills but also for his infectious personality. Lindley was best known as the ultimate sidekick,

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Renée Geyer 1/2023

Renée Geyer (69) was born September 11, 1953 in Melbourne, Australia to a Hungarian-Jewish father, Edward Geyer, and a Slovak-Jewish mother, a Holocaust survivor, as the youngest of three children. Geyer was named Renée after another Holocaust survivor who had helped her mother in Auschwitz after Josef Mengele had assigned the rest of her mother’s family to death. At a young age, the Geyers moved to Sydney where her parents were managers of a migrant hostel. Geyer described herself as a problem child, and her parents called her übermutig (German for “reckless”). She attended various schools and was expelled from a private school, Methodist Ladies College, for petty stealing. Her first job was as a receptionist for the Australian Law Society.

In 1970, at the age of 16, while she was still at Sydney Girls High School, Geyer began her singing career as a vocalist with jazz-blues band Dry Red. The group also contained Eric McCusker (later of Mondo Rock). For her audition she sang the Bee Gees’ hit “To Love Somebody”. She soon left Dry Red for other bands including the more accomplished jazz-rock group Sun. Geyer departed Sun in mid-1972 and joined Mother Earth whose R&B/soul music style was more in keeping with Geyer’s idiom.

In 1973, Geyer was signed to RCA Records, who had released Sun’s album the year before, Geyer, already showing signs of her self-proclaimed “Difficult Woman” tag, loyally insisted that Mother Earth back her on the album. Geyer’s self-titled debut studio album was released in September 1973 which mostly consisted of R&B/Soul cover versions of overseas hits. Geyer left Mother Earth by the end of the year.
In August 1974, Geyer released her second studio album, It’s a Man’s Man’s World, which became her first charting album when it peaked at #28 on the Kent Music Report. The title track, “It’s a Man’s Man’s Man’s World”, was a cover version of James Brown‘s hit from 1965 and became her first top 50 single.

Geyer then formed Sanctuary, to promote the album. Geyer quickly became disenchanted with RCA and their refusal to let her record more original material, made her prepared to wait out her contract if necessary. Former Chain members convinced Geyer to contact their label, Mushroom Records boss Michael Gudinski and band manager Ray Evans to strike a deal where they would record her and RCA would release the albums and singles with a Mushroom logo stamped on the label.
The arrangement led to Geyer’s third studio album, Ready to Deal, which was recorded in August–September 1975, and by this stage Sanctuary line-up was, Logan, Sullivan, Mark Punch (guitar; ex-Mother Earth) and Greg Tell (drums). They co-wrote most of the material for the album with Geyer and Sanctuary was renamed as Renée Geyer Band; the album was released in November to reach #21. It spawned one of Geyer’s signature songs “Heading in the Right Direction”, which reached the top 40 in 1976.

In 1975 Geyer contributed her voice to the Liberal Party’s theme song “Turn on the Lights”, and later stated she had only done their theme song to earn enough money to record an album in the United States, where she had signed a contract with Polydor Records.

Geyer relocated to the Los Angeles mid-1976 where in the course of the next decade she released several albums. In May 1977, Geyer released her fourth studio album Moving Along on RCA/Mushroom Records and peaked at #11 in Australia. It used Motown Records producer Frank Wilson, with the album’s Polydor Records release for the US market titled Renée Geyer. Her backing musicians, Mal Logan (keyboards) and Barry Sullivan (bass guitar) were supplemented by members of Stevie Wonder’s band, as well as Ray Parker Jr. and other US session musicians. It provided Geyer biggest Australian hit single, at the time, with “Stares and Whispers” peaking at #17. In the US, radio stations began playing several of the album’s tracks, in particular a re-recorded version of “Heading in the Right Direction” which was issued as her first US & UK single.
Polydor were aware her vocal style led listeners to incorrectly assume she was black and urged her to keep a low profile until her popularity had grown, thus they suggested her US album release should not include her photograph. Known for her uncompromising and direct personal manner, Geyer refused to allow this deception and insisted on marketing the album complete with a cover photograph of what she referred to as “my big pink huge face“. After the album’s release, interest in Geyer subsided in the US, which Geyer later blamed on her headstrong decision regarding her marketing. Geyer earned respect in the US recording industry and for several years worked in Los Angeles as a session vocalist although she returned to Australia periodically.

Geyer’s June 1979 release, Blues License, is unique in her catalogue as she combined with Australian guitarist Kevin Borich and his band Express to record an album of straight blues material. The added fire in her vocals was sparked by the harder edged backing. It reached the top 50 and became a favorite of fans.

In 1981, Geyer recorded her seventh studio album So Lucky in Shangri-La Studios, Malibu, California. Helmed by Rob Fraboni (The Beach Boys, Bob Dylan, The Band) and Ricky Fataar (Beach Boys), the album moved Geyer from the soul style she had been identified with and added a tougher, rootsy rock/R&B style, while incorporating salsa and reggae. The lead single “Say I Love You” was released in May 1981 and became her biggest hit when it reached #5 on the Australian charts and #1 in New Zealand.

Geyer continued as an in-demand session vocalist, which she had also done in Australia. She was on Sting’s 1987 double-album, …Nothing Like the Sun, including the single “We’ll Be Together”. She performed a duet with Joe Cocker on his 1987 album Unchain My Heart and, following the album’s release, toured Europe with him as a backing vocalist. She was audible on Toni Childs’ hit “Don’t Walk Away” from the 1988 album Union. Other sessions included working with Neil Diamond, Julio Iglesias, Buddy Guy and Bonnie Raitt. She also recorded “Is it Hot in Here” for the soundtrack of the 1988 film Mystic Pizza. She described her backing vocals as supplying “The old Alabama black man wailing on the end of a record so they hire the white Jewish girl from Australia to do it.”

In 1994 Geyer released her first solo studio album in 9 years. The exposure encouraged Geyer to move back to Australia and following the release of Difficult Woman, Geyer spent time reestablishing herself on the live circuit across Australia. These performances showed her more relaxed on stage than at her peak when her innate shyness was often cleverly disguised. Now a confident, mature woman she showed off a hitherto hidden wicked sense of humor.

In 2000, Geyer released her autobiography, “Confessions of a Difficult Woman”, after her 1994 studio album. In this candid book, she detailed her drug addictions, sex life and career in music. She described herself as “a white Hungarian Jew from Australia sounding like a 65-year-old black man from Alabama”.

In August 2003 Geyer released her eleventh studio album Tenderland. The album peaked at #11 on the ARIA Charts, equalling her highest-charting album in her career. Live at the Athenaeum was released in April 2004 and Geyer’s twelfth studio album Tonight in April 2005.
Geyer’s iconic status in the Australian music industry was recognized when she was inducted into the ARIA Hall of Fame on 14 July 2005. Geyer was also an internationally respected and sought-after backing vocalist, whose session credits include work with Sting, Chaka Khan, Toni Childs, Joe Cocker, Neil Diamond, Men at Work, Sting, Trouble Funk and many others.

In January 2023, Geyer was admitted to hospital in Geelong where she had hip surgery. It was subsequently discovered that she had inoperable lung cancer. She died from surgical complications on 17 January 2023 at the age of 69.

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Dino Danelli – 12/2022

Dino Danelli (78) – The Young Rascals was born July 23, 1944 into an Italian American family in Jersey City, New Jersey. Danelli trained as a jazz drummer in his early years. Barely a teenager he played with Lionel Hampton and (by 1961) was playing R&B in New Orleans. He returned to New York in 1962 with a band called Ronnie Speeks & the Elrods. Later he also worked at times with such legendary performers as Little Willie John.

Dino was a prodigy from the Jersey City-Hoboken area, making the scene in his early teens, learning from the jazz greats like Krupa and Buddy Rich who played regularly at the Metropole, a very adult Club in New York City where the management took a shine to the young star-in-the-making and set him up with a cot in a dressing room years before he made it big. “They had vision, knew something was going to happen for me.” Young Dino held a daytime gig at the Metropole with a rock and roll band, travelled to New Jersey sometimes at night with his drum kit, performed with Lionel Hampton when he was fifteen years of age. Continue reading Dino Danelli – 12/2022

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Jerry Lee Lewis – 10/2022

Jerry Lee Lewis (87) was born on Sept. 29, 1935, in Ferriday, Louisiana, to Elmo Lewis, a carpenter, and Mamie (Herron) Lewis. When he was a boy, he and two of his cousins, the future evangelist Jimmy Swaggart and the future country singer Mickey Gilley (who died this year), liked to sneak into a local dance hall, Haney’s Big House, to hear top blues acts perform.

He showed an aptitude for the piano, and his father borrowed money to buy him one. “The more he practiced, the surer the left hand and wilder the right hand became,” Mr. Tosches wrote in “Hellfire.”

At 14, he was invited to sit in with a band performing at a local Ford dealership, which was celebrating the arrival of the 1950 models. He played “Drinkin’ Wine Spo-Dee-O-Dee” — the tune, a hit for Sticks McGhee in 1949, would be a minor pop hit for Mr. Lewis in 1973 — and he took home nearly $15 when someone passed the hat. Continue reading Jerry Lee Lewis – 10/2022

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Bill Pitman 8/2022

Bill Pitman (102) – Wrecking Crew – was born in Belleville, New Jersey on Feb 12, 1920 and grew up in Manhattan. He developed an interest in music at a young age when his father worked as a bass player on staff at NBC in Rockefeller Center. During the Great Depression, Pitman’s father had steady income doing freelance work, radio shows, and movie soundtracks while he was still employed at the network.

When he was five years old, Pitman knew he wanted to be a musician. He tried several different instruments, including the piano and trumpet, before finally settling on the guitar. He received lessons from John Cali and Allan Reuss, teaching him fundamentals and techniques on the first guitar he ever owned, a D’Angelico. When Pitman applied for his Local 802 union card, he easily passed the test before they recognized his surname, saying “Oh, Keith Pitman’s son. Well okay.”

Continue reading Bill Pitman 8/2022

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Vangelis 5/2022

17 May 2022  – Vangelis (Greek film composer and keyboards-synthesizer for Aphrodite’s Child). Vangelis was born Evangelos Odysseas Papathanassiou on March 29, 1943 in the Greek town of Agria. He was a self-taught musician who became a young piano prodigy. Then he moved to Paris and co-founded with Demis Roussos, the popular prog-rock group Aphrodite’s Child. After several global mega hits the band eventually split and Vangelis got a solo record deal with RCA Records, while still collaborating often with Roussos.

In 1981 he composed the score for Chariots of Fire. Its opening theme, with its uplifting inspirational swell and ornate arrangement, was released as a single and reached the top of the Billboard Hot 100. His efforts earned him a win for best original score at the Academy Awards.

The success led him to other film work. Notably, he composed the soundtrack for the original Blade Runner, as well as Carl Sagan’s PBS documentary series Cosmos. Outside of composing scores, Vangelis was prolific in his solo career, regularly releasing albums up until 2021’s Juno to Jupiter.

While he was most associated with the synthesizer, the instrument was also a source of frustration for him. “I’ve been using synthesizers for so many years, but they’ve never been designed properly. They create a lot of problems.” he told NPR in 2016. “The computers have completely different logic than the human logic.” So for his 2016 record Rosetta, dedicated to the space probe of the same name, he built his own synthesizer.

Vangelis had a lifelong interest in space which was reflected in his music — in its breadth and atmosphere. He believed that there was something inherent in humans to want to discover — whether that meant up in the sky or in a studio. For Vangelis, becoming a musician was never a conscious decision. “It’s very difficult not to make music,” Vangelis told NPR in 1977. “It’s as natural as I eat, as I make love. Music is the same.”

Vangelis, who gave the movie Chariots of Fire its signature synth-driven sound, died on the May 17, 2022 in a hospital in Paris, due to heart failure.. He was 79 years old.

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Ric Parnell – 5/2022

Ric Parnell (70) – Atomic Rooster/Spinal Tap –  was born in London, England on August 14, 1951 into a long family history of musical careers. His grandfather Russ Carr was a music hall artist and his father Jack Parnell was a jazz drummer and musical director for Associated Television. He had two brothers, Will and Marc Parnell, who are also drummers. His two sisters elected not to enter the music business.

In 1970, he was a member of the short-lived hard rock band Horse, who recorded one album before breaking up. Shortly after, he briefly joined the progressive rock band Atomic Rooster, leaving after just two months with the band. By the end of 1971 he had been invited to rejoin Atomic Rooster, this time staying long enough to play on the band’s last two albums.

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Taylor Hawkins – 3/2022

Taylor Hawkins (50) – Foo Fighters – was born in Ft. Worth Texas on Feb. 17, 1972. Four years later his family moved to Laguna Beach, California, where Hawkins grew up. He was the youngest of three, with an older brother and sister, Jason and Heather and started playing drums at the age of 10.  He graduated from Laguna Beach High School in 1990, where he had been friends with future Yes-reincarnation lead vocalist Jon Davison.

Hawkins played in the Orange County–based psychedelic rock band Sylvia before he became the drummer for British/Canadian rock woman Sass Jordan. After drumming for Sass Jordan, Hawkins joined Alanis Morissette’s touring band Sexual Chocolate for nearly two years (June 1995-March 1997). During that time, he toured the world with the Canadian singer as she supported her breakthrough album, Jagged Little Pill. Hawkins also appearing in the Jagged Little Pill, Live home video and music videos for “You Oughta Know,” “You Learn” and “All I Really Want.”

Here is the true story on how he joined Foo Fighters:

In 1997, you replaced William Goldsmith as Foo Fighters’ drummer. Is it true you offered to join when Dave Grohl called to ask you to recommend someone?
“Well, it didn’t actually go like that. I was a huge fan of the first Foo Fighters record. I’d met Dave a couple of times on the road and we’d become sort of friends. I was driving with my girlfriend at the time, and we were listening to [Los Angeles radio station] KROQ. I heard William had departed and they were looking for a new drummer. I scrambled to get Dave’s number and called him. I said, ‘I heard you guys are looking for a drummer,’ and he said, ‘Well, do you know any?’. I thought Alanis wanted to go in a more laid-back direction, and it seemed like the right time to jump. Alanis didn’t need me! I basically said to Dave, ‘I’ll play drums for you,’ and we jammed a couple of times. I remember I was at home watching [1995 erotic drama] Showgirls with my girlfriend, and Dave called to ask if I wanted to join.”

On his Stage Fright Taylor said:

“It’s really with Foo Fighters shows. I do shows with my other bands, but I just feel a certain way when there’s 100,000 people waiting for you to go onstage. I put a big burden on myself to play perfectly – whatever that means – and keep in perfect time. We’re not one of those bands who are hooked up to a computer or play to backing tracks. We have no safety net, and what happens is what happens. If it’s a trainwreck, it’s a fucking trainwreck. We live and die by the great sword of rock’n’roll. You’re getting something real: you’re getting blood, you’re getting guts, you’re getting a human exchange, and we’re actually really feeding off the audience and the excitement.”

Hawkins first appeared with the Foo Fighters in the music video for the 1997 single “Monkey Wrench“, although the song was recorded before he joined the band. In addition to his drumming with the Foo Fighters, Hawkins provided vocals, guitar, and piano to various recordings. Hawkins played on 9 studio albums with Foo Fighters and toured incessantly.

Yet, he still found time for numerous side projects and collaborations.

In 2000, Hawkins was contacted by Guns N’ Roses to replace Josh Freese on drums. Hawkins seriously considered the offer before Queen drummer and friend Roger Taylor convinced him to remain in Foo Fighters. In 2006, Hawkins released a self-titled LP with his side project, Taylor Hawkins and the Coattail Riders. Taylor Hawkins and the Coattail Riders subsequently released two more studio albums: Red Light Fever in 2010, and Get the Money in 2019. He occasionally played with a Police cover band alternately called the Cops and Fallout. At Live Earth in 2007, Hawkins was part of SOS Allstars with Roger Taylor of Queen and Chad Smith of Red Hot Chili Peppers.

Hawkins recorded the drum tracks for the Coheed and Cambria album Good Apollo, I’m Burning Star IV, Volume Two: No World for Tomorrow as the band’s regular drummer, Chris Pennie, could not record because of contractual reasons. Hawkins also toured with Coheed and Cambria shortly during the months of the album release. Hawkins can also be heard drumming on Eric Avery‘s (formerly of Jane’s Addiction) first solo effort, Help Wanted and on Kerry Ellis‘s album, Wicked in Rock. Hawkins and Grohl split drumming duties on Harmony & Dissidence, the third album by Foo Fighters bandmate Chris Shiflett‘s own side project, Jackson United.

Hawkins played on the track “Cyborg”, from Queen guitarist Brian May‘s 1998 solo album, Another World; he also played drums at VH1‘s Rock Honors 2006 while Queen performed “We Will Rock You“. He sang backing vocals on the Queen + Paul Rodgers single, “C-lebrity“.[33]

Hawkins was commissioned to complete an unfinished recording of a song by Beach Boys‘ drummer Dennis Wilson titled “Holy Man” by writing and singing new lyrics. The recording, which also featured contributions from Brian May and Roger Taylor of Queen, was issued as a single for Record Store Day in 2019.

While the Foo Fighters were on break in 2013, Hawkins formed a rock cover band called Chevy Metal.

Then Hawkins appeared on Slash‘s solo album Slash, released in 2010, providing backing vocals on the track “Crucify the Dead”, featuring Ozzy Osbourne.

Also in 2013, he made his acting debut in the role of Iggy Pop in the rock film CBGB. Hawkins recorded the drums on Vasco Rossi‘s last song, “L’uomo più semplice”. This song was released on January 21, 2013, in Italy.

In March 2014, Hawkins announced his new side project called the Birds of Satan. It features Hawkins’s drum technician and bandmate from Chevy Metal, Wiley Hodgden on bass guitar and vocals as well as guitarist Mick Murphy also of Chevy Metal. The band’s self-titled debut album was released in April 2014, with a release party at ‘Rock n Roll Pizza’ featuring the Foo Fighters guesting on some of the cover tracks.

In an interview with Radio X, Hawkins revealed that his initial idea with his solo projects was to duet with female singers. Hawkins invited other stars to sing in the Taylor Hawkins and the Coattail Riders album Get the Money, such as LeAnn Rimes, who sang on one of his songs titled “C U In Hell”. Loudwire named the album one of the 50 best rock efforts of 2019. The album features a ridiculous list of guest appearances: his boss Dave and bandmate Pat Smear are on there, alongside Jane’s Addiction’s Perry Farrell, The Eagles’ Joe Walsh, The Pretenders’ Chrissie Hynde, Level 42 bassist Mark King, former Sex Pistols guitarist Steve Jones, and Roger Taylor, the man who gave Taylor the idea to hit stuff for a living in the first place. “It really is ridiculous, isn’t it?” he laughs. Other musicians who appeared on his projects included Brian May, Heart’s Nancy Wilson  and many more.

In October 2021, Elton John released The Lockdown Sessions, which featured Hawkins playing drums on the song “E-Ticket”. Also in 2021, Hawkins and Jane’s Addiction members Dave Navarro and Chris Chaney formed a supergroup called NHC. Described by Hawkins as being “somewhere between Rush and the Faces“. The band made its live debut in September 2021 at Eddie Vedder‘s Ohana festival, with Taylor’s Foo Fighters bandmate Pat Smear on additional guitar. The band recorded an album in 2021, which released in 2022.

Along with the other members of Foo Fighters, Hawkins starred as himself in the comedy horror film Studio 666, released on February 25, 2022. He posthumously appears on select tracks on Ozzy Osbourne‘s 2022 album Patient Number 9 and Iggy Pop‘s 2023 album Every Loser.

Hawkins told Rolling Stone that the toll of performing live was starting to wear on him.

“I’m still a spaz; but I’m trying really hard to figure out how to continue to keep the intensity of a young man in a 50-year-old’s body, which is very difficult,” Hawkins said in 2021. “I’m not whining, I’m really not … I’m just saying it’s f—ing hard work.”

Perhaps too much work, perhaps an enlarged heart or perhaps an overdose, sadly Taylor Hawkins passed away in Bogota, Columbia on March 25, 2022.

Tributes:

  • dozens of musicians and artists paid tribute to his life across the globe.
  • Hawkins was inducted into the Rock and Roll Hall of Fame in 2021 as a member of Foo Fighters. He was voted “Best Rock Drummer” in 2005 by the British drumming on magazine Rhythm. After his death, the Foo Fighters and his family announced two tribute shows, which took place in September 2022.
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Gary Brooker 2/2022

February 19, 2022Gary Brooker (76) founding lead singer of the late 1960’s musical sensation Procol Harum was born on May 29, 1945, in London’s Metropolitan Borough of Hackney. His father was a professional musician and Gary followed in his footsteps learning to play piano, cornet and trombone as a child. But his most awesome instrument over the years became his voice.

After high school, he went on to Southend Municipal College to study zoology and botany but dropped out to become a professional musician.In 1962 he founded the Paramounts with his guitarist friend Robin Trower. The band gained respect within the burgeoning 1960s British R&B scene, which yielded the Beatles, the Animals, the Spencer Davis Group, the Rolling Stones, and many others. The Rolling Stones, in particular, were Paramounts fans, giving them guest billing on several shows in the early 1960s.

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Ian McDonald 02/2022

Ian McDonald (75) – King Crimson/Foreigner – was born on 25 June 1946 in Osterley, Middlesex, England, the son of Ada (née May) and Keith McDonald, an architect. He grew up in a musical family and taught himself the guitar. His music interests ranged from classical orchestra to dance bands to rock. At 15, he left school and began a five-year stint in the British Army as a bandsman. In 1963 he enrolled at the Royal Military School of Music at Kneller Hall, where he took clarinet and learned to read music. He later learned piano, flute and saxophone and taught himself music theory. His experience of playing with army bands gave him great musical adaptability as he had to learn many different musical styles such as show tunes, classical, jazz, and military marches. It was this that honed his style to what eventually became the beginnings of the Prog Rock movement.

After leaving the army, McDonald moved back to London, and began making music with his girlfriend, former Fairport Convention singer Judy Dyble. In May 1968 Ian McDonald placed an advert in Melody Maker which read: “Musicians wanted. Serious ones only.”

Among those who replied was guitarist Robert Fripp and drummer Michael Giles. It proved to be a seminal moment in prog rock that led to the birth of King Crimson. Blending elements of jazz, rock, proto-metal and symphonic music with avant-garde improvisation and complex time signatures, over the next few months the nascent group created a unique sound that was to change the face of popular music.

However, the relationship with Dyble ended and she left the band before they played their first gig in 1969, by which time McDonald, Fripp and Giles were joined by Greg Lake and lyricist Peter Sinfield.

King Crimson’s debut album The Court Of The Crimson King, was filled with McDonald’s multi-instrumental presence on flute, saxes, woodwind, vibraphone, various keyboards, and of course, arguably the album’s signature sound, the Mellotron. Alongside all of that technical virtuosity, built and honed during his stint as an army bandsman in the mid-1960s, Ian was blessed with an ability to write and compose, something he often did on guitar.

Three months after their first gig, they supported the Rolling Stones at their famous free concert in Hyde Park (with new guitarist . They stole the show, with The Guardian reporting that the Stones’ performance was “indifferent”, but that King Crimson were “sensational”. McDonald’s saxophone solo was a high point on their track “21st Century Schizoid Man“, and he went on to play this on their first album In the Court of the Crimson King.

The high point of the Hyde Park gig came when the entire audience of some 650,000 cheered McDonald’s blazing blitzkrieg of a saxophone solo during the band’s show-stopper 21st Century Schizoid Man. “I remember the hairs on the back of my neck rising as the roar from this huge crowd went up,” King Crimson roadie Richard Vickers remembered.

 The album jump-started the progressive rock era, and paved the way for similar bands such as Yes and Genesis, Emerson, Lake, Palmer, Barclay James Harvest and the Moody Blues. McDonald composed 2 of the 5 album tracks, including the title track and “I Talk to the Wind” on which his jazzy flute solo is one of the album’s defining musical moments, and co-wrote the other 3 tracks with the other group members.

Yet within months, growing emotional friction within the group had led him to quit. Along with drummer Mike Giles, he left in the middle of King Crimson’s first US tour. “To keep the band together, I offered to leave instead,” Fripp said. “But Ian said that the band was more me than them.”. (McDonald later ).

McDonald later regretted his hasty decision and apologized to Fripp for leaving the band in 1970. “I was not quite ready for the attention we were getting and I wasn’t emotionally equipped to deal with what was going on,” he said. “I was away from home and it was a spontaneous decision. Perhaps I should have gone home and thought about it a little bit, but there you are.”

McDonald and Giles formed a duo that released one album titled McDonald and Giles, which featured an orchestral backing instead of a Mellotron as used with King Crimson.

Following McDonald And Giles the pair went their separate ways and McDonald’s next contribution to rock’n’roll history could not have been more different. If prog rock meant “taking different influences and expanding the basic combination of drums, guitar and bass”, as he put it, he promptly went back to just such basics when he turned up as a session player on T Rex’s 1971 glam-rock chart-topper Get It On, where he borrowed Mel Collins‘ baritone saxophone and, at the other end of the commercial spectrum, the free-jazz and rock ensemble opus, Septober Energy by Keith Tippett’s Centipede, underlining his view that all music had a value regardless of stylistic considerations. Production work beckoned including Canis Lupus by Darryl Way’s Wolf in 1973, and after his guest spot on King Crimson’s Red in 1974, he went on to produce Fruup’s Modern Masquerades in 1975 and American proggers’ Fireballet’s debut Night On Bald Mountain the same year.

There was a brief attempt to reunite with Fripp and King Crimson in 1974 but it led to nothing and after moving to New York City in 1976 McDonald became a founder-member of Foreigner. With a six-strong line-up of British and American musicians playing a classic, radio-friendly form of stadium rock, the band had huge hits with Feels Like the First Time, Cold As Ice and Hot Blooded. With Foreigner, McDonald played guitar as well as his woodwinds and keyboards.

He recorded three multi-platinum albums that made Foreigner one of the biggest-selling acts of the era before he was bounced out of the band by lead guitarist and main songwriter Mick Jones.

As a session musician McDonald appeared on To Cry You A Song, a Jethro Tull tribute album released 1996 by Magna Carta Records, appearing on Nothing Is Easy and New Day Yesterday. He also appeared on Centipede‘s album Septober Energy. He produced the Darryl Way’s Wolf album Canis Lupus and Fruupp‘s Modern Masquerades (1975). The closing track on Canis Lupus, “McDonald’s Lament”, was dedicated to him. In 1996, McDonald toured with former Genesis guitarist Steve Hackett, which was included on the album The Tokyo Tapes. The group included a performance of King Crimson’s “The Court of the Crimson King“, and “I Talk to the Wind“, the tour also included fellow King Crimson alumni John Wetton. In 1999, he released a solo album, Drivers Eyes, which featured John Wetton, Lou Gramm, John Waite and Gary Brooker.

In 2002 McDonald teamed up with other King Crimson alumni in the 21st Century Schizoid Band, toured for three years and released several live albums.

He said of his chameleon career: “I just contribute to whatever situation I’m in and really it’s all the same to me. It’s music and I’ve been lucky to make it my life’s work.”

“One of the things I’ve always done when I’m recording a song is I ask myself, ‘Could I listen to this 500 times?’ So you have to be honest with yourself when you are making a record. All the while in the studio when we were recording the album I was thinking, ‘Will I still want to listen to this in 50 years’ time.’ So part of me was thinking 50 years ahead if you like.” 

McDonald contributed saxophone and flute to several tracks on Judy Dyble‘s 2009 release Talking With Strangers. The album saw McDonald reunited with Fripp on the 20-minute “Harpsong”.

In 2017, McDonald, his son Maxwell and singer-guitarist Ted Zurkowski formed the band Honey West, which released an album Bad Old World in 2017, which he described as “an alt-country band with rock leanings”.

McDonald died from cancer at his home in New York City on Feb 9, 2022. He was 75 years old.

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John Hartman – 12/2021

John Hartman (71), a co-founder of the Doobie Brothers, was born March 18, 1950, in Falls Church, Va.

From the band’s official website: It all began in 1969, when drummer John Hartman arrived in Northern California. He was there to meet Skip Spence from the band Moby Grape and become part of a supposed band reunion that never quite got off the ground. But it wasn’t all for naught. Spence (who had also played in the Jefferson Airplane) introduced Hartman to his friend Tom Johnston, a local singer/songwriter/guitarist -and they connected. Hartman and Johnston began playing local Bay Area bars under the name Pud. After Pud collapsed, the pair began jamming with bassist Dave Shogren and guitarist Patrick Simmons, whose finger-style playing richly complimented Johnston’s R&B strumming-style, and the foundation for the Doobie Brothers (a slang term for marijuana) was set.

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Graeme Edge 11-2021

Life long drummer for the Moody Blues

Graeme Edge (80) – The Moody Blues – was born on March 30, 1941 in Rochester, Staffordshire. Edge co-founded The Moody Blues in 1964 in Birmingham, England, along with original band members Denny Laine, Clint Warwick, Mike Pinder and Ray Thomas.

His mother worked in silent movies as a pianist whilst his father, grandfather and great-grandfather all worked as musical hall singers.

He first moved into the music industry himself as the manager of the Blue Rhythm Band and whilst he did try his hand at the drums from time to time, he only started playing the instrument professionally when he was forced to step in for the drummer, who had quit the group.

In 1964 he formed the original blues-rock band the Moody Blues with Mike Pinder, Ray Thomas, Denny Laine, and Clint Warwick who in January 1965 produced the smash cover hit “Go Now”. (Bessie Banks original)

In the years following, Edge’s influence as a poet who happened to be a drummer as well, moved the band towards the prog rock genre, which they defined as no other group, giving direction to later outfits such as Yes, Barclay James Harvest, Electric Light Orchestra and others. Justin Hayward, who joined with John Lodge in 1966, credits Edge as the one who kept it all together for so may years.

“Graeme and his parents were very kind to me when I first joined the group, and for the first two years he and I either lived together or next door to each other,” Mr Hayward said. “We had fun and laughs all the way, as well as making what was probably the best music of our lives.”

“In the late 1960’s we became the group that Graeme always wanted it to be, and he was called upon to be a poet as well as a drummer,” said Hayward; “He delivered that beautifully and brilliantly, while creating an atmosphere and setting that the music would never have achieved without his words. I asked Jeremy Irons to recreate them for our last tours together and it was absolutely magical.”

Edge’s drumming and spoken word poetry was instrumental to the band’s biggest hits in their “classic” era of the ’60s and into the ’70s, including “Nights in White Satin,” “Tuesday Afternoon,” and “I’m Just a Singer (In a Rock and Roll Band).”

When The Moody Blues went on hiatus from 1974 to 1977, Edge traveled around the world on his yacht and also recorded two solo albums, “Kick Off Your Muddy Boots” (1975) and “Paradise Ballroom” (1978), inspired by his visit to the Caribbean.

In 1978, the band reunited for the album “Octave,” after which they pivoted from prog-rock to a more synth-pop sound in the earlier ’80s. Around this time, Edge linked with a jazz-combo group formed of various musicians from London’s club scene, called Loud, Confident and Rong.  In my opinion, he was one of the most consistently solid British ‘60’s music drummers who continued to perform and record original music right up until late 2017 when The Moody Blues performed a special “Days of Future Passed” concert in Toronto, Ontario, Canada , which was recorded at The Sony Centre Theatre for the Performing Arts.

Graeme composed many of the songs and wrote poetry for The Moody Blues albums along with his fellow band mates Justin Hayward, John Lodge, Mike Pinder, Ray Thomas and Denny Laine and along with Adrian Gurvitz (Baker-Gurvitz Army), Graeme wrote the songs, recorded the music and performed with his own band..”The Graeme Edge Band”.

After suffering a stroke in 2016, Edge retired from touring in 2019. Yet he remained an official member of The Moody Blues until his death, nearly 60 years after its founding.

“When Graeme told me he was retiring I knew that without him it couldn’t be the Moody Blues anymore,” said Hayward in his statement. “And that’s what happened. It’s true to say that he kept the group together throughout all the years, because he loved it.”

In 2018, The Moody Blues was inducted into the Rock and Roll Hall of Fame. Their last album was released in 2003. They have sold more than 70 million albums to date. Overall, Edge recorded 16 studio albums with The Mood Blues, ending with 2003’s Christmas-themed “December.”

Graeme passed away from metastatic cancer on November 11th, 2021 at the age of 80 at his home in Bradenton Florida. He had been living there for more than 20 years as he called the area, the last hold out of hippiedom.

Edge, who has married and divorced twice, is survived by his wife, as well as his daughter, Samantha Edge; his son, Matthew; and five grandchildren.

Several fans, musicians and musical institutions paid tribute in the wake of Edge’s passing.

“Graeme was one of the great characters of the music business and there will never be his like again,” Hayward concluded. “My sincerest condolences to his family.”

“Edge’s mystical poetry on the Moodies records created flights of fantasy and otherworldly journeys for generations of fans,” the The Rock & Roll Hall of Fame posted on their official Facebook page with a video of Edge’s speech at The Moody Blues’ induction ceremony.

Rod Argent of The Zombies, The Moody Blues’ rock contemporaries, also shared a statement on the “very sad” news. “Way back in the mid sixties we were invited to a couple of the legendary Moody Blues parties in Roehampton – where the original band had a house – and we particularly remembered how much Graeme, along with the rest of the band, was just so welcoming and hospitable,” he reminisced. “That quality was something Graeme never lost.”

Kiss frontman Paul Stanley tweeted “RIP Graeme Edge” and shared a memory of an “EPIC” performance he attended in 1970. “Sounded just like their recordings. NOBODY could touch them at what they created and to this day you know them as soon as you hear them.”

Bassist John Lodge posted a statement of his own on the band’s official website. “To me he was the White Eagle of the North with his beautiful poetry,” he wrote. “His friendship, his love of life and his ‘unique’ style of drumming that was the engine room of the Moody Blues. … I will miss you Graeme.”

I was fortunate enough as a young kid, to see the original Moody Blues perform Go Now live in the studio in 1965 and was totally blown away. Seven years later I witnessed their genre metamorphosis with an unbelievable concert at Hammersmith-Odeon in London where they performed their perennial hits Just a Singer in a Rock and Roll Band, Tuesday Afternoon, Nights in White Satin, The Story in your Eyes and all the rest. And even though in my deepest heart I am a blues-rocker, I have always kept a soft spot for the Moody Blues, Supertramp and several of the progressive rock and underground formations.

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Charlie Watts 8/2021

charlie watts, lifelong drummer for the Rolling StonesDrummer Charlie Watts, who has died at 80, provided the foundation which underpinned the music of the Rolling Stones for 58 years.

A jazz aficionado, Watts vied with Bill Wyman for the title of least charismatic member of the band; he eschewed the limelight and rarely gave interviews. And he famously described life with the Stones as five years of playing, 20 years of hanging around. 

Charles Robert Watts was born on 2 June 1941 at the University College Hospital in London and raised in Kingsbury, now part of the London Borough of Brent.

He came from a working-class background. His father was a lorry driver and Watts was brought up in a pre-fabricated house to which the family had moved after German bombs destroyed hundreds of houses in the area.

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Ron Bushy 8/2021

Ron Bushy (79) – Iron Butterfly – was born on December 23, 1941 in Washington DC. Little is recorded on how he ended up on the west coast but, following the band’s relocation from San Diego to Los Angeles, replacing previous drummer Bruce Morse, who left due to a family emergency. Bushy became part of the group’s classic lineup, along with vocalist and keyboardist Doug Ingle, guitarist Erik Brann, and bassist Lee Dorman.

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Bunny Wailer – 3/2021

Bunny Wailer

Bunny Wailer (Bob Marley and the Wailers) was born 10 April 1947 in Kingston Jamaica. He was born Neville Livingston, and it was not until much later that he would take the sobriquet of Bunny Wailer, largely as a marketing device for his clear, ringing tenor voice and percussive arranging. 

Bunny was brought up by his father, Thaddeus “Toddy” Livingston, who took him to Nine Mile, where he was preaching. Bunny took with him some experience of music – in Kingston he had been a champion child dancer. At the Revivalist church in Nine Mile where Toddy preached, he banged the drum during hymns.

Although Toddy opened a store, he was more attracted to the area’s fertile land, perfect for marijuana growing. He financed his assorted businesses through being a “herbsman”, as ganja sellers are termed in Jamaica. After a time Toddy returned to Kingston, taking his son with him, and opened a rum bar.

Bob Marley’s mother, Cedella, had begun working in Kingston, returning to Nine Mile each weekend. One Sunday, she found herself traveling with Toddy Livingston, and they began dating. 

Cedella’s son Bob practiced singing with Bunny and another boy, Desmond Dacre (later Desmond Dekker); Curtis Mayfield and gospel music were particular influences. The pair soon encountered another youth wanting to try his musical chances – the gangly Peter McIntosh, or Peter Tosh, as he became known. 

Toddy Livingston employed Cedella Marley at his bar; she became pregnant and their daughter, Pearl, was born early in 1962, meaning that Marley and Bunny Wailer shared a half-sister. But Cedella Marley decided that her relationship with the womanizing Toddy was hopeless and she moved to the United States.

Bunny first met Marley in the village of Nine Mile, Marley’s birthplace; Bunny was aged eight, Marley two years older.

In 1962, Bob Marley recorded Judge Not, his first tune for producer Leslie Kong. Bunny Livingston had been booked in at the studio the same afternoon, intending to sing his first composition, Pass It On, but had been kept in school after class. A few months later, however, he formed the Wailing Wailers with Marley and Tosh.

They auditioned for the leading producer Coxsone Dodd, and Bunny suggested they play Simmer Down, a song written by Bob Marley a couple of years previously. By November 1964 the song was No 1 in Jamaica.

Though the Wailers were a runaway success, there was a hitch in June 1967 when Livingston was jailed for 18 months for possessing marijuana.

When he was released, he was noted as being more difficult than previously. In 1970 the Wailers recorded an album for Kong; when Livingston discovered that Kong wanted to call it The Best of the Wailers he was furious. Only at the end of one’s existence could an individual’s work be judged, he insisted; such a decision, he declared, must mean that it was Kong who was near the end of his life.

Laughing at what he considered typical Rasta doublethink, Kong put out the record with his intended title but soon after died of a heart attack – cementing Wailer’s reputation as an “obeahman”, someone who employs Jamaican voodoo-like practices.

Soon after, in a Kingston nightclub, Livingston attacked Lee “Scratch” Perry, who had produced the Wailers’ Soul Rebels and Soul Revolution albums. Perry had sold the records for UK distribution for £18,000 but the Wailers had seen none of the money.

The trio signed to Island Records, whose boss, Chris Blackwell, marketed their albums Catch a Fire and Burnin’ as though they were a rock act. For the second LP a set of US shows had been booked, but Livingston announced that he would not be taking part.

He was the most combative of all the Wailers in terms of black militancy. With his girlfriend Jean Watt he moved to live in a bamboo hut among the Rasta beach community at Bull Bay, outside Kingston. Squatting on a piece of land, he built his home himself, adding a touch of luxury with a polished wood floor.

When it came to his finances Livingston was on wobbly ground. He had established his own Solomonic label, but it was hardly a money-spinner. Towards the end of the Wailers’ career, he was so broke he was going to sea to catch fish.

As a settlement from Island Records, Livingston and Tosh were each offered $45,000; Livingston insisted on cash. With the banknotes stashed, he drove around Jamaica searching for land to buy. Finally, he discovered a plot in the hilly St Thomas countryside, 60 miles from Kingston, where he built a house.

″I think I love the country actually a little bit more than the city,″ Wailer finally told The Associated Press in 1989. ″It has more to do with life, health and strength. The city takes that away sometimes. The country is good for meditation. It has fresh food and fresh atmosphere – that keeps you going.

At first Livingston seemed to have vanished into this hilltop eyrie, but in the summer of 1976 he released his first solo LP, Blackheart Man, which brimmed with vitality, on Island: he had been saving up songs for some time. He was sensibly remarketed as “Bunny Wailer”, but refused to play dates to push his record. Despite that, his Protest album, released the next year, proved equally strong.

For the 1980 disc Bunny Wailer Sings the Wailers he reworked many of the band’s songs with the backing of the leading Jamaican rhythm section, Sly Dunbar and Robbie Shakespeare. He experimented with disco on his 1982 album Hook Line & Sinker, and during the 1990s he won three Grammy Best Reggae Album awards, for Time Will Tell: A Tribute to Bob Marley, Crucial! Roots Classics and Hall of Fame: A Tribute to Bob Marley’s 50th Anniversary.

In 1987 he had resumed playing live shows, to large audiences in Europe and the United States, and continued to perform for much of the rest of his career.

In 1988, he had chartered a jet and flew to Jamaica with food to help those affected by Hurricane Gilbert. ″Sometimes people pay less attention to those things (food), but they turn out to be the most important things. I am a farmer,″ he told the AP.

But the Wailers dominated. When Kevin Macdonald released his acclaimed Marley! documentary in 2012, Bunny’s voice was conspicuous (he had demanded $1 million to be interviewed, and though he did not get quite that, he was reported to have been paid a substantial sum). His appearance in the film cemented his position as the elder statesman of reggae – though still linked irrevocably to Bob Marley, his schoolboy friend.

In 2017 Bunny Wailer, who suffered two strokes in later life, was awarded the Jamaican Order of Merit. He was married to Jean Watt, known as Sister Jean, who was suffering from dementia; she went missing in 2020 and remained so by the time of his death. He is believed to have had 12 daughters and a son.

He died on March 2, 2021 in Jamaica

He was the third and last original Wailer. Marley died in 1981 of a brain tumor at 36 years old and Tosh was fatally shot in Jamaica in 1987 at 42 years old, leaving Wailer as the music’s elder statesman.

Tributes: 

“The passing of Bunny Wailer, the last of the original Wailers, brings to a close the most vibrant period of Jamaica’s musical experience,” wrote Jamaica politician Peter Phillips in a Facebook post. “Bunny was a good, conscious Jamaican brethren.”

His solo records include 1976’s Black heart Man, and 1981’s Rock ‘n’ Groove, with “Cool Runnings”, “Crucial” and “Bald Head Jesus” among his best-known songs.

In 2017, Wailer was awarded Jamaica’s fourth highest honor, the Order of Merit, and was recognized with a Reggae Gold Award in February 2019.

Wailer won three Grammy awards during his career, for Time Will Tell: A Tribute to Bob Marley in 1991, Crucial! Roots Classics in 1995 and Hall of Fame: A Tribute to Bob Marley’s 50th Anniversary in 1997. All were in the category of Best Reggae Album.

It was his friendship and work with Bob Marley, and later with Peter Tosh, that led to them forming the Wailers, an intensely creative and varied trio who gave reggae an immense international reach. Though it is hard to pull Livingston from out of Bob Marley’s shadow he remained a commanding musical figure.

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Tim Bogert – 1/2021

Tim Bogert, bassist for Vanilla Fudge

Tim Bogert – (Vanilla Fudge)  Born John Voorhis Bogert III on Aug. 27, 1944 in New York City, he grew up playing multiple instruments. When Tim was eight years old, he was already riding his bicycle to piano lessons. The piano lessons, however, were soon replaced by Little League. Music was in him, though and at thirteen, Little League was then replaced by a clarinet. Soon thereafter, Tim picked up the saxophone and played in his high school marching band. Time was living in New Jersey by now and he met a friend named Dale. They formed a band called The Belltones with Tim playing sax and made good money playing gigs around New Jersey at high school dances and VFW halls. This band evolved into The Chessmen. 

The Chessmen were introduced by WADO disk jockey Allen Fredericks, who helped them get gigs backing up doowop groups such as The Shirelles, The Crest, The Earl, and The Doves. The Chessmen were now playing New York City. With the advent of surf music which didn’t have much sax, Tim Bogert then picked up the electric bass.
After Tim left high school, he was in and out of a number of bands in the NYC area. In 1965, he went on a lounge tour of the Eastern Seaboard with Rick Martin and the Showmen, where he met Mark Stein, the keyboardist and vocalist. The two of them hit it off, and they soon left to join with drummer Joey Brennan and guitarist Vince Martell to form their own band, The Pigeons. After recording an album called “While the World was Eating”, they replaced drummer Joe Brennan with Carmine Appice and changed the name of the band to Vanilla Fudge.

“We had just gotten a recording contract from Atlantic Records, and the name Pigeons was taken, so in a couple of hours we had to think of a new name,” Bogert told For Bass Players Only in 2010. “Mark’s cousin’s nickname was ‘Vanilla Fudge’ — no, I don’t know why — and this name was picked and agreed to by everyone. It had nothing to do with blue-eyed soul!”

The band, known for fusing strains of psychedelia and proto-metal, mingled originals with cover songs on their early albums, including heavy takes on the Beatles’ “Ticket to Ride” and Curtis Mayfield’s “People Get Ready.” Their 1967 take on the Supremes’ “You Keep Me Hangin’ On” served as the soundtrack to the climatic scene of Quentin Tarantino’s 2019 movie Once Upon a Time in Hollywood.

The song that took them to the top was a cover of the Supremes, titled “You keep me hanging on. According to Mark Stein, he and Tim were “hanging out” one day in early 1967 when You Keep Me Hanging On by The Supremes came on the radio. They both agreed that the words were very soulful and that the song was too fast. Tim replies that they took the idea to slow it down back to Vince and Carmine. They performed it that night and refined the arrangement over the next few weeks and the rest is history. It was recorded in one take and that’s the version we’ve been listening to for fifty years! The album soared to number 3 on the national charts behind The Beatles and The Supremes. It stayed on the charts for over 200 weeks! The first notes Tim plays in the intro to this symphonic rock piece indicate his incredible speed and his unique ability take you on a “bass trip” while continuously doing what a bass player is supposed to do; holding down the bottom and completing the rhythm section. This was the emerging Tim Bogert style.

Tim recorded five albums with Vanilla Fudge between 1967 and 1969. As Vanilla Fudge matured, so did his style, on both the melodic and rhythmic sides. His “bass trips” became even more imaginative, utilizing more effects and greater speed, yet his rhythmic grooves were just as awesome. These techniques are prevalent on the Some Velvet Morning and Break Song cuts on the Near the Beginning album. Tim and drummer Carmine Appice became undoubtedly the tightest rhythm section in rock.

The quartet released five studio albums during their ’60s run, all of which cracked the top 40 of the Billboard 200: 1967’s gold-selling Vanilla Fudge, 1968’s The Beat Goes On and Renaissance; and 1969’s Near the Beginning and Rock & Roll.

Following the breakup of Vanilla Fudge in March of 1970, Tim went on with Carmine to form Cactus with guitarist Jim McCarty (Mitch Ryder and the Detroit Wheels), and vocalist Rusty Day(Ted Nugent and the Amboy Dukes). About the name says Tim, “Carmine and I were lying in the back of a limo on the way home from a gig in Arizona. We were talking about leaving the Fudge. We passed under a sign that read ‘ The Cactus Drive-In’ . It was the easiest band name we ever thought of. “

This high energy rockin’ blues band gave Tim the opportunity to further prove his ability to fill the gaps in what was essentially an instrumental trio, while maintaining his meaty, melodic style. After three studio albums, Jim McCarty left the band and was replaced by an unknown guitarist, Werner Friching, from Germany that they met in New York. Carmine once said that he and Tim had trouble with many guitarists because the two of them were “crazy musicians from New York” and were too high energy. Well, so much the loss for the guitar players! With the addition of keyboardist Duane Hitchings, from the original Buddy Miles Express and a new vocalist, Pete French, from Atomic Rooster, they recorded a fourth album ‘Ot ‘n Sweaty in 1972. This Cactus version, lasted only another seven months before breaking up completely.

The Bogert/Appice rhythm section then teamed up once again. This time with the legendary Jeff Beck. Beck, Bogert, and Appice was the new supergroup. Tim and Carmine had wanted to team up with Beck for a long time. Jeff had called them up to do a session with Stevie Wonder and were asked to join the Jeff Beck Group. They left Cactus and did a national tour with Beck.

Their rendition of Stevie Wonder’s Superstition was an instant hit. Vanilla Fudge harmonies, provided by Tim and Carmine, were evident in Lady. BBA’s live album from Japan, which was coincidentally only released in Japan and is now a collectors item, displayed the intense energy they became known for. Ray Manzerek of The Doors described BBA as “one of the great power trios of all time.”

Ultimately, Tim dissolved his partnership with Beck and moved from New York to Los Angeles.

“I did nothing for six months. Just rode my motorcycle. Then I teamed up with Steve Perry for two years.” Tim met Steve at a rehearsal studio and they put a band together called Pieces.”

After that, Tim went to England to do one session and wound up staying for three and a half years. While there, he joined a band with Chris Stainton called Boxer. They recorded one album and toured England. 1979 found Tim back in California mainly living the life of a freelance musician working local clubs on a casual basis and doing his share of studio dates with the likes of Rod Stewart on his “Foolish Behaviour” album and Bo Diddley on his “20th Anniversary of Rock ‘N’ Roll album.

“After that I went back to Europe to live in Italy for seven months to do session work and tour.” Upon his return to Los Angeles, Tim joined Bobby and the Midnights with Billy Cobham and Bob Weir. That took him on another tour of the U.S. for a year and a half. The following year, Tim toured nationally with Rick Derringer.

Bogert then joined Bobby and the Midnites, a side project formed by Bob Weir of the Grateful Dead. Though he toured with the group, Bogert left before their debut album was released, joining the U.K. group Boxer in 1977. In 1981, Bogert became a faculty member at the Musicians Institute in Los Angeles, but continued to record, releasing his second album, “Master’s Brew,” in 1983 and releasing “Mystery” with Vanilla Fudge in 1984.

Over the years, Bogert contributed to multiple projects and tours, including stints with Rick Derringer, Steve Perry, Rod Stewart and others. He also participated in reunions with Vanilla Fudge and Cactus, including the former band’s 2007 record, Out Through the In Door, and the latter group’s 2006 LP, Cactus V.

In 1999, Bogert was recognized by the Hollywood Rock Walk of Fame for his contributions to the genre. Bogert continued to tour with various groups until he retired.  In August of 2005, Tim was involved in a serious motorcycle accident which left him unable to perform for a couple of years.

In August 2007, the all original Vanilla Fudge reunited again for a concert at Radio City Music Hall in New York City with Deep Purple, and continued to tour into 2008.

In 2009, resulting problems from the motorcycle accident forced Tim to reluctantly retire from touring. He was still doing session work locally in Simi Valley, California and over the Internet.

According to Bogert’s official biography, he “reluctantly” retired from touring in 2010 due to “resulting problems” from a motorcycle accident. He did, however, continue to do local session work. In 2020, Vanilla Fudge recorded “Stop In The Name Of Love”. At their invitation, Tim rejoined his buddies for this track, which would be his last recording as he was fighting cancer.

After a long battle with cancer Tim Bogert died on January 13, 2021.

“I loved Tim like a brother. He will be missed very much in my life. I will miss calling him, cracking jokes together, talking music, and remembering the great times we had together, and how we created kick-ass music together,” Carmine Appice wrote . “Perhaps the only good thing about knowing someone close to you is suffering a serious illness, is you have an opportunity to tell them that you love them, and why you love them. I did that, a lot. I was touched to hear it said back to me. Nothing was left unsaid between us and I’m grateful for that. I highly recommend it. Rest in peace, my partner. I love you. See you on the other side.”

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Bones Hillman 11/2020

Bones Hillman (62) – Midnight Oil – was born May 7, 1958 in Auckland, New Zealand as Wayne Stevens. His first band was punk outfit the Masochists and then he went from actually learning his instrument in his Avondale teenage bedroom to joining New Zealand punk rock originals the Suburban Reptiles.“It was the most documented band that did fuck all,” Hillman says with a laugh of the notorious group that gave him the nom de punk the bloke born Wayne Stevens has used since.

“Although it probably reads really well on paper, in reality we never really played that much. With the Suburban Reptiles, I think we did a gig once every six months if we could actually convince someone to let us use their space.”

From the ashes of that short-lived headline-grabbing band came the nervy pop of the Swingers. And sparked by Hillman’s bassline, which came to him during a sound-check at a Christchurch pub, the title Counting the Beat became a transtasman number one in 1981 and perennial advertising jingle.

The Swingers foundered. So did his next band, Coconut Rough. Eventually, while Hillman was painting houses in Melbourne, his landlord, a chap by the name of Neil Finn, recommended him to Midnight Oil drummer Rob Hirst when the band needed a new bassist, replacing Peter Gifford in 1987. Helped by his vocal harmony abilities, Hillman got the gig. Initially, he was offered just an Australian and Canadian tour. But five albums later, he was still there – until frontman Peter Garrett decided he needed to swap political rock for actual politics and the band split in 2002.

‘Hillman later recalled that he was living with Kiwi expatriate musicians Neil and Sharon Finn in a Melbourne share house when Midnight Oil called to say they were looking for a new bassist.
His first thought was that Neil Finn, who passed on the message, was pulling his leg. But a few nights later, drummer Rob Hirst rang back wondering why Hillman had not returned his call and invited him up to Sydney to rehearse.

He played with Midnight Oil for 15 years, performing thousands of gigs and singing on every recording since 1990’s Blue Sky Mining, until the band took a break in 2002 when frontman Peter Garrett moved into federal politics. Hillman returned to New Zealand where he stayed active but bored, before moving with his family in 2007 to Nashville, Tennessee where he worked a lot as a session musician. He re-joined Midnight Oil for its Reunion Tour in 2018.

Midnight Oil were occasionally getting  back together for charity shows, but Hillman had given up on a more ambitious reunion. But then, Garrett having quit politics and delivered a solo album and the band decided to reconvene. After dates in Europe and North and South America, they went to New Zealand in September before shows in Australia.

Hillman said the reunion decision came against the background of a year in which many of rock’s old guard left the stage; the band, whose ages hover around 60, began thinking, “Well, now’s good … Last year was fairly brutal for artists shuffling off this mortal coil from David Bowie and Prince right down to Glenn Frey. I think we saw a lot of people were checking out. We are still in good health and we can still play, we can still walk … so why not embrace this heritage, this great career and music that we have done?”

Hillman knows a thing or two about embracing heritage. After the Oils split, he returned to New Zealand for three years, which included the recording of Dave Dobbyn’s 2005 Available Light and the subsequent album tour.

Then he had another urge: Nashville. But once there, it was time to unplug.

“I had to learn some new tricks. Just being the electric rock bassist had no pull in this town. For some reason, everyone wanted an upright bass. That resurgence of young people playing string band music just came into the culture.” Hillman bought a vintage double bass, listened to a lot of playing by Elvis Presley’s original bassist, Bill Black, and spent six months in the basement getting a new set of calluses on his hands as he learnt the instrument.

In the decade in Nashville, he played on nearly 20 albums by various acts, touring with artists such as prominent country singer-songwriter Elizabeth Cook and appearing on Late Show with David Letterman. “It really was an education. Just a different appreciation about playing,” he says. “I had no idea on that 747 flight out of Auckland I would end up playing upright bass with hillbilly musicians at the Grand Ole Opry.” His double-bass era came to a close after five or so years. He sold the instrument – “that was the end of the love affair” – and went back to electric bass guitar as a sideman to Canadian singer-songwriter Matthew Good.

Then came the call from the old firm in Australia.

The band’s most recent release  The Makarrata Project: a collaborative mini-album with the stated intention of keeping the Uluru Statement from the Heart at the forefront of the national conversation. In 2019 Hillman reconvened with band members Garrett, Rob Hirst, Jim Moginie and Martin Rotsey in a Sydney studio for the project, which came out on October 30 and features Indigenous artists. The album climbed to number one on the Aria charts on Saturday; Midnight Oil’s first chart-topping studio album since 1990.
The band was awarded the Sydney Peace Foundation’s gold medal for human rights, for its “commitment to the pursuit of human rights over an extended period … with a powerful, far-reaching impact”.
“This medal is in recognition of that relentless focus, and in particular for their environmental activism, their humanity and their drive to promote justice through both their music and their actions,” chair Archie Law said.

Bones Hillman, “the bassist with the beautiful voice” never told his band mates that he had cancer. He died November 8, 2020 at age 62 in Milwaukee, Wisconsin.

“We’re grieving the loss of our brother,” the band’s statement said. “He was the bassist with the beautiful voice, the band member with the wicked sense of humor, and our brilliant musical comrade.

Tributes remembered Hillman as “a lovely lovely man”, “a great and kind guy”, with amazing vocals. Actor Russell Crowe praised “what a grand chap he was”.

“We will deeply miss our dear friend and companion and we send our sincerest sympathies to (his wife) Denise, who has been a tower of strength for him.”

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Ken Hensley – 11-2020

Ken Hensley, Uriah Heep, was born on August 24, 1945 in South-east London. He learned how to play guitar at the age of 12 from a Bert Weedon manual. His first gig was at The Mentmore Pen Factory, in Stevenage (September 1960). After that, he played with The Blue Notes, Ken and the Cousins and Kit and the Saracens (1962). In 1963, this band evolved into The Jimmy Brown Sound, and they recorded some now lost songs. At this time, Hensley’s first “professional” opportunity almost came about: they were to back Ben E. King on a British visit, but it never happened.

In early 1965, Hensley formed a band called The Gods, with the young guitarist Mick Taylor, well known later for his work with John Mayall and The Rolling Stones. Hensley wrote most of the material, sang and played the Hammond B3 organ as the band already had Taylor on guitar. The Gods’ line-up included, at one time or another, vocalist and guitar/bass player Greg Lake (later of King Crimson and Emerson, Lake & Palmer), bass player Paul Newton (later the first Uriah Heep bassist), drummer Lee Kerslake (later also of Heep), bassist John Glascock (later of Jethro Tull), and guitarist Joe Konas. In early 1968, they signed with Columbia Records and recorded two LPs and several singles.

Hensley also then played on a one-album side project of The Gods initially planned to become their third album, but was recorded and eventually released in 1969/1970 under the moniker Head Machine’s Orgasm. The album was produced by David Paramor (producer of “The Gods”) and both Hensley and Kerslake featured, along with John Glascock on bass, Brian Glascock on drums, and David Paramor on vocals, all under pseudonyms. Hensley played mostly guitar again, as in the beginning of his career. Although Paramor was credited as composer, the songs bear many of Hensley’s influences. The album was released before Hensley joined Toe Fat, and might almost be considered a prototype for the harder side of his future work in Uriah Heep.

The band eventually split but Cliff Bennett, from the Rebel Rousers, decided to move in a more “progressive” direction and asked The Gods to join him. Under the name Toe Fat they released two LPs, but only the first featured Hensley.

Paul Newton asked Hensley (Christmas 1969) to join forces in Spice, as they were looking for a keyboard player to make their sound less bluesy and more progressive, in keeping with the current trend. In January 1970, Spice changed its name into Uriah Heep.  Also in the line-up were guitarist Mick Box and vocalist David Byron. With Uriah Heep, Hensley found a place to develop and showcase his songwriting and lyrical abilities as well as his keyboard and guitar playing. 

The band’s “classic” line-up featured Hensley, Byron, Box, Kerslake and bassist Gary Thain. During his time with Heep (1970–1980), they recorded 13 studio albums, and the live album Uriah Heep Live – January 1973 along with many compilations and singles. Hensley also recorded his first two solo albums, Proud Words on a Dusty Shelf (1973) and Eager To Please (1975) during this time. He was supported mainly by Mark Clarke and Bugs Pemberton.

After the departure of bassist Gary Thain (who died in 1975) and vocalist David Byron, (who died in 1985) other musicians were brought into the Heep family: John Wetton (FamilyKing CrimsonRoxy Music, later of U.K. and Asia), Trevor Bolder (from Spiders From Mars, later of Wishbone Ash) and John Lawton (Lucifer’s Friend), among others.

In 1980 Hensley left the band, unhappy with the musical direction they had chosen. After trying to put a new band together in the UK (Shotgun), he later moved to the US and played a few gigs in North America as The Ken Hensley Band. Around this time he released his third solo LP, Free Spirit (1980).

In 1982, Hensley joined Blackfoot, a hard rock Jacksonville, Florida-based band. With them, he recorded two albums (1983’s Siogo and 1984’s Vertical Smiles). Although the group had achieved some success, Hensley left after he was informed him of Heep vocalist David Byron’s death in 1985.

After 1985, Hensley lived in semi-retirement in St Louis, Missouri, making a few appearances with W.A.S.P.Cinderella and others. W.A.S.P.’s frontman Blackie Lawless stated that “Ken Hensley wrote the rule book for heavy metal keyboards as far as I’m concerned.” Hensley also owned “The Attic” Recording studio in St. Louis.

In 1994, From Time To Time, a collection of lost recordings, was released featuring rare songs recorded by Hensley between 1971 and 1982, as well as some early versions of Heep’s classic songs, played by Hensley and his roommates at that time, namely guitarist Paul Kossoff and drummer Simon Kirke(both of Free). Other musicians on the songs were bassist Boz Burrell (King Crimson and Bad Company), guitarist Mick Ralphs (Mott the HoopleBad Company), drummers Ian Paice (Deep PurpleWhitesnake) and Kenney Jones(The Small FacesThe FacesThe Who), amongst others.

IIn 1997 Ken established The Upper Room Studios in St. Louis, Missouri where Ken was involved with several projects including A Glimpse of Glory, together with his band Visible Faith produced by Ken and engineered by chief engineer Bud Martin. In 1999, Hensley’s musical activities began to increase, besides his work with St Louis Music.

During the fourth Uriah Heep Annual Convention in London, May 2000, plans were made for a one-off concert by the so-called “Hensley/Lawton Band”. Hensley was joined by former Uriah Heep singer John Lawton, their first public collaboration since the latter’s departure from Uriah Heep in 1979. With them were Paul Newton (the band’s original bassist) and two members of Lawton’s band, Reuben Kane on lead guitar and Justin Shefford on drums. They played a set of old Uriah Heep classics and some of Hensley’s solo songs, and the concert was recorded for a CD release, followed by an extensive tour of Europe during Spring and Summer of 2001 culminating with a concert on 12 May in HamburgGermany, featuring a full orchestra and a new rendition of Heep’s old classic song “Salisbury”. After the tour, both Ken and John returned to their respective solo careers. 

On 7 December 2001, both John Lawton and Ken Hensley appeared on stage with Uriah Heep during the annual Magician’s Birthday Party at the Shepherd’s Bush Empire in London. This concert was recorded and released as a CD/DVD.

Running Blind, his first studio effort in 21 years, was released worldwide in 2002 and followed by a world tour with his band called “Free Spirit”, that included Dave Kilminster (guitar), Andy Pyle (bass) and Pete Riley (drums).

After moving to Spain, Hensley released The Last Dance (with new songs), The Wizard’s Diary (Uriah Heep classics re-recorded in 2004) and Cold Autumn Sunday (Hensley’s solo songs re-recorded in 2005).

Featuring a number of special guests, the rock opera Blood on the Highway was released in May 2007. The story portrays the rise and fall of a rock’n’roll star. Lead vocals role were split between Hensley and Glenn Hughes (ex-Deep PurpleTrapezeBlack Sabbath), Jørn Lande (ex-The SnakesMasterplan), John Lawton and Eve Gallagher.

In September 2008, Hensley went on stage again with former Heep bandmates Lawton, Kerslake and Newton along with ex-Focus guitarist Jan Dumée, for the “Heepvention 2008” fans meeting.

Hensley continued to write and record a series of new albums, beginning with a collection of songs under the title of Love & Other Mysteries, recorded near his home in Spain and followed in 2011 by Faster, his first studio recording of new songs with his live band, Live Fire. A CD of one of his solo concerts was released by Cherry Red Records in 2013, shortly followed by a live CD recorded with Live Fire during a September/October tour. Trouble, an album of 10 new songs recorded with a revised Live Fire line-up, was released, again by Cherry Red, in September the same year.

In later years, Hensley and his wife Monica lived in the village of Agost near Alicante in Spain.

Hensley died on 4 November 2020, at the age of 75 following a short illness. He had finished an album titled My Book of Answers before his death, that was released on 5 March 2021.Ken  Hensley wrote many of the Uriah Heep songs during his tenure from 1970 to 1980, performing guitar and lead vocals on a number of occasions.

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Dave Munden 11/2020

Dave Munden (76) – The Tremeloes – was born Dec. 2, 1943 in Dagenham, Essex, England.

The group started in 1958 as Brian Poole and the Tremoloes, inspired by Buddy Holly and the Crickets. (They soon changed the spelling of their name.) Joining lead singer Poole were lead guitarist Rick West, rhythm guitarist/keyboardist Alan Blakley, bassist Alan Howard and Dave Munden on drums. As legend has it, they auditioned for Decca in 1962 and were signed in favor of another band, the Beatles.
In 1963, their recording of “Do You Love Me” (originally recorded by the Motown group the Contours) topped the British singles chart, replacing the Beatles’ “She Loves You” at #1. More Top 5 U.K. success followed, including their cover of “Twist and Shout.”

Continue reading Dave Munden 11/2020

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Tommy DeVito 9-2020

Gaetano “Tommy” DeVito (The Four Seasons) was born on June 19, 1928, in Belleville,  New Jersey, the youngest of nine children. When he was still too small to hold a guitar, he borrowed an older brother’s and tried playing it while it was lying on the floor. His brother discovered him, he told The Star-Ledger of Newark in 2005, and gave him first a beating and then a counterintuitive warning. “Now that I’ve seen you doing it,” he recalled his brother saying, “every time I come home and I don’t see you practicing, that’s a beating.”  At eight years old, he taught himself to play his brother’s guitar by listening to country music on the radio. By the time he was 12, he was playing for tips in neighborhood taverns. He quit school after the eighth grade. (Belleville High made him an honorary graduate in 2007.) By 16, he had his own R&B band and was making $20 or $25 a night, getting into scrapes with the law from time to time.

The large DeVito family shared a flat with an uncle during the Depression, a difficult time. “You did anything to survive. You’d steal milk off of porches.”

Growing up in difficult circumstances in his native New Jersey, DeVito was, in his own words, “a hell-raiser” as a youth, but he found a purpose with music. He formed a band called the Variety Trio with one of his brothers and Nick Massi, who would become the fourth member of the Four Seasons when that group coalesced in about 1960. Massi died in 2000 at 73.

DeVito became a founding member, lead guitarist and vocalist with the Four Seasons, growing the close-harmony quartet that rocketed to fame  with “Sherry”, Rag Doll” and many other hits that earned new generations of rock and roll fans. The key component with the Four Seasons though, was Frankie Valli, with his falsetto vocals. In a 2008 interview with the music publication Goldmine, DeVito recalled that in the late 1940s his trio performed regularly at a bar in Belleville, N.J., when Frankie, a teenager six years younger than him, would sneak in to watch them play. He and the other band members knew Valli from the neighborhood and knew that he had magnificent pipes.

“I’d call him up to the stage and let him sing,” DeVito recalled. “He’d get off right away, because he wasn’t really supposed to be in there; he was underage.” Before long Frankie Valli was part of the group, which went through name and lineup changes before becoming the Four Seasons. “Sherry,” the group’s breakout hit, topped the charts in 1962, and a stream of hits followed, (27 top 40 hits and number-one hits “Sherry” (1962), “Big Girls Don’t Cry” (1962), “Walk Like a Man” (1963), “Rag Doll” (1964).

DeVito didn’t entirely shed his hell-raiser past; he ran up debts, for one thing, and caused tensions within the group. In 1970 he was either forced out, as some accounts say, or left because the pressures of touring had disagreed with him, as he explained it.

He quickly burned through whatever money he had from the group’s heyday and took jobs working in casinos and cleaning houses to get by.

The actor Joe Pesci, a friend since childhood (whose character in Martin Scorsese’s “Goodfellas” is named for Mr. DeVito), had lived with Mr. DeVito for a time before he was famous, and once Mr. Pesci broke through, he repaid the favor, helping Mr. DeVito out and getting him bit parts in movies, including “Casino” (1995), also directed by Mr. Scorsese. DeVito also had some success as a record producer and recorded an album of Italian folk songs.

Seeing a version of himself portrayed in “Jersey Boys” was startling, he said. But he was comfortable with the show, which he described as “about 85 percent true to life.”

“When you first see yourself being played, you look at the actor, who is Christian Hoff, and say: ‘Do I look like that? Did I talk like that? Was I really a bad guy?’” he told Goldmine. “And I was. I was pretty bad when I was a kid. There’s a lot of things I’d never do today that I did back then as a kid.”

“Jersey Boys” implies that he was somehow connected to organized crime, but that was an exaggeration, he said, done for the sake of the story.

“I was never part of the mob,” he said. “They might have asked me to play a private party or something, but they paid me for it. Mostly they asked me to do benefits.”

“Jersey Boys” opened on Broadway in November 2005 and ran until January 2017, one of the longest runs in Broadway history. (Clint Eastwood directed a film version in 2014.) The show won four Tony Awards, including best musical and best featured actor (Mr. Hoff).

If the musical massaged the truth a bit, Mr. DeVito generally complained about only one thing in the script: a crack about the cleanliness of his underwear. “I was the most cleanest guy in the whole group,” he said. “I’m clean. I’m very clean.”

Frankie Valli and Bob Gaudio, the two surviving original members of the group, announced Tommy DeVito’s death on Sept. 21, 2020. A spokeswoman for Valli said the cause was the Covid 19 coronavirus. 

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Jerry Slick – 3/2020

Jerry Slick (80) – The Great Society/Jefferson Airplane – was born Aug. 8, 1939 to patent attorney Bob Slick and Betty Slick in Berkeley. He grew up in Palo Alto and attended the private Menlo School before graduating from Palo Alto High School. He was the oldest of three brothers, one of which was the younger Darby Slick who co-founded The Great Society with him in the mid-’60s in San Francisco. Upon his release from the Army, he married Grace Wing, his former next door neighbor, in San Francisco on Aug. 26, 1961. After their honeymoon, Jerry Slick enrolled in film courses and began making student films while Grace worked in a department store. Before long the couple fell into San Francisco’s intellectual beatnik scene, listening to folk music and, later, jazz, and growing marijuana in their backyard.

By 1964, Jerry had become more involved with filmmaking. For a short film titled Everybody Hits Their Brother Once, he called upon Grace to provide the music and she entered a recording studio for the first time, playing Spanish guitar to accompany scenes in the film. The film won first prize at the 1964 Ann Arbor Film Festival in Michigan, but although Jerry Slick graduated from San Francisco State College with a degree in cinematography, their future lay not in the medium of film but rather in that of rock and roll. 

Neither Jerry nor Grace had much interest in rock—Elvis Presley and the early Beatles had not impressed her. But when Grace heard the Rolling Stones it hit home with her—she admired their scruffy looks and rough-edged, R&B-laced music. While leafing through the San Francisco Chronicle in the summer of 1965, she saw an advertisement for a concert by a new rock band called Jefferson Airplane at a club called the Matrix, and convinced Jerry to go see them. Instantly Grace and Jerry knew what direction to go. They recruited Jerry’s younger brother, Darby Slick, then 21, to play guitar. Jerry played the drums and Grace sang and played guitar. A few others came and went until they settled on a name—the Great Society!! (taken from a domestic program championed by then-President Lyndon B. Johnson)—and, before long, a lineup that also included David Miner on vocals and guitar, Bard DuPont on bass, and (later, replacing DuPont) Peter van Gelder on flute, bass, and saxophone.

Jerry did not have much musical experience, but got in on the action by playing drums. Inexperienced drummers, and inexperienced musicians in general, weren’t that rare in the days when the bohemian music of choice was switching from folk to rock, and people found themselves playing instruments they had never or rarely touched. Skip Spence of the early Jefferson Airplane, for instance, was a guitarist, switching to drums immediately when he was recruited for the drum kit by Marty Balin. Still, Slick’s drumming on the Great Society tracks available on several albums’ worth of live and studio material that was unreleased in the ’60s (as well as on their sole single) is raw, though adequate for the fledgling psychedelic band’s needs.

With original songs written by Grace and Darby Slick, the Great Society (the exclamation points were generally ignored) became a favored attraction at the city’s budding rock ballrooms, including the Fillmore Auditorium, booked by proprietor Bill Graham. Along with other new bands like Jefferson Airplane, the Grateful Dead and Big Brother and the Holding Company, the Great Society was ubiquitous at local events. For a publicity gimmick, the Great Society manufactured buttons mocking the Airplane’s slogan Jefferson Airplane Loves You—theirs read The Great Society Really Doesn’t Like You Much at All.

The Great Society didn’t record much during their brief lifetime. In October 1965 they entered San Francisco’s Golden State Recorders for the first of several sessions that would take place over the next couple of months. Their producer was a young, ambitious rhythm and blues disc jockey named Sylvester Stewart who would, a couple of years later, do just fine for himself under the name Sly Stone.

Signed to the local Autumn Records, owned by disc jockey Tom Donahue, the Great Society recorded, on Nov. 30, 1965, the only single that would be released while they were in existence, “Someone to Love,” written by Darby. While (with a B-side titled “Free Advice”) it failed to make any impact outside of the Bay Area, the A-side would have a much greater impact when Grace Slick left the Great Society and took the song with her, renaming it “Somebody to Love.” She would also take with her a song she wrote and performed with the Great Society, a bolero called “White Rabbit.” Both would make the top 10 when re-recorded by the Airplane, and they remain classic rock staples to this day.

By the summer of 1966, Grace was starting to think more of her own future. When the Airplane’s female singer, Signe Anderson, then pregnant, decided to quit the band, it was a no-brainer for Grace Slick to move into her place. The Great Society had little chance of survival once Grace made the jump to the more popular band. In recordings released after their demise, their music, ranging from sloppy/amateur to inspired, is emblematic of the city’s psychedelic rock scene, but it was not enough to give them staying power without their focal point.

The Great Society briefly attempted to continue after Grace jumped ship in October of ’66 but when Darby left to travel and study in India, they called it quits. Grace’s marriage to Jerry also disintegrated quickly, and while they stayed legally married until 1971, she had relationships with the Airplane’s drummer Spencer Dryden and then guitarist/singer Paul Kantner before the divorce papers with Jerry were signed.

The surviving music of the Great Society was later collected on various posthumous album releases, first on the Columbia label and then on other collector labels. Surprisingly, considering that he considered himself a filmmaker first, Jerry Slick then joined another San Francisco band the Final Solution. The Final Solution played modal early psychedelia with some similarities to the Great Society, except their material was much darker and not nearly as strong. Slick gave their arrangements a lot of input, however, and the Final Solution even lifted excerpts of Great Society songs to plug into Final Solution ones. While Slick was in the lineup, they made some rehearsal tapes, and one of the songs, “Bleeding Roses,” was issued on a flexidisc that came with the first issue of the San Francisco ’60s rock fanzine Cream Puff War.

The Final Solution broke up in 1967, and Slick again concentrated on his first love of filmmaking. A commercial he made, aimed at recruiting San Francisco police, won a Clio award in 1971. He later narrowly missed a big Hollywood break, when Director George Lucas interviewed him to be director of photography on a film he was working on, but Jerry Slick had to turn the job down as he had ruined his shoulder pursuing his other passion, driving his MGB in races put on by the Sports Car Club of America, and couldn’t use a handheld camera as Lucas requested.

Gary Coates, a motion picture color editor who freelances for Pixar, met Jerry Slick in the 1990s when Coates was a lab technician at Palmer Films on Howard Street. Part of that job was fixing mistakes in cinematography, but Jerry Slick’s film never needed correcting, he said.

“Jerry and I go back to the photochemical era when the cinematographer really had to know the craft, how the lights work and how to pick the right lens, camera and film negative,” said Coates. “Jerry was a pro with all that knowledge.”

Jerry Slick met his second wife, Wendy Blair, in 1979. She was a filmmaker who started the video department at College of Marin. Jerry Slick was overqualified for the entry-level class, but he was looking to make the transition from film to video, to stay up with the times. Right away he was asking the instructor, 10 years younger, out on dates. She turned him down for a variety of professional and personal reasons. But Jerry Slick found a workaround by casting his instructor for his final class project.  This got him both an A in the course and a date with Wendy.

They eventually moved in together into a house in Mill Valley. They then formed a husband-and-wife production company called Slick Film. She did the directing, and he was the cinematographer. They shot promotional videos for Carlos Santana and the San Francisco Opera, and promotional films in the early days of Silicon Valley.

“Jerry was the preferred cinematographer for Steve Jobs,” said Wendy Slick. “All those corporate types liked him because he made them look good.”

Slick Film also produced both short and long-form documentary films. A half-hour documentary they shot for ODC/Dance, called “The Long Run,” got picked up by PBS and was shown nationwide. His camera work was also in “Lou Harrison: A World in Music,” a documentary on the composer by Eva Soltis that got a screening at the Castro Theatre.

Always quick with a one-liner or wry commentary, Jerry Slick was a regular feeder of quips and observations to Leah Garchik‘s column in The Chronicle. “He just had an unusual mind,” said Wendy Slick. “He saw things from a different point of view and always delivered more than what was expected.”

The rest of his career life was in film as a cinematographer and director, known for Steel Arena (1973), Congo the Movie: Descent Into Zinj (1995) and Great Performances (1971) etc.

Jerry Slick died March 17, 2020, at his Mill Valley, California home. His death is believed to be caused by cancer.

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Bill Rieflin 3/2020

 Bill Rieflin (59) – (King CrimsonMinistryR.E.M.) was born September 30, 1960 in Seattle, Washington.

His music education started around the age of 7 with guitar, followed by other string instruments and by age 11, the drums. Bill Rieflin, a remarkably versatile drummer, instrumentalist whose work over the past 30 years spanned Ministry, R.E.M., Swans, Nine Inch Nails, Ministry and King Crimson, among many others.

“I was born in Seattle, or as I always say I was bread-and-buttered here. My first instrument was the ‘pie-annie,’ and I think I started playing when I was seven. Then, somewhere in 1970, I found the G chord on a guitar; I put my finger on the third fret of the high string and strummed it and I said, ‘Hey look, wow! I can play guitar!’ Later that year, I got some drums for Christmas. I think the drums happened because it was the only instrument left in the neighborhood band, so I had to play drums. I was 10 or 11, maybe. I eventually got rid of those damn things and sold them to another neighbor kid [because] I decided I was going to be a guitar player. I was playing guitar until I was asked to come and fill in for a drummer who wasn’t going to make it in some other local band. I hadn’t played for a couple years and warned them of that. But, apparently, I was better than their other guy, and they asked me to stay, so I did. That group was called the Telepaths. The Telepaths paved the way for the Blackouts and the Blackouts eventually – minus one member – went to go work with Al Jourgenson in Ministry. Paul Barker was the last of many bass players; Paul joined in 1981. He was living in Germany at the time, and his brother, Roland, who was an original Blackout, wrote to him and said ‘Come to Seattle! Be in our band!’ And he did. The rest is, uh, the rest.”

A Seattle native and lifelong resident, Bill was a world class musician who exhibited a talent and dedication to his craft that put him into a rare category. Known for much of his career as an extraordinary drummer, he performed with a wide range of artists from Swans and Ministry to REM and King Crimson, amongst others. Bill was also a composer, singer and multi-instrumentalist; at home on the guitar, bass and keyboards. He cultivated a highly sophisticated ear and was much sought after as a studio musician and producer.

King Crimson Biographer Sid Smith said it best “Bill’s softly-spoken voice draped itself languorously around the words he used and any observations he offered were rooted in an exacting precision that he also applied to the act of making music which was something that bordered on the sacred for him.” 

Bill’s refined manner, brilliant mind, eye for the ironic and his legendary sense of humor defined him as a man of discerning taste, palate and company. He fed his seemingly unending depths of cultural knowledge with accuracies about such things as the perfect pronunciations when ordering Korean food, the study of amaro, must-sees in the Cotswolds, how to make Rieflin relish, and the crime of the adverb. An avid watcher of Jeopardy, it was the rarest of occasions when Bill didn’t already know the Question before the Answer had been fully read.

His process was surgical in its dissection of what made music great or tawdry. His opinions were always firm, but his mind always open to listen (and readily dismiss). His sharp wit and forthright comments were well-known, but he was also unfailingly generous, and his encouragements and kindnesses were all the sweeter for their sincerity.

Bill Rieflin passed away on 24 Mar, 2020 after a battle with cancer. He was 59.

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Neil Peart 1/2020

Neil Peart (67) – Rush – was born on September 12, 1952, to Glen and Betty Peart and lived his early years on his family’s farm in Hagersville, Ontario, on the outskirts of Hamilton. The first child of four, his brother Danny and sisters Judy and Nancy were born after the family moved to St. Catharines when Peart was two years old. In 1956 the family moved to the Port Dalhousie area of the town. Peart attended Gracefield School and later Lakeport Secondary School, and described his childhood as happy; he stated he experienced a warm family life.

By early adolescence he became interested in music and acquired a transistor radio, which he would use to tune into popular music stations broadcasting from Toronto, Hamilton, Welland, and Buffalo.
Peart’s first exposure to musical training came in the form of piano lessons; he later said in his instructional video ‘A Work in Progress’ that these lessons did not have much influence on him. He had a penchant for drumming on various objects around the house with a pair of chopsticks, so for his 13th birthday his parents bought him a pair of drum sticks, a practice drum, and some lessons, with the promise that if he stuck with it for a year they would buy him a kit. From then on drumming became an all consuming obsession for Neil.

Peart fulfilled his promise and his parents bought him a drum kit for his 14th birthday; furthermore, he began taking lessons from Don George at the Peninsula Conservatory of Music. His stage debut took place that year at the school’s Christmas pageant in St. John’s Anglican Church Hall in Port Dalhousie. His next appearance was at Lakeport High School with his first group, The Eternal Triangle. This performance contained an original number titled “LSD Forever”. At this show he performed his first solo.
Peart got a job in Lakeside Park on the shores of Lake Ontario, which later inspired a song of the same name on the Rush album Caress of Steel. He worked on the Bubble Game and Ball Toss, but his tendency to take it easy when business was slack, resulted in his termination. By his late teens, Peart had played in local bands such as Mumblin’ Sumpthin’, and the Majority. These bands practiced in basement recreation rooms and garages and played church halls, high schools, and skating rinks in towns across Southern Ontario. They also played in the Northern Ontario city of Timmins. Tuesday nights were filled with jam sessions at the Niagara Theatre Centre.

At 18 years old (and after struggling to achieve success as a drummer in Canada), Peart travelled to London, England, hoping to further his career as a professional musician. A time about which he has said: “I was seeking fame and fortune, and found anonymity and poverty. But I learned a lot about life.” Despite playing in several bands and picking up occasional session work, he was forced to support himself by selling jewelry at a shop called The Great Frog on Carnaby Street.
While in London, he came across the writings of libertarian novelist and philosopher Ayn Rand. Rand’s writings became a significant early philosophical influence on Peart, as he found many of her writings on individualism and objectivism inspiring. References to Rand’s philosophy can be found in his early lyrics, most notably “Anthem” from 1975’s Fly by Night and “2112” from 1976’s 2112.

After 18 months in London, Peart became disillusioned by his lack of progress in the music business and returned to Canada. He placed his aspiration of becoming a professional musician on hold and only played part time in local bands, while working for his father selling tractor parts at Dalziel Equipment.

Soon after, a mutual acquaintance convinced Peart to audition for the Toronto-based band Rush, which needed a replacement for its original drummer John Rutsey. Geddy Lee and Alex Lifeson oversaw the audition. His future bandmates describe his arrival that day as somewhat humorous, as he arrived in shorts, driving a battered old Ford Pinto with his drums stored in trashbags. Peart felt the entire audition was a complete disaster. Lee later remarked that he was instantly mesmerized by the way Peart played triplets, also hitting it off on a personal level (with similar tastes in books and music); meanwhile, Lifeson had a less favorable impression of Peart and still wanted to tryout one last drummer.

After some discussion between Lee and Lifeson, Peart officially joined the band on July 29, 1974, two weeks before the group’s first US tour. Peart procured a silver Slingerland kit which he played at his first gig with the band, opening for Uriah Heep and Manfred Mann’s Earth Band in front of over 11,000 people at the Civic Arena in Pittsburgh on August 14, 1974.

Peart soon settled into his new position, also becoming the band’s primary lyricist. Before joining Rush he had written a few songs, but, with the other members largely uninterested in writing lyrics, Peart’s previously underutilized writing became as noticed as his musicianship. The band were working hard to establish themselves as a recording act, and Peart, along with the rest of the band, began to undertake extensive touring.
His first recording with the band, 1975’s Fly by Night, was fairly successful, winning the Juno Award for most promising new act, but the follow-up, Caress of Steel, for which the band had high hopes, was greeted with hostility by both fans and critics. In response to this negative reception, most of which was aimed at the B-side-spanning epic “The Fountain of Lamneth”, Peart responded by penning “2112” on their next album of the same name in 1976. The album, despite record company indifference, became their breakthrough and gained a substantial following in the United States. The supporting tour culminated in a three-night stand at Massey Hall in Toronto, a venue Peart had dreamed of playing in his days on the Southern Ontario bar circuit and where he was introduced as “The Professor on the drum kit” by Lee.

Peart returned to England for Rush’s Northern European Tour and the band stayed in the United Kingdom to record the next album, 1977’s A Farewell to Kings, in Rockfield Studios in Wales. They returned to Rockfield to record the follow-up, Hemispheres, in 1978, which they wrote entirely in the studio. The recording of five studio albums in four years, coupled with as many as 300 gigs a year, convinced the band to take a different approach thereafter. Peart has described his time in the band up to this point as “a dark tunnel”.

In the following years they cemented their classic rock status with the enduring favorite, Moving Pictures, in 1981. Along the way, Rush earned a reputation for their elaborate live shows and became a perennially popular touring band. Over the years their shows elevated steadily in both production and musical values. In the 1980s Neil Peart received all the well deserved accolades bestowed upon him, including an induction into the Modern Drummer Readers Poll Hall of Fame in 1983 at the age of thirty, making him the youngest person ever so honored.

An avid traveler Neil used times in between tours to bicycle the world. In the 1980s he embarked on adventure travel and bicycled through China. In later years he also bicycled West Africa.

In 1991, Peart was invited by Buddy Rich’s daughter, Cathy Rich, to play at the Buddy Rich Memorial Scholarship Concert in New York City. Peart accepted and performed for the first time with the Buddy Rich Big Band. Peart remarked that he had little time to rehearse, and noted that he was embarrassed to find the band played a different arrangement of the song than the one he had learned. Feeling that his performance left much to be desired, Peart produced and played on two Buddy Rich tribute albums titled Burning for Buddy: A Tribute to the Music of Buddy Rich in 1994 and 1997 in order to regain his aplomb.

While producing the first Buddy Rich tribute album, Peart was struck by the tremendous improvement in ex-Journey drummer Steve Smith’s playing, and asked him his “secret”. Smith responded he had been studying with drum teacher Freddie Gruber.

Rush released their sixteenth studio album entitled ‘Test for Echo’ on September 10, 1996. It was the band’s last album before their longtime hiatus. The album got very positive reviews from fans and music critics and some of its tracks hit the charts all around the world. After the album, Rush started their Test for Echo Tour on October 19, 1996, at the Knickerbocker Arena and ended on July 4, 1997, at the Corel Centre.

The tour had been great and Rush members were very happy and excited about meeting with their fans. Also, Rush fans appreciated both the album and the band’s tour but shortly after Rush drummer Neil Peart’s life fell apart.

Just over a month after the tour’s closing, and in a timespan of 10 months, he lost his only child Selena to a car accident and his common law wife of 23 years Jacqueline, to cancer. Neil described her death as a result of a ‘broken heart’ and ‘a slow suicide by apathy.’ “She just didn’t care.” He felt that he died with them too and it was so hard to move on for him.
At his wife’s funeral, Neil stated that ‘consider me retired‘ and his bandmates showed respect to his decision, but they decided not to continue without him. Rush went into an almost five-year hiatus and Peart chose a very different way to mourn his daughter and wife’s deaths. He traveled 55,000 miles sabbatical from the North Pole through North America to Belize on his BMW motorcycle and his journey was considered a spiritual one.
The drummer wanted to immortalize his journey and released his philosophical travel memoir entitled ‘Ghost Rider: Travels on the Healing Road,’ which was based on his grief and what he had been through after losing his beloved ones. “Landscapes and wild life rebuilt me during my travels.” After his journey, Peart returned to the band. Peart wrote the book as a chronicle of his geographical and emotional journey.

In addition to being Rush’s primary lyricist, Peart published several memoirs about his travels. His lyrics for Rush addressed universal themes and diverse subjects including science fiction, fantasy, and philosophy, as well as secular, humanitarian, and libertarian themes. Peart wrote a total of seven non-fiction books focused on his travels and personal stories. He also co-authored with Kevin J. Anderson three steampunk fantasy novels based on Rush’s final album, Clockwork Angels. The two also wrote a dark fantasy novella, Drumbeats, inspired by Peart’s travels in West Africa.

When Peart was introduced to photographer Carrie Nuttall in Los Angeles by longtime Rush photographer Andrew MacNaughtan, his life went back on track for the next decade and a half. They married on September 9, 2000. In early 2001, Peart announced to his bandmates that he was ready to return to recording and performing. The product of the band’s return was the 2002 album Vapor Trails. At the start of the ensuing tour in support of the album, the band members decided that Peart would not take part in the daily grind of press interviews and “meet and greet” sessions upon their arrival in a new city that typically monopolize a touring band’s daily schedule. Peart always shied away from these types of in-person encounters, and it was decided that exposing him to a lengthy stream of questions about the tragic events of his life was not necessary.

In early 2007, Peart and Cathy Rich discussed another Buddy tribute concert. At the recommendation of bassist Jeff Berlin, Peart once again augmented his swing style with formal drum lessons, this time under the tutelage of another pupil of Freddie Gruber, Peter Erskine, himself an instructor of Steve Smith. On October 18, 2008, Peart once again performed at the Buddy Rich Memorial Concert at New York’s Hammerstein Ballroom.

Peart and Rush experienced immeasurable success throughout his forty-plus-year tenure with Rush. The group released twenty-four gold albums (for 500,000 units sold), fourteen of which went platinum (1,000,000), and three of which went multi-platinum. A brief summary of the band’s honors includes induction into the American Rock and Roll Hall of Fame and the Canadian Music Hall of Fame; numerous Grammy nominations; nine Juno music awards; and an admission into the Officers of the Order of Canada, Canada’s second-highest sovereign honor.  And in 2014, MD’s readers ranked Peart third best among the top fifty greatest drummers of all time—behind only Buddy Rich and Led Zeppelin’s John Bonham.  It’s easy to see why Peart ranks so highly among the legends. His playing on Rush songs like “Free Will,” “Limelight,” and “Subdivisions” inspired generations of drummers to pick up the sticks. He was a master at making odd time signatures feel right at home on an FM dial. And while Peart didn’t invent the rock drum solo, he certainly refined and expanded the art over the years touring with Rush. Devotees pore over the evolution of “the Professor”’s elaborate live drum setups. And even those who’ve never sat down at a kit found themselves air-drumming to Peart’s parts.

In the June 2009 edition of Peart’s website’s News, Weather, and Sports, titled “Under the Marine Layer”, he announced that he and Nuttall were expecting their first child.

Peart described himself as a “retired drummer” in an interview in December 2015:

“Lately Olivia has been introducing me to new friends at school as ‘My dad—He’s a retired drummer.’ True to say—funny to hear. And it does not pain me to realize that, like all athletes, there comes a time to … take yourself out of the game. I would rather set it aside than face the predicament described in our song “Losing It”.

Peart had also been suffering from chronic tendinitis and shoulder problems.
At first Geddy Lee clarified his bandmate was quoted out of context, and suggested Peart was simply taking a break, “explaining his reasons for not wanting to tour, with the toll that it’s taking on his body.” However, in January 2018, possibly after having received the news of Peart’s cancer diagnosis, Alex Lifeson confirmed that Rush is “basically done”. Peart remained friends with his former bandmates.

Neil Peart died from glioblastoma, an aggressive form of brain cancer, on January 7, 2020, in Santa Monica, California. He had been diagnosed three and a half years earlier, and the illness was a closely guarded secret in Peart’s inner circle until his death.

What is your purpose in life? Neil Peart’s answer:

“You can ask those questions, but what’s the point? The point is I’m here and making the best use of it. Why am I spending my life in this particular manner? Most times that tends to be a combination of circumstances and drive. The fact that I wanted to be a successful drummer was by no means a guarantee that I was going to be. But circumstances happened to rule that I turned out to be one.”

Neil Peart didn’t want to be like everyone else. He just wanted to be Neil. He loved being a rock drummer, but he also loved literature. He loved poetry. He loved the outdoors. He didn’t care what society thought a rock star was ‘supposed to be’ — he wasn’t afraid to be himself, and he didn’t really care about fame. He just wanted to be good at what he did — and he was! — and he just wanted to share his music with the fans.

(Find Neil Peart and Rush Music, Books and Merchandise at AMAZON)

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Ginger Baker 10/2019

Peter ‘Ginger’ Baker – Cream/Blind Faith – was born on 19 August 1939 in Lewisham, South London. His mother, Ruby May worked in a tobacco shop. His father, Frederick Louvain Formidable Baker, was a bricklayer employed by his own father, who owned a construction  business and was a lance corporal in the Royal Corps of Signals in World War II; he died in the 1943 Dodecanese campaign. Baker went to Pope Street School, where he was considered “one of the better players” in the football team, and then to Shooter’s Hill Grammar School. Here he was nicknamed “Ginger” for his shock of flaming red hair.
While at school he joined Squadron 56 of the Air Training Corps, based at Woolwich and stayed with them for two or three years.

Ginger Baker began playing drums at around 15 years of age. In the early 1960s he took lessons from Phil Seamen, one of the leading British jazz drummers of the post-war era.
In the early 1960s he joined Blues Incorporated, where he met bassist Jack Bruce. The two clashed often, but would be rhythm section partners again in the Graham Bond Organization, a rhythm and blues group with strong jazz leanings. Their relationship was so volatile that Baker once attacked Bruce with a knife during a concert. Despite this volatile relationship, Baker and Bruce reunited in 1966 when they formed Cream with guitarist Eric Clapton, which became one of the first Supergroups of the 60s. He was the first guy we saw with two bass drums and the first guy to do an extended drum solo on record.

Cream played a fusion of blues, psychedelic rock and hard rock. The band released four albums in a little over two years before breaking up in late 1968.
“Disraeli Gears” was released in November ’67, the year underground FM radio began to burgeon, with KMPX in San Francisco joining the aforementioned WOR.
And then, during the summer of ’68, “Sunshine Of Your Love” crossed over to AM and the band and the scene exploded.

Now “Fresh Cream”‘s production was credited to Robert Stigwood, it’s unclear who really twisted the dials, who was really responsible for the sound, but it didn’t have the edge of what came after, it was almost like a blanket was thrown over the speakers.
But Felix Pappalardi produced “Disraeli Gears,” and it was a much better representation of the band’s sound. This was back when stereo was stereo, when instruments were in different channels, when we sat in front of the speakers, put on headphones to get the full effect. This was also when there was so much less on the records, you could hear all the instruments. You could hear Jack Bruce’s voice on “Sunshine Of You Love,” but the key to the track’s success, it’s infectiousness, was that guitar. It was the year we saw Jimi Hendrix‘s “Axis: Bold As Love” came out in January of ’68, so Cream was no longer alone, “Purple Haze” sat along “Sunshine Of Your Love” at the apex of riff-rock that started with the Stones’ “I can get no satisfaction. And then came “Piece Of My Heart,” by Big Brother and the Holding Company. Janis Joplin got a lot of ink, she was a dynamic performer, she could not be denied and when people purchased “Cheap Thrills,” with its R. Crumb cover, we were not in Kansas anymore, the screw had turned, it was a whole new world in music.

And “Wheels Of Fire” was released in August of that same year, double albums were not unknown, but this one came in silver foil and the second record was a live one.
The visual energy in Cream all came from the man behind the kit, Ginger Baker. Clapton just stood there being “Slowhand”. As did Jack Bruce, albeit a massive voice. You couldn’t help but focus on the drummer, who seemed on the verge of losing control as he stoked this freight train down the track. The sheer power impacted your gut.

And then “White Room” became a hit and the word got out. Suddenly everybody was talking about Cream. People you thought were decidedly unhip, out of the loop, got the message. And “Wheels Of Fire” started to explode. And on side four, there was a sixteen minute drum solo entitled “Toad.”
Yup, blame “Toad” for that execrable five to twenty minutes in every live show where everybody takes a pee break and the drummer flails on. They were all inspired by Ginger Baker, he was the progenitor, they all wanted to BE Ginger Baker, suddenly the drummer was no longer an afterthought, but a virtuoso who could express himself.
And then the band said it was breaking up and went on a final tour.

And the victory lap, “Goodbye Cream,” had a bigger impact in the public’s consciousness than anything that came before, it was the zeitgeist, people bought it after the band broke up, lamenting they’d never gotten to see the act. “Goodbye” resurrected “I’m So Glad” from the first LP. “Sitting On Top Of The World” was definitive. And “Badge” was a gift for those who’d been there all along.
It was like not only the band, but its members had died, there were posthumous live records, everybody wanted more of what they could never get again.
But they did get the short-lived “supergroup” Blind Faith, comprising of Eric Clapton, bassist Ric Grech from Family, and Steve Winwood from Traffic on keyboards and vocals and Ginger Baker on drums. They released only one album, Blind Faith, before breaking up.

Blind Faith was the first supergroup. That was the definition back then, they had to coin it for this concoction, an act made up of the stars of other acts, come together to make something new and triumphant.
But of course Blind Faith imploded, but the album gets short shrift, the first side is phenomenal, everyone knows the cuts, from the explosive opener “Had To Cry Today” to Clapton’s first shining solo moment, “Presence Of The Lord” and the cover of Buddy Holly’s “Well All Right” to Winwood’s piece-de-resistance, “Can’t Find My Way Home.”
The second side had Ginger Baker’s fifteen minute opus “Do What You Like.” Filler or a nod to Baker’s genius, who knows?
And when Blind Faith broke up, Winwood tried to go solo but got back together with Traffic. Clapton decided to play small, with Delaney & Bonnie, Ric Grech disappeared, and Ginger Baker formed his Air Force in 1970, yup, he was gonna continue to play for all the marbles.
Baker’s Air Force album sold, but then the act faded away, there was great playing but no songs.

After the demise of both groups Baker built a recording studio in Lagos, Nigeria. Paul McCartney & Wings recorded ‘Band On the Run’ at Baker’s Batakota Studios. The studio went bust not long after and its failure sent Baker to drugs.

Ginger Baker withdrew from the music industry throughout most of the 80s. He had developed a heroin addiction and withdrew to Italy where he lived on an olive farm until he overcame the addiction.

Eventually Baker played with the Masters Of Reality, in the nineties, which seemed a step down, but the truth was there was no band big enough to contain him. He had an edgy personality and still an original. He was the original Keith Richards, nothing could kill him. Everybody knew who Ginger Baker was, it’s just that we didn’t hear his playing that much. He was drunk, he was stoned, he played polo, he was involved in shenanigans, but the legend always exceeded the present.

And yes, there were the Cream reunion shows in 2005. A triumph in London’s Royal Albert Hall, an almost queasy afterthought in New York’s Madison Garden. He was still Ginger Baker, he could still do it, but this was nostalgia.

A decade later, living in South Africa, Baker revealed he had ‘serious heart issues.

Ginger Baker died 6 October, 2019 at the age 80.

But if you talk about legacy…
Ginger Baker is right up there. He was the first. He showed what could be done with the drumkit. He was a trailblazer, a true rocker, one who couldn’t be contained, there was nothing corporate about him. He was a beacon, may he continue to shine.

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Ian Gibbons – 8/2019

Ian Gibbons (67) – the Kinks – was born on18 July 1952 

Gibbons began playing the accordion at the age of nine, playing in the school band, and solo at music festivals, competitions and charity events. At the age of 14, he started a school rock band, playing guitar and singing. He changed to organ after leaving school and played in local and resident bands until 1972, when he joined Moonstone, which released three singles. He was a founder member of what was known in London as the  ‘Southend Musical Mafia’ which contained a great many talented musicians who were born in sight of Southend Pier. In time he played for Moonshine, the Feelgoods, Maggie Bell, the Love Affair, the Kursaal Flyers, the Nashville Teens, Samson, Ian Hunter, Suzie Quattro, Andy Scot, Chris Farlow, Roger Chapman and, rumor has it, Martha and the Vandellas to name but a few.

When Punk and new wave came along Gibbons worked with rock based and new wave bands until an audition for the Kinks in 1979.

Of that audition Kinks Co-founder Ray Davies said:

“When he auditioned for the band, he only played a few chords before I knew he was the right guy to have on keyboard, he seemed to know the right voicing to musically slot in between the other members of the band. And with the Kinks, that took some doing!” 

He was asked to join, and stayed with them during the band’s late-career resurgence, playing on such popular tunes as “Come Dancing,” “Better Things,” “Destroyer,” “Don’t Forget to Dance,” “State of Confusion” and “Do It Again.” until 1989. It’s possibly a measure of the esteem Ian Gibbons was held in by fellow musicians that he rejoiced (?) in the nicknames Stubz, Stubzie, Gibbo and even Little legs! In the Kinks though he was one of two diminutive people known collectively, and with great affection as the two little sods!

Gibbons worked with Love Affair and the Nashville Teens, whilst also working with Dr. Feelgood, the Kursaal Flyers, Ken Hensley, Mike Vernon, Samson, Randy California and others, mainly recording. Other artists he worked with were Roger Chapman, the Sweet, Suzi Quatro and Ian Hunter. He rejoined the Kinks again in 1993, staying with them until their break-up in 1997.

He continued to record and perform with Chapman and Hunter, along with Chris Farlowe, Maggie Bell, Andy Scott, the Chicago Blues Brothers and on Ray Davies choir and and contributed to some solo projects by guitarist Dave Davies. He was also an actor and writer, known for Halloween: The Night He Came Back (2010), Return to Waterloo (1984) and The Kinks: Don’t Forget to Dance (1983).

In 2008, Gibbons joined The Kast Off Kinks, a band that has featured various former Kinks members, including original drummer Mick Avory, keyboardist John Gosling and bassists John Dalton and Jim Rodford. Rodford died in January 2018 at age 76.

Ian Gibbons died from bladder cancer at home, on 1 August 2019, at the age of 67

Kinks guitarist Dave Davies issued a statement regarding Gibbons’ death that reads, “It was a great shock to hear about Ian Gibbons passing. He worked with the Kinks throughout the ’80s. He was always such a positive and optimistic guy. He was the perfect professional. I never had any problems with him and we got on really well. My heart goes out to his family and friends at this difficult time. He added a lot of color to the Kinks music. I’m devastated and he’ll be badly missed.”

Co-founder Ray Davies said: ‘On the road, he could always be guaranteed to give a smile of encouragement from his side of the stage and buy a round in the bar after the show so we could have a party in Ian’s noisy room,’ the frontman added. ‘Being in a band is like being in a family and today it is as though we have lost family member.’ ‘He was also was a brilliant accordion player and, apparently, a bit of a childhood prodigy on that instrument. In the studio, he would willingly try out the most random musical idea I would throw at him.’

The Kinks music with songs like Waterloo Sunset, You Really Got Me, Sunny Afternoon, See My Friend, a.o. has gone down as one of the defining sounds of the flower power generation, and has since been made into a musical, Sunny Afternoon, by the Davies brothers.

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Art Neville 7/2019

art neville, keyboard in the neville brothersJuly 22, 2019 – Art Neville was born on 17 December 1937 the oldest son in the famous New Orleans blues/funk family that created the Neville Bothers. Art was born in New Orleans to Arthur Neville and his wife, Amelia (nee Landry). His father was a station porter fond of singing tunes by Nat King Cole and the Texan bluesman Charles Brown. His mother was part of a dance act with her brother, George “Big Chief Jolly” Landry.

The oldest of four brothers, his interest in playing keyboards was triggered at the age of three, when his grandmother took him to a New Orleans church where he spotted the organ. “I turned the little switch and hit one of the low keys,” he recalled. “It scared the daylights out of me, but that was the first keyboard I played.”
He later began playing the piano and performing with his brothers, and in high school joined (and subsequently led) his first band, the Hawketts. He was the lead singer on their version of Mardi Gras Mambo, a regional hit in 1954. It became a regular fixture at New Orleans’s annual Mardi Gras celebrations.
In 1958 he joined the US Navy, emerging in 1962 to continue his musical career. He formed Art Neville and the Neville Sounds, which included Aaron and Cyril before they quit to form their own group. Now a four-piece completed by guitarist Leo Nocentelli, bass player George Porter Jr and drummer Joseph “Zigaboo” Modeliste, they played regularly at New Orleans clubs, backing artists such as the Pointer Sisters and Lee Dorsey.

The Meters Era

In 1965 he was a founder not only of the Meters, whose music in the late 1960s and early 70s helped to define the genre of New Orleans funk, but of the Neville Brothers, who were masters of various soul, blues and gospel styles and were distinguished by their intricate vocal harmonies.
The Meters provided the musical backup for innumerable soul and funk artists, including on big-selling classics such as Lee Dorsey’s Working in the Coal Mine (1966) and Labelle’s Lady Marmalade (1974). But they also had hits in their own right, notably in 1969 with Cissy Strut (1969) and Look-Ka Py Py.

The Meters refined the loping, syncopated rhythm called the “second line” which became emblematic of New Orleans funk. Prime examples included the group’s hits Cissy Strut, Look-Ka Py Py, Chicken Strut (1970) and Hey Pocky A-Way (1974). Cissy Strut, which reached No 23 on the mainstream Billboard chart, was inducted into the Grammy Hall of Fame in 2011.
The Meters made countless recordings as the house band for the songwriter and producer Allen Toussaint, with highlights including Working in the Coal Mine, which reached No 8 in the UK and the US, Dr John’s album In the Right Place (1973), and Labelle’s US chart-topper Lady Marmalade, a song about a prostitute in the French quarter of New Orleans with the famous line “Voulez-vous coucher avec moi, ce soir?”
In 1974 the Meters backed Robert Palmer on his album Sneakin’ Sally Through the Alley, and in 1975 Paul McCartney invited them aboard the Queen Mary ocean liner in Long Beach, California, to play at the launch party of the Wings album Venus and Mars. Also present was Mick Jagger, who invited the Meters to support the Rolling Stones on their tours of the US and Europe in 1975-76. The group now included Cyril, who joined for their album Fire on the Bayou (1975).

Forming the Neville Brothers

Art and Cyril quit the Meters in 1977 and formed the Neville Brothers with Aaron and Charles. The brothers had already gathered the previous year to back their uncle George Landry on the album The Wild Tchoupitoulas. At first the Neville Brothers were slow to gain recognition. Art recalled how when they used to play at Tipitina’s in New Orleans “you could have blown it up and not hurt anyone but the Neville Brothers”. Though Keith Richards hailed their 1981 album Fiyo on the Bayou as the finest of the year, sales were poor. They failed to release another studio album until Uptown (1987), a conscious effort to find a more mainstream sound (with Richards and Carlos Santana guesting) that prompted accusations of a sellout.

Outside the Neville Brothers Art began playing concerts with his former Meters bandmates, following a reunion at the 1989 New Orleans Jazz & Heritage festival.
They subsequently formed a new version of the band called the Funky Meters, and Art continued to perform with both outfits.
A change of fortune came with Yellow Moon, sympathetically produced by Daniel Lanois, which successfully moulded the group’s collective skills into a coherent whole. In that year the group won a Grammy for best pop instrumental performance for the Yellow Moon track Healing Chant, while the album also contained several landmark tracks including the title song, a version of Dylan’s With God on Our Side, and Sister Rosa, their ode to the civil rights pioneer Rosa Parks. 

Art won another Grammy in 1996 with various artists for best rock instrumental performance for SRV Shuffle, a tribute to the guitarist Stevie Ray Vaughan. Their musical groove influenced artists as varied as Little Feat, the Red Hot Chili Peppers, Public Enemy and the Grateful Dead.
Art Neville, who was nicknamed Poppa Funk, toured as part of the Neville Brothers and the Meters with major artists, including the Rolling Stones, the Grateful Dead and Tina Turner, and were traditionally the closing act on the final Sunday night of New Orleans’s annual Jazz & Heritage festival.

The Neville Brothers disbanded in 2012, but reunited for a farewell concert in New Orleans in 2015. Three years after Art announced his retirement after more than six decades in the music business.

Art Neville crossed the rainbow to rock and roll paradise on July 22, 2019 at the age of 81.

 

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Paul Raymond 4/2019

Paul Raymond (73) – UFO – was born November 16, 1945 in Hertfordshire, England. At the young age of 17 he was determined to make career in the music business by putting an ad in the music papers and going to all the pubs that had live jazz on. He began sitting in on a few numbers with the older, more experienced musicians.

Raymond began his musical career in January 1964 as a jazz musician. His first professional group was also in 1964, as a member of Tony Jackson and The Vibrations, a group formed by Tony Jackson of The Searchers when he left in mid 1964.

He later joined Plastic Penny in 1967 as their keyboardist/vocalist. Plastic Penny was formed with Brian Keith on vocals, Nigel Olson on drums, Mick Graham on guitar and Tony Murray on bass. They released two albums, ‘Two Sides Of A Penny’and ‘Currency’ and had a top-ten hit with a cover of the ‘Box-Tops’ song ‘Everything I Am’ before splitting up in late 1968 after appearing at the Isle of Wright Festival in August of that year.

Then, after he heard that Christine Perfect was leaving Chicken Shack to marry John McVie and later join Fleetwood Mac, Paul answered their ad in Melody Maker, and auditioned for her place. Nigel Olson was kind enough to help manhandle the Hammond organ to the audition and Paul was subsequently offered the job.

After recording the album ‘100 Ton Chicken’ it was decided that the band should take a new direction, but the resulting album ‘Accept’ was not successful and the band was dropped by their record company Blue Horizon. Paul left Chicken Shack and both Andy Silvester and Dave Bidwell followed on shortly afterwards to join him in blues band Savoy Brown. They were filling the gap that was left by former members Dave Peverett, Tony Stevens and Roger Earl who had deserted guitarist Kim Simmonds to form the band Foghat. His tenor with Savoy Brown lasted from 1971-1976 encompassing 6 albums, including ‘Street Corner Talking’ & ‘Hellbound Train’. During this period of relentless tour schedules and various line-up changes the band enjoyed major success in the USA, breaking into the Billboard Top 100 and playing prestigious venues such as Madison Square Garden.

He also recorded with the former Fleetwood Mac guitarist Danny Kirwan, appearing on his first album, Second Chapter, released in 1975.

Raymond was recruited by UFO in 1976 to replace their first keyboardist, Danny Peyronel.

“Then, one magical night in Saginaw, Michigan, during a tour of the States, I met Pete Way!” “We were playing on the same bill with UFO, who were opening the show. Nazareth were headlining and Savoy Brown were somewhere in the middle. Danny Peyronel was playing the keyboards for UFO back then, and after the show, Pete and I got talking. He said that they were looking to make a change in the line-up because Danny didn’t play guitar and they needed someone to play rhythm guitar as well as keyboards to enhance their live sound, so he asked me if I would be interested in joining the band.”

Raymond played on the classic albums Lights Out, Obsession, and No Place to Run, and on the live album Strangers In The Night. He wrote songs for UFO, but because of a previous publishing deal, was not credited for these songs until years later. When Michael Schenker left UFO, Raymond joined Schenker’s new band, MSG, in 1981 and 2 years later later joined UFO bassist Pete Way‘s band, Waysted, in 1983.

But two years later, following a non music-related altercation with Michael Schenker, Paul found himself ‘surplus to requirements’ and set out to look for other suitable musical collaborations. He spent a year working on a project with vocalist Terry Reid, using his own finances to help getting the project off the ground.  But unfortunately there was no interest from any of the record companies.

Coincidentally during that same time frame, Pete Way who had also parted ways with U.F.O. had secured a record deal with Chrysalis for his solo project, Waysted. He approached Paul to see if he was interested in joining him.

“It was a really tough decision for me to make; whether to keep going with Terry because at that time he still didn’t have a record deal, or go back and play with Pete again. Well the gut feeling at the time was that I should go with Pete. So I joined Waysted in 1983, but I’m not sure if I made the right decision.

Sometime in 1984, after the demise of Waysted, Paul was approached by Phil Mogg to see if he was interested in re-joining U.F.O. as he wanted to put the band back on the road. With the backing of staging company Light and Sound Design, who provided the PA system and an impressively large lighting rig, the band hit the road with new material and a video recording was released of the show in Oxford, UK entitled ‘Misdemeanor’. This sparked renewed interest from U.F.O.’s original record company, Chrysalis and the resulting album also called ‘Misdemeanor’ was released in 1985. It was a complete departure from U.F.O.’s signature guitar-oriented sound, as midi keyboards and sequencers were the order of the day in the mid ’80s. The band toured for a couple of years but all was not well. The ongoing, well documented problems of over-indulgence in the band and lack of communication was causing relationships to get strained. Mid-way through a particularly gruelling US tour, Paul couldn’t take it anymore, he just snapped, and bailed out.

After moving to Japan with his Japanese girlfriend and starting a new life out there, he put together his own band the Paul Raymond Project initially comprised of ex-Angel vocalist Frank DiMino, bassist Masayoshi Yamashita (ex-Loudness) and guitarist Reibun Ohtani (ex-Marino). They recorded the 6-track mini-album ‘Under The Rising Sun’ in 1989 for Teichi Ku Records.

The obvious geographical distance between Frank DiMino and Paul unfortunately meant that this line-up was not suitable in the long-term and eventually Paul established a touring band in 1991 with singer Aki Fukasawa and went on to record some more songs which eventually became the album ‘Raw Material’.

In 1993 Paul once again got the call to come back to U.F.O., this time for a reunion of the classic line-up. Michael Schenker had come back and wanted to reform the band. Japanese record company Zero Corporation offered them a recording contract and the result was the album ‘Walk On Water’, produced again by Ron Nevison in California. Initially the album was only released in Japan in 1995, but was subsequently repackaged and re-released worldwide in 1997. Paul did not contribute to the song writing on this album due to the death of his father in London at the time the album was being written. And by the time he returned the recording had already started.

The band started touring with ex-AC/DC drummer Simon Wright who was replacing Andy Parker on the drums, as Andy had business commitments in the UK. But during a tour of the US, Michael Schenker once again quit the band. There was a period of downtime and then he came back begged forgiveness and asked if he could give it another shot. Manager, Bill Elson, stepped in to take control of the business side of things and once again the band started touring.

Unfortunately, things again unravelled, this time at the Nakano Sun Plaza in Tokyo as Michael stormed off stage in the middle of a show in front of 3,000 people.  The concert was cancelled and the promoter was livid. Paul decided it was the end of the road for him too.

“It was a real low point.” “I’ve never been able to find out the reason why he did what he did. It was so embarrassing, Pete & I had to go out on stage and apologise to the audience. The promoter had to refund all the ticket money and that was the end of it for me, I just didn’t want to do it anymore, it was unforgivable and unprofessional and it did the band’s reputation such a damage.”

All in all Raymond worked with Phil Mogg, Andy Parker, and on occasion with Schenker and Way, in UFO from 1976–1980, 1984–1986, 1993–1998 and 2003–2019. In in-between time Raymond frequently toured with his own group, Paul Raymond Project.

After three successful US-tours between 2016 and 2017, numerous tours in Europe and the release of their covers album “The Salentino Cuts” U.F.O. remained inactive during all of 2018. This was the perfect time for Paul to work on his very own covers album “HIGH DEFINITION”. During the working process for “The Salentino Cuts” Paul became really inspired to put a new spin on some songs that he always liked or thought it would be interesting to record them in a rock’n’roll way. Of course he had more ideas or even different visions than his U.F.O. band mates so with the help of his PRP partners in crime, Andy Simmons and Dave Burn, he decided to make his own covers album named “High Definition”, which he was so very proud of. It was released on February 15th, 2019.

Paul Raymond unexpectedly died of a heart attack at 73 on April 13, 2019. At the time of his death, UFO had just completed the first leg of what they referred to as their final world tour, dubbed “Last Orders: 50th Anniversary”. For the remainder of the tour, Raymond was replaced by Neil Carter, who had also replaced him from 1980 to 1983.

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Stephan Ellis 3/2019

Stephan Ellis (69) – Survivor – was born on June 10, 1951 in Los Angeles County, California.

Survivor formed in 1978, but Ellis didn’t join the band until the early Eighties. The bassist arrived in time to help the group record their 1981 album, Premonition, which featured their first Top 40 hit, “Poor Man’s Son.” One year later, Sylvester Stallone approached Survivor to record a song for Rocky III, resulting in the band’s signature smash, “Eye of the Tiger.”
“Eye of the Tiger” peaked at No. 1 on the Billboard Hot 100 in July 1982, spending six weeks at the position and 25 weeks on the charts, while the band’s 1982 LP of the same name peaked at Number Two on the albums chart. The track won the Grammy for Best Rock Performance by a Duo or Group and was even nominated for Best Original Song at the 1982 Oscars.

Ellis continued to record and perform with Survivor throughout their prolific Eighties heyday. Between 1983 and 1987 Survivor released three more albums and notched a string of Top 10 hits including “High On You,” “The Search Is Over,” “Is This Love” and “Burning Heart.” The latter – off the Rocky IV soundtrack – became the band’s second biggest hit, peaking at Number Two.

While Ellis performed on ‘Eye of The Tiger’, he also contributed on hits such as ‘Burning Heart’ (from the Rocky IV soundtrack), ‘The Search Is Over’, ‘High on You’, and more. He was a member of the band from 1981 until 1987, when Ellis was forced to leave the group for medical reasons, during which period, the band released three albums, earning chart-topping hits “High On You,” “The Search Is Over,” “Is This Love,” and “Burning Heart.”

Guitarist Sullivan and singer Dave Bickler reminiscing on how Ellis joined the band said the following:

When Frankie and I traveled to the west coast soon after our first album in late 1980 to audition a new rhythm section, our pal, the late great Fergie Fredericksen suggested we cool our heels at Flipper’s Roller Disco on La Cienega just off of Sunset Strip. As we had a beer and watched the gals in satin short shorts skate around we noticed a band playing in the center of the rink. It was a band called Baxter playing good original music.

Frankie leaned over to me and said “That’s the kind of bass player we need”. I said “How ’bout that bass player?” Stephan was the genuine rock & Roll article: he had the look, the attitude and his aggressive style on his Fender Precision bass that helped define what would become the signature sound of Survivor.

We waited till Baxter took a break and I dodged the skaters to reach the band. I introduced myself to the blond bass player who was taking off his bass. I told him that me and Frankie were holding auditions for Survivor at SIR tomorrow morning, would he like to come? He had never heard of us, but when I told him we were signed to Scotti Brothers/Atlantic he readily agreed. He mentioned that he had just auditioned for the Babys but “there was not enough pixie dust on it” and he didn’t get the gig.

Next morning he showed up promptly at 9:30 along with the drummer Frankie had set up to audition – Marc Droubay. What a fortunate coincidence because from the downbeat of a new song we were working on called “Hearts of Stone” we knew we had found in this rhythm section the sound we were looking for: solid, pounding and totally locked as a unit. We soon started working up songs that became the pivotal album in Survivor’s history, the one that famously caught the attention of one Sylvester Stallone. It was called ‘Premonition’. It was indeed.

Stephan was a true rocker. Nothing mattered to him as much as his bass guitar and a cold Heineken in his hand. His unflappable countenance was a lesson to us all. He weathered every storm with us through the next 5 Survivor albums.

After leaving Survivor, Ellis and the band’s ex drummer, Marc Droubay, formed a group with guitarist Rod McClure called Club M.E.D. that released an album, Sampler, in 1990. In 1996, Ellis and Droubay rejoined the group, though the bassist left again in 1999. Over the next few decades, Ellis would periodically play a few shows with Survivor, but otherwise remained busy with other projects. Per AllMusic, he played bass on David Glen Eisley’s 2000 album, Stranger for the Past, while he also produced British singer Samantha Fox’s 2005 LP Angel With an Attitude.

He died on February 28, 2019 in Venice, California, He will be remembered for his musicianship, his dedication to the art of Rock & Roll, his mischievous smile and the friend he was to so many. Stephan Ellis – you are a classic. Rock in Peace.

“This was Stephan Ellis to me –Underrated yet never dated. Well dressed and on a consistent basis. Gargoyles and all and he was cool enough to pull off. Stephan was well-coifed, always ready and Stephan Ellis lived his own life in his own way and on his own terms. “We Love you Steph!”

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Peter Tork 2/2019

Peter Tork, bass player for the Monkees

Peter Tork, bass player for the MonkeesPeter Tork (The Monkees) was born Peter Halsten Thorkelson on February 13, 1942 in Washington DC. His father John taught economics at the University of Connecticut. He began studying piano at the age of nine, showing an aptitude for music by learning to play several different instruments, including the banjo, French horn and both acoustic bass and guitars. Tork attended Windham High School in Willimantic, Connecticut, and was a member of the first graduating class at E. O. Smith High School in Storrs, Connecticut. He attended Carleton College in Minnesota but, after flunking out, moved to New York City, where he became part of the folk music scene in Greenwich Village and with his guitar and five-string banjo he began playing small folk clubs. He billed himself as Tork, a nickname handed down by his father, and reportedly played with members of the soon-to-be formed band Lovin’ Spoonful (Summer in the City). While there, he befriended other up-and-coming musicians such as Stephen Stills (Crosby, Stills Nash and Young).When Tork “failed to break open the folk circuit,” as he later phrased it, he moved to Long Beach, California in mid-1965. Later that summer, he fielded two calls from his friend Stephen Stills (Crosby, Stills, Nash and Young), who had auditioned with more than 400 others for the Monkees. Stills urged Tork to try out. “They told Steve, ‘Your hair and teeth aren’t photogenic, but do you know anyone who looks like you that can sing?’ And Steve told them about me,” Tork told the Washington Post in 1983.

Continue reading Peter Tork 2/2019

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Maarten Allcock 9/2018

Maarten Allcock (61) – multi instrumentalist with Fairport Convention and Jethro Tull,  was born on January 5, 1957 in North Manchester, England.

After an apprenticeship in folkclubs and dancebands, he ran away to join the Bully Wee Band, a Celtic folk group, which led on to an 11-year stint with folk-rock legends Fairport Convention, four years with rock band Jethro Tull and a session career which has included over 300 albums. A fretless bass player and guitarist, Maartin had an interesting youth.

After studying music at Huddersfield and Leeds he played on his first tour with Mike Harding in 1977. He moved to Brittany for a while, where he learned to cook. He then trained as a chef and worked in the Shetland Islands.

In 1981 he returned to music with The Bully Wee Band. After they broke up he toured in UK, Ireland and Europe with Kieran Halpin until he was invited to join the re-forming Fairport Convention as lead guitarist in 1985, touring extensively in UK, USA, Europe, Australia, Turkey, Hong Kong & Bermuda until 1996.

In 1988 he was asked to concurrently join Jethro Tull on keyboard, which he stayed with for four years, touring in North & South America, Western & Eastern Europe, Turkey and Estonia. In summer 1991 he also played keyboards for The Mission (known as Mission UK in the USA).

In October 1999 Maart, as his friends called him, recorded his second solo album, OX15, with guest appearances from Ian Anderson of Jethro Tull, Indian girl singer Najma Akhtar and other past and present members of both Jethro Tull and Fairport Convention.

In 2000 Maart moved to mountainous Snowdonia in North Wales and studied Welsh at Coleg Harlech.

In 2002, Maart toured with Blue Tapestry, Kieran Halpin, Orchard (featuring Dave Swarbrick, Beryl Marriott and Kevin Dempsey) as well as performing with Gilly Darbey and touring the UK, Germany, Switzerland and the Netherlands with The (new) John Wright Band.

In 2003 there were eleven albums, 2 TV series and tours of Holland, Germany and Italy. Plus the Dave Swarbrick Fiddlecase Tunebook and the recording of the third solo album, ‘Serving Suggestion’.

In 2004 there was a Danish tour with John Wright, the Kieran Halpin Songbook Two, the Fairport Convention Songbook One v2.0, an album with Mairi Armstrong, a couple of Blue Tapestry gigs, Ralph McTell’s 60th birthday concert and a UK tour with Beth Nielsen Chapman. Also the setting up of Squiggle Records.

In 2005 there was more session work for Yusuf Islam (Cat Stevens), albums with Miranda Sykes Band, Kieran Halpin, Ken Nicol, and Ian McCalman & friends, and Maart and his old chum Des Friel got two songs in a movie, Irish Jam, starring Anna Friel. Also Maart produced albums from top Welsh traditional band Crasdant and harpist Gwenan Gibbard. An educational DVD band came together as The Working Party and the new trio Swarb’s Lazarus was formed.

In 2006 Swarb’s Lazarus began touring and Maart married his wife Jan in Snowdonia. More production work for Sain Recordiau with Heather Jones, Sarah Louise and Robin Huw Bowen. Festival appearances with Gwenan Gibbard, Sarah Louise, The Paperboys, Swarb’s Lazarus, Fairport Convention with guest Glenn Tilbrook.

In 2007 there was some recording with Ralph McTell for the Steve Tilston boxset, two UK tours with Beth Nielsen Chapman, more recording and production work and ongoing dates with Swarb’s Lazarus.

In 2008 there was recording with Ian McCalman, gigs with Gwenan Gibbard, Netherlands and Belgium dates with Swarb’s Lazarus, recording with the late John Wright, a TV appearance with Heather Jones, and a lot of notation work, including work for Sain Recordiau and the start of the Dave Swarbrick Fiddle Tunes book. A lot of production work for Sain Recordiau too, including the debut album from young Welsh traditional band Calan and the second album for Gwenan Gibbard. There were a couple of visits to Rome and Barcelona for Jethro Tull Fan club conventions.
The Bad Shepherds was formed along with Ade Edmondson and Troy Donockley. After a few false starts including a week’s rehearsal in St. Lucia (Caribbean), the lineup finally came together with fiddler Andy Dinan and a lot of work started to come in for the band. In October Maart took part in Yr Arbrawf Mawr – The Big Experiment, a three day course in traditional music at Coleg Harlech. Another UK tour with Beth Nielsen Chapman followed in November and the year finished on the run up to Xmas with dates with The Bad Shepherds, who also started recording their album.

2009 started with a new album with Kieran Halpin, and a Burns Night supper in Stockholm for RBS with Mairi Armstrong. Most of the year was taken up with The Bad Shepherds, but Maart left at the end of the summer to concentrate on various other projects, including more production work for Sain Recordiau and transcription work for both Richard Thompson and Dave Swarbrick. In May Maartin Alcock was the subject of a half hour documentary on the BBC Radio Wales Arts Show, and he now has a monthly column in Acoustic magazine. In October, he was once again a guest of Rome-based Tull tribute act OAK.

2010 included two UK tours with Beth Nielsen Chapman, and a songbook of the new album, Back To Love, transcribed in time for the tour. More session work and a special concert of John Martyn’s music at Birmingham Town Hall with Danny Thompson, JM’s band and guest singers Eddi Reader, Beth Orton, Krystal Warren, Ian McNabb and Beverley Martyn.

Allcock later released several solo albums and worked as a multi-instrumentalist, session man and record producer on over 200 recordings by artists including Robert Plant, Beverley Craven, Judith Durham, Breton guitarist Dan Ar Braz (six albums), Ralph McTell, Dave Swarbrick, Cat Stevens, and Dafydd Iwan.

Maartin Allcock died in a Welsh hospital on September 16, 2018. He was 61 and had been suffering from inoperable liver cancer.

His approach to his terminal illness was serene and philosophical. After his diagnosis he wrote to fans: “I will go with dignity, good humour and good grace. “I just have to wait now for transport back to my own planet. I only came for the curry anyway.”

This year was meant to be my travel gap year. I was going to revisit friends and favourite places around the world before slowing down to enjoy the evening of my years. I made it as far as Madeira in January for some heat, a place I’d never considered before, but I loved it. Such a beautiful fragrant isle, truly a paradise.

A week after my return, I developed jaundice, and had to go to hospital. Scans and tests revealed that there were more sinister things happening inside me. Now the race is run and the final chapter has begun, and my liver cancer is terminal. I am in absolutely no pain or discomfort at this time. For the time being, to look at, you wouldn’t think there was much wrong with me. I am fully mobile, with energy, eating and sleeping well, and totally at peace with what the future holds. How long that future lasts is anyone’s guess, but I probably won’t make it to next summer. I shall play my final live performance at the Fairport Cropredy Convention this August, but I shall continue to make music while I draw breath. My main priority now is to finish the autobiography I began in January, and which now has an additional final chapter. I had no idea the deadline was so strict then.

So, do not be sad. I achieved everything I ever wanted to do from daydreaming in a council house in north Manchester to traveling the world with my heroes, playing to thousands and thousands of people, and getting paid for it. I have lived a lot, laughed a lot and loved a lot, and I shall leave this planet with eternal love and gratitude for my wife Jan, my three children Madeleine, Jered and Jane, and their mum Gill, and all of you who took any interest in this mad northerner. Thank you all so much. Be happy and shower the people you love with love.

What a giant of a man!

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Eddie Willis 8/2018

Eddie “Chank” Willis (82) was born June 3, 1936 in Grenada, Mississippi where he also learned to play the guitar. Completely self-taught, Willis moved to Detroit from Mississippi in the early ’50s. He was fresh out of high school when Motown’s first recording star, Marv Johnson (“Come to Me”), brought him into the fledgling label started by songwriter/producer Berry Gordy. The year was 1959, and Berry Gordy Jr. gathered the best musicians from Detroit’s thriving jazz and blues scene to begin cutting songs for his new record company.

Eddie Willis was one-third of the guitar trio that was part of the classic Motown studio band dubbed the Funk Brothers. Along with Joe Messina and Robert White, the threesome created the catchy guitar-laced rhythmic interplay heard on a slew of ’60s/’70s hits from the then Detroit-based independent label. Eddie Willis helped create some of the most distinguished soul music to hit the charts. His guitar playing was heard worldwide on countless Motown Records classics, including the Marvelettes’ ‘Please Mr. Postman’ and Stevie Wonder‘s ‘I Was Made To Love Her.’ Willis’ guitar work also appears on numerous recordings including: “The Way You Do the Things You Do” by The Temptations. Some other Motown hits that feature Willis are “Friendship Train” by Gladys Knight and the Pips and Stevie Wonder‘s “My Cherie Amour” and playing in unison (doubling) an octave lower than White’s telegraph-like line on the Supremes‘ “Keep Me Hangin’ On”. It was Willis or Messina who usually played the backbeat, a key ingredient of the Motown sound that was later used in reggae music (“chunk…chunk”).

He was known for his signature muted guitar riffs which added a distinctive tone to the beat, often timed with the snare drum. Over the next fourteen year period the Funk Brothers were the heartbeat on every hit from Motown’s Detroit era, but when Gordy moved his Motown Company to Los Angeles, he began using top L.A. session musicians (including members of the Crusaders). Even though Willis and the Funk Brothers would occasionally be sent tapes from L.A. to overdub their parts, with the death of Funk Brothers‘ drummer Benny Benjamin, the migration of James Jamerson to L.A., and the retirement of Messina from the music business, the classic studio band soon faded into history. By the end of their phenomenal run however, this unheralded group of musicians had played on more number ones hits than the Beach Boys, the Rolling Stones, Elvis and the Beatles combined – which makes them the greatest hit machine in the history of popular music.

Willis later toured for two decades with the Four Tops and still recorded around Detroit, most notably with producer Don Davis (Rated X-Traordinaire-Best of Johnnie Taylor from Sony Legacy, Albert King‘s Albert King:The Ultimate Collection from Rhino, and David Ruffin‘s ’80s Warner Bros. LPs). Willis also worked as a touring guitarist for Eddie Kendricks.

In 2003 at the 45th GRAMMY Awards, Willis, along with the Funk Brothers, emerged into the spotlight as the movie they were featured in, Standing In The Shadows Of Motown, won Best Compilation Soundtrack Album For A Motion Picture, Television Or Other Visual Media. That same year, their track “What’s Going On” sung by Chaka Khan won Best Traditional R&B Vocal Performance.

Eddie Willis died of complications of polio on August 20, 2018, aged 82 years, at his home in Gore Springs, Mississippi.

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Vinnie Paul 6/2018

Vinnie Paul (54) – drummer with metal band Pantera/Damageplan – was born March 11, 1964  in Abilene, Texas. His parents were Jerry, a country music songwriter and producer, and Carolyn Abbott. Abbott originally played the tuba after being assigned to it in school band class, but he was directed towards the drums by his father, who said there were no career prospects for a tuba player. His father bought him his first drum kit.

Paul formed Pantera in 1981 with his brother Dimebag Darrell and Terry Glaze on guitars, bassist Tommy D. Bradford, and vocalist Donnie Hart. Pantera recruited vocalist Phil Anselmo in 1987.

Pantera’s breakthrough album was Cowboys from Hell (1990, Atco Records). They went on to release four more studio records, a live album and a greatest hits compilation. A dispute between singer/frontman Phil Anselmo and the Abbott brother caused the band to slowly fall apart and after the informal breakup of Pantera in 2003, the Abbott brothers formed the heavy metal band Damageplan and recorded one album, New Found Power. Sadly Damageplan broke up after the on stage murder of Vinnie’s bother, lead guitar player Darrell on December 8, 2004.

After an 18-month hiatus, Vinnie Paul joined with the heavy metal supergroup Hellyeah, which also features vocalist Chad Gray and guitarist Greg Tribbett from Mudvayne, guitarist Tom Maxwell from Nothingface, and bassist Bob Zilla from Damageplan. He recorded six albums with Hellyeah, including 2016’s Undeniable and the final album “Welcome Home”.  In May 2019, it was announced that Hellyeah would tour for the first time since Abbott’s death to support the final album he recorded with the band.

Vinnie Paul died in his Las Vegas home on June 22, 2018 at age 54. A coroner’s report determined that his death was from complications of an enlarged heart and severe coronary artery disease.

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Rick Hall 1/2018

Rick Hall (85) – producer/session musician with Fame Studios – was born January 31, 1932 to a family of sharecroppers in Tishomingo County, Mississippi, and after his mother left home was raised by his father and grandparents in Franklin County, Alabama. He moved to Rockford, Illinois, as a teenager, working as an apprentice toolmaker, and began playing guitar  in local bar bands. When he was drafted into the military for the Korean War, he declared himself a conscientious objector, joined the honor guard of the Fourth United States Army, and played in a band which also included Faron Young and the fiddler Gordon Terry.

When Hall returned to Alabama he resumed factory life, working for Reynolds Aluminum in Florence. When both his new bride and his father died within a two-week period, he lost interest in regular work and began moving around the area playing guitar, mandolin, and fiddle with a local group, Carmol Taylor and the Country Pals. The group appeared on a weekly regional radio show at WERH in Hamilton, Alabama. Subsequently, Hall formed a new R&B group, the Fairlanes, with the saxophonist Billy Sherrill fronted by the singer Dan Penn, with Hall playing bass. He also began writing songs at that time.

Hall left the Fairlanes to concentrate on becoming a songwriter and record producer. He had his first songwriting successes in the late 1950s, when George Jones recorded his song “Achin’, Breakin’ Heart”, Brenda Lee recorded “She’ll Never Know”, and Roy Orbison recorded “Sweet and Innocent”.

In 1959, Hall and Sherrill accepted an offer from Tom Stafford, the owner of a recording studio, to help set up a new music publishing company in the town of Florence, to be known as Florence Alabama Music Enterprises, or FAME. However, in 1960, Sherrill and Stafford dissolved the partnership, leaving Hall with rights to the studio name. Hall then set up FAME Studios in Muscle Shoals, Alabama, where one of his first recordings was Arthur Alexander’s “You Better Move On”. The commercial success of the record gave Hall the financial resources to establish a new, larger and better equipped FAME recording studio.

Though Hall grew up in a culture dominated by country music, he had a love of R&B music and, in the highly segregated state of Alabama, regularly flaunted local policies and recorded many black musicians. Hall wrote:

“Black music helped broaden my musical horizons and open my eyes and ears to the widespread appeal of the so-called ‘race’ music that later became known as ‘rhythm and blues”.

Hall’s successes continued after the Atlanta-based agent Bill Lowery brought him acts to record, and the studio produced hits for Tommy Roe, Joe Tex, the Tams, and Jimmy Hughes. However, in 1964, Hall’s regular session recording group—David Briggs, Norbert Putnam, Jerry Carrigan, Earl “Peanut” Montgomery, and Donnie Fritts—became frustrated at being paid minimum union-scale wages by Hall, and left Muscle Shoals to set up a studio of their own in Nashville. Hall then pulled together a new studio band, including Spooner Oldham, Jimmy Johnson, David Hood, and Roger Hawkins, and continued to produce hit records.

In 1966, he helped license Percy Sledge‘s “When a Man Loves a Woman“, produced by Quin Ivy, to Atlantic Records, which then led to a regular arrangement under which Atlantic would send musicians to Hall’s Muscle Shoals studio to record. The studio produced further hit records for Wilson Pickett, James and Bobby Purify, Aretha Franklin, Clarence Carter, Otis Redding, and Arthur Conley, enhancing Hall’s reputation as a white Southern producer who could produce and engineer hits for black Southern soul singers. He produced many sessions using guitarist Duane Allman. He also produced recordings for other artists, including Etta James, whom he persuaded to record Clarence Carter’s song “Tell Mama”. However, his fiery temperament led to the end of the relationship with Atlantic after he got into a fistfight with Aretha Franklin’s husband, Ted White, in late 1967.

In 1969, FAME Records, with artists including Candi Staton, Clarence Carter and Arthur Conley, established a distribution deal with Capitol Records. Hall then turned his attention away from soul music towards mainstream pop, producing hits for the Osmonds, Paul Anka, Tom Jones, and Donny Osmond. Also in 1969, another FAME Studio house band, Muscle Shoals Rhythm Section, affectionately called The Swampers, consisting of Barry Beckett (keyboards), Roger Hawkins (drums), Jimmy Johnson (guitar), and David Hood (bass), left the FAME studio to found the competing Muscle Shoals Sound Studio at 3614 Jackson Highway in Sheffield, with start-up funding from Jerry Wexler. Subsequently, Hall hired the Fame Gang as the new studio band.

Hall’s FAME studio prospered through the 1970s. In 1971, Hall was named Producer of the Year by Billboard magazine, a year after having been nominated for a Grammy in the same category. Later in the decade, Hall moved back towards country music, producing hits for Mac Davis, Bobbie Gentry, Jerry Reed, and the Gatlin Brothers. He also worked with the songwriter and producer Robert Byrne to help a local bar band, Shenandoah, top the national Hot Country Songs chart several times in the 1980s and 1990s. Hall’s publishing staff of in-house songwriters wrote some of the biggest country hits in those decades. His publishing catalog included “I Swear” written by Frank Myers and Gary Baker. In 1985 he was inducted into the Alabama Music Hall of Fame, his citation referring to him as the “Father of Muscle Shoals Music.”

In 2007, Hall reactivated the FAME Records label through a distribution deal with EMI.

Hall’s life and career are profiled in the 2013 documentary film Muscle Shoals. During an interview before the release of the movie, Hall told a journalist that in 2009, he had donated his home to a charity for abused and neglected children. The hits he had recorded over the years, and the sale of two of his six publishing catalogs had made him wealthy. Nevertheless, at the age of 81, he was still trying to make recording deals.

In 2014, Hall was awarded the Grammy Trustees Award for his significant contribution to the field of recording..

Hall published his memoirs in a book titled The Man from Muscle Shoals: My Journey from Shame to Fame in 2015. On December 17, 2016, Hall was awarded an honorary doctorate by the University of North Alabama in Florence.

He died from cancer on January 2, 2018, aged 85, at his home in Muscle Shoals, after returning from a stay in a local nursing home shortly before Christmas.

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Steve Nisbett 1/2018

Steve ‘Grizzly’ Nisbett (69) – Drummer for reggae band Steel Pulse from 1977 – 2001 – was born March 15, 1948 in Nevis, (Nevis & St.Kitts) the eldest of seven children. He left the Caribbean in 1957 at the age of nine to join his parents who had migrated to Saltley, Birmingham, England.

He began playing drums and percussion as a teenager, and was a member of various soul bands, such as Penny Black, Rebel, and Roy Gee and the Stax Explosion.

He joined Steel Pulse in 1977 before their debut album Handsworth Revolution through to their 1997 release Rage and Fury. Seen as the old man of the group he was the main drummer until 1998 when he gave up the honors to Conrad Kelly, but continued to play percussion. Nisbett retired from the band in 2001 due to health concerns.

He latterly lived in Perry Barr, Birmingham, England, and owned his own record company, Grizzly Records.

Steve Nisbett died on 18 January 2018, at the age of 69.

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Edwin Hawkins 1/2018

Edwin Hawkins was born in Oakland, California, on August 19, 1943. he began singing in his church youth choir while still a toddler, and by age five was playing piano; just two years later, he assumed full-time piano accompaniment duties for the family gospel group, making their recorded debut in 1957.
In May 1967, together with Betty Watson, he founded the Northern California State Youth Choir of the Church of God in Christ (COGIC), which included almost fifty members.  This ensemble recorded its first album Let Us Go into the House of the Lord at the Ephesian Church of God in Christ in Berkeley, California privately (on the Century 70 custom label), hoping to sell 500 copies. “Oh Happy Day” was just one of the eight songs on the album. The choir used this LP to raise funds to travel to the 1968 Youth Congress for COGIC in Washington, D.C. to compete in the Congress’ annual choir competition, representing the Northern California region. The choir finished in second place at the contest, and that was the first of many surprises coming their way. Upon their return to California, their LP found its way into the hands of a KSAN underground rock DJ in San Francisco who happened to pick “Oh Happy Day” to play on his station; the song became an instant hit.
Once “Oh Happy Day” received radio airplay in other parts of the U.S. and the ensemble learned of the song’s rising success, they began to contact people in the recording industry who helped them obtain a major contract. The ensemble signed with the newly created Pavilion label (distributed by Buddah), and released a second LP, entitled He’s A Friend of Mine, in 1969. But it was “Oh Happy Day” that rocketed to sales of more than a million copies within two months. The song crossed over to the pop charts, making U.S. No. 4, UK No. 2, Canada No. 2, No. 2 on the Irish Singles Chart, and No. 1 on the French Singles Charts, the Netherlands and the German Singles Charts in 1969.

It became an international success, selling more than 7 million copies worldwide, and Hawkins was awarded his first Grammy for the recording. His arrangement of the song was eventually covered by The Four Seasons on their 1970 album Half & Half. At this time the choir was rechristened the Edwin Hawkins Singers, although the featured voice on “Oh Happy Day” belonged to singer Dorothy Combs Morrison, who soon exited in pursuit of a solo career. Her loss proved devastating to Hawkins’ long-term commercial fortunes.

The choir’s second LP Top 10 hit on the Billboard Hot 100 charts was the 1970 Melanie single “Lay Down (Candles in the Rain),” on which the label listed the performers as “Melanie with The Edwin Hawkins Singers”. The song peaked at No. 6 in the U.S. and Top 10 in a host of other countries.

Hawkins remained a critical favorite, and in 1972 the Singers won a second Grammy for Every Man Wants to Be Free. Recording prolifically throughout the remainder of the decade, in 1980 they won a third Grammy for Wonderful; a fourth, for If You Love Me, followed three years later. In 1982, Hawkins also founded the Edwin Hawkins Music and Arts Seminar, an annual weeklong convention that offered workshops exploring all facets of the gospel industry and culminating each year with a live performance by the assembled mass choir. Although Hawkins recorded less and less frequently in the years to follow, he continued touring regularly. In 1990, Hawkins, credited as a solo performer, had a number 89 hit on the R&B chart with “If at First You Don’t Succeed (Try Again)”.
In the 1992 movie Leap of Faith, Hawkins is the choir master for the gospel songs. In 1995 he toured extensively with the Swedish choir Svart Pa Vitt. His Music and Arts Seminar continued to grow as well, with the 2002 choir including members from the U.S., Europe, and Japan. Hawkins also recorded throughout the 2000s, releasing All the Angels in 2004 and Have Mercy four years later.

Edwin Hawkins was one of the originators of the urban contemporary gospel sound.  His arrangement of “Oh Happy Day”, which was included on the Songs of the Century list.

Hawkins died of pancreatic cancer on January 15, 2018, in Pleasanton, California, at the age of 74.

Altogether Hawkins has won four Grammy Awards and In 2007, Hawkins was inducted into the Christian Music Hall of Fame and attended the formal awards show in 2009.

The Edwin Hawkins Singers performance of “Oh Happy Day” at the 1969 Harlem Cultural Festival appears in the 2021 music documentary, Summer of Soul.
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Dave Holland 1/2018

Dave Holland (69) – drummer with Trapeze and Judas Priest – was born April 5, 1948 in Northampton England. At the age of six Holland began piano lessons, but soon developed a “mania for the drums” in his own words and begged his parents to let him have a set. After his first appearance as a stand-in for a local band, Holland realised he wanted to be a musician. When he was 14 years old, he supplemented his pocket money by playing with another local band titled The Drumbeats, besides selling furniture and carpets.

As a youngster, Holland listened to traditional jazz. He cited his first rock influence as Johnny Kidd and the Pirates. Later, he became interested in funk music in the vein of Booker T & the MG’s, blues rock of Free and progressive–psychedelic music of Traffic.

Having moved to Rugby, Holland joined The Liberators and continued playing with them after completing his base education. The Liberators soon evolved into Pinkerton’s Assorted Colours, a folk pop band that put autoharp to good use, taking after The Loving Spoonful. In 1966 a single, “Mirror Mirror”, produced by future The Moody Blues producer Tony Clarke, peaked at No. 8 in the UK Singles Chart.

Holland stayed with the band until August 1968, when he joined Finders Keepers, a pop cover outfit. However, Holland continued studio session work. He did not play on a 1969 No. 5 hit single “Smile a Little Smile for Me” released by the band that used to be Pinkerton’s Assorted Colours under the name of The Flying Machine.

Finders Keepers, who were soon joined by Mel Galley (guitar) and Glenn Hughes (bass), recorded several singles, with some of the songs now available on various compilations. Soon afterwards the threesome joined forces with vocalist and winds player John Jones and multi-instrumentalist Terry Rowley of The Montanas fame to form a quintet called Trapeze (the band name was Terry Rowley’s idea).

Trapeze appeared in the British TV show Colour Me Pop and soon was swamped with offers of recording contracts, including one from The Beatles’ Apple. Trapeze, however, settled for the newly formed Threshold label, belonging to The Moody Blues members. The band would soon open for The Moodies and other well-known acts. On Threshold, the band released three records, the debut as a quintet and the rest as a power trio.

Trapeze were gaining momentum at the time, especially in the southern United States, but lost a major contributor as Glenn Hughes decided to leave the band and join Deep Purple for the recording of their Burn album.

Galley and Holland added a bass player and a second guitarist. Holland and Galley also toured as part of John Lodge – Justin Hayward (of The Moody Blues fame) band The Blue Jays.

In 1978 Trapeze recorded their last studio LP, Hold On.

Earlier on, both Galley and Holland lent a hand in the recording of Glenn Hughes’ first solo album, Play Me Out, offering a unique blend of psychedelic jazz funk. Holland was assisted by Mark Nauseef on percussion.

In 1979 and 1980, Holland recorded some drum parts for Justin Hayward’s solo albums, Songwriter and Night Flight.

Holland left Trapeze and joined Judas Priest in August 1979. He played drums on many of Judas Priest’s platinum albums, such as British Steel, Screaming for Vengeance, Defenders of the Faith, Turbo and Ram It Down.

During the 1980s, Holland also collaborated with guitarist Robin George, as part of his band Life and on George’s solo project, Dangerous Music.

In 1989, personal problems (health and family issues) and musical differences forced Holland to leave Judas Priest. He was replaced by original Saints Or Sinners drummer Scott Travis, who had also previously played in the band Racer X.

Throughout the 1990s, besides touring with briefly reformed Trapeze and filling in for various bands like The Screaming Jets during their European tours, Holland gave drum clinics and private lessons, managed and produced bands such as the Swedish “teen funk trio” Shutlanger Sam whom Holland introduced in person at a show with his former Trapeze bandmate Glenn Hughes in Vänersborg 1996, and played on various recordings of his former mates. In 1996, he participated in sessions that involved Glenn Hughes, Tony Iommi of Black Sabbath fame, and keyboardist Don Airey. In 1998, a collaboration with Al Atkins, Judas Priest’s original singer, was released, featuring a few covers of early Priest songs that Holland did not originally play on. Judas Priest with Atkins at the helm had supported Trapeze in 1971.

In 2004, Holland was found guilty of attempted rape and several indecent assaults against a 17-year-old male with learning disabilities to whom he had been giving drum lessons. In an interview during the criminal proceedings, Holland revealed that he is bisexual. He was sentenced to eight years in prison. As a result, Black Sabbath guitarist Tony Iommi chose to replace Holland’s drum parts on The 1996 DEP Sessions because he did not want a convicted sex offender appearing on his album. Holland was scheduled for release in 2012 and was reportedly out by June that year.

In late 2006, Holland, who has steadfastly maintained his innocence, revealed that he was in the process of writing a tell-all autobiography. Writing to biographer Neil Daniels from prison, Holland stated “I was convicted of a crime that I didn’t commit, and like so many others in similar situations to the one in which I find myself, an offense that never even existed in the first place…”.

On 18 January 2018, management of Trapeze confirmed that Holland, who was “a very private person”, had died on January 16″, with no cause of death reported.

On 22 January 2018, Spanish newspaper El Progreso reported that Holland had died six days earlier at Hospital Universitario Lucus Augusti in Lugo, Spain, a hospital close to A Fonsagrada, a town in the mountains where the drummer had lived at the time of his death. No cause of death was revealed, but the newspaper stated that he was already cremated.

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Terry Evans 1/2018

Terry Evans (80) – blues icon – was born in Vicksburg, Mississippi, on August 14, 1937. From an early age he sang in his local church choir. His parents were keen for him to concentrate purely on gospel music, although Evans found exposure to the work of mainstream blues musicians, by the randomness of the location where he was born. He worked semi professionally with an a cappella group called the Knights before relocating in the 1960s to Los Angeles, where he expanded his repertoire by learning to play the guitar and started to write songs for other musicians.

Amongst those who recorded his songs were Pops Staples (“Love Is a Precious Thing”) and Louis Jordan (“Hop, Skip, and Jump”). Unable to find his own fame however, despite television exposure, Evans teamed with fellow soul and gospel singer, Bobby King. They performed regularly on the chitlin’ circuit throughout the 1970s, although Evans also worked as a backing vocalist for Ry Cooder. His backup work appeared on several of Cooder’s albums down the years, including Chicken Skin Music (1976) and My Name Is Buddy (2007). Evans joint work with King saw the release of two albums in 1988 and 1990.

He gained a bigger audience through his involvement in the soundtrack to the 1986 film, Crossroads. Evans voice appeared on the title track in the film itself, and on the soundtrack on another song, “Down in Mississippi”. Evans later worked with Lloyd Jones’ on the latter’s album, Trouble Monkey, before recording his first solo album, Blues for Thought (1994). It was produced by Ry Cooder, who also played guitar on the recording. Evans sang backing vocals on the Dutch singer and guitarist Hans Theessink’s 1997 album, Journey On. Evans 2001 album, Mississippi Magic was nominated for a Blues Music Award as the “Best Soul Blues Album of the Year”. On Evans 2005 album, Fire in the Feeling, David Lindley guest starred playing guitar on a couple of the tracks.

Between 1994 and his death on January 20, 2018, after he caught an illness during a European tour, Terry Evans released seven solo albums, including Blues for Thought (1994) Come to the River (1997) and Fire in the Feeling (2005). Evans’ career was inspired by Elmore James, Little Walter, Albert King, and B.B. King.
He worked with many musicians including Ry Cooder, Bobby King, John Fogerty, Eric Clapton, Joan Armatrading, John Lee Hooker, Boz Scaggs, Maria Muldaur and Hans Theessink. Cooder stated that he always thought that Evans made a better “frontman.”

Evans’ last recording was his joint effort with Theessink, on Delta Time (2012). CBC News journalist, Bianca Cervantes, opined that “Delta Time is the latest transatlantic blues treasure.”

In 2014 Evans was featured on the compilation Songs from a Stolen Spring. On the album Evans’ performance of “Dancing in the Street” was meshed with Lebanese singer-songwriter Tania Saleh’s “Not a Word was Spoken”.

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Hugh Masekela 1/2018

Hugh Masekela (78) – Virtuoso Multi wind instrument player – was born on April 4, 1939 in KwaGuqa Township, Witbank, South Africa to Thomas Selena Masekela, who was a health inspector and sculptor and his wife, Pauline Bowers Masekela, a social worker. As a child, he began singing and playing piano and largely was raised by his grandmother, who ran an illegal bar for miners. At the age of 14, after seeing the film Young Man with a Horn (in which Kirk Douglas plays a character modelled on American jazz cornetist Bix Beiderbecke), Masekela took up playing the trumpet. His first trumpet, from Louis Armstrong, was given to him by Archbishop Trevor Huddleston, the anti-apartheid chaplain at St. Peter’s Secondary School now known as St. Martin’s School (Rosettenville).

“Father Huddleston… met my idol Louis Armstrong and told him about our band. Louis’s response was: ‘Well‚ I got to send them one of my horns‚’ and he did. What this did for the band was get us on the front page of every major newspaper and magazine in South Africa—a first for a black group,” he told TimesLive.

Huddleston asked the leader of the then Johannesburg “Native” Municipal Brass Band, Uncle Sauda, to teach Masekela the rudiments of trumpet playing. Masekela quickly mastered the instrument. Soon, some of his schoolmates also became interested in playing instruments, leading to the formation of the Huddleston Jazz Band, South Africa’s first youth orchestra. By 1956, after leading other ensembles, Masekela joined Alfred Herbert’s African Jazz Revue.

From 1954, Masekela played music that closely reflected his life experience. The agony, conflict, and exploitation South Africa faced during the 1950s and 1960s inspired and influenced him to make music and also spread political change. He was an artist who in his music vividly portrayed the struggles and sorrows, as well as the joys and passions of his country. His music protested about apartheid, slavery, government; the hardships individuals were living. Masekela reached a large population that also felt oppressed due to the country’s situation.

Following a Manhattan Brothers tour of South Africa in 1958, Masekela wound up in the orchestra of the musical King Kong, written by Todd Matshikiza. King Kong was South Africa’s first blockbuster theatrical success, touring the country for a sold-out year with Miriam Makeba and the Manhattan Brothers’ Nathan Mdledle in the lead. The musical later went to London’s West End for two years.

At the end of 1959, Dollar Brand (later known as Abdullah Ibrahim), Kippie Moeketsi, Makhaya Ntshoko, Johnny Gertze and Hugh formed the Jazz Epistles, the first African jazz group to record an LP. They performed to record-breaking audiences in Johannesburg and Cape Town through late 1959 to early 1960.

Following the 21 March 1960 Sharpeville massacre—where 69 protestors were shot dead in Sharpeville, and the South African government banned gatherings of ten or more people—and the increased brutality of the Apartheid state, Masekela left the country. He was helped by Trevor Huddleston and international friends such as Yehudi Menuhin and John Dankworth, who got him admitted into London’s Guildhall School of Music. During that period, Masekela visited the United States, got acquainted with fellow South African Miriam Makeba, who was befriended with Harry Belafonte. He attended Manhattan School of Music in New York, where he studied classical trumpet from 1960 to 1964. In 1964, Makeba and Masekela were married, divorcing two years later.

He had hits in the United States with the pop jazz tunes “Up, Up and Away” (1967) and the number-one smash “Grazing in the Grass” (1968), which sold four million copies. He performed at the Monterey Pop Festival in 1967 alongside Otis Redding, The Who, Jimi Hendrix, Ravi Shankar, and Janis Joplin. He released over 40 albums during his five-decade career, and worked with artists such as Belafonte, Marvin Gaye, Paul Simon, and Stevie Wonder. He was subsequently featured in the film Monterey Pop by D. A. Pennebaker. In 1974, Masekela and friend Stewart Levine organized the Zaire 74 music festival in Kinshasa set around the Rumble in the Jungle (Muhammad Ali / George Foreman) boxing match.

He played primarily in jazz ensembles, with guest appearances on recordings by The Byrds (“So You Want to Be a Rock ‘n’ Roll Star” and “Lady Friend”) and Paul Simon (“Further to Fly”). In 1984, Masekela released the album Techno Bush; from that album, a single entitled “Don’t Go Lose It Baby” peaked at number two for two weeks on the dance charts. In 1987, he had a hit single with “Bring Him Back Home”. The song became enormously popular, and turned into an unofficial anthem of the anti-apartheid movement and an anthem for the movement to free Nelson Mandela.

A renewed interest in his African roots led Masekela to collaborate with West and Central African musicians, and finally to reconnect with Southern African players when he set up, with the help of Jive Records, a mobile studio in Botswana, just over the South African border, from 1980 to 1984. Here he re-absorbed and re-used mbaqanga strains, a style he continued to use following his return to South Africa in the early 1990s.

In 1985 Masekela founded the Botswana International School of Music (BISM), which held its first workshop in Gaborone in that year. The event, still in existence, continues as the annual Botswana Music Camp, giving local musicians of all ages and from all backgrounds the opportunity to play and perform together. Masekela taught the jazz course at the first workshop, and performed at the final concert.

Also in the 1980s, Masekela toured with Paul Simon in support of Simon’s album Graceland, which featured other South African artists such as Ladysmith Black Mambazo, Miriam Makeba, Ray Phiri, and other elements of the band Kalahari, with which Masekela recorded in the 1980s. He also collaborated in the musical development for the Broadway play, Sarafina! and recorded with the band Kalahari.

In 2003, he was featured in the documentary film Amandla!: A Revolution in Four-Part Harmony. In 2004, he released his autobiography, Still Grazing: The Musical Journey of Hugh Masekela, co-authored with journalist D. Michael Cheers, which detailed Masekela’s struggles against apartheid in his homeland, as well as his personal struggles with alcoholism from the late 1970s through to the 1990s. In this period, he migrated, in his personal recording career, to mbaqanga, jazz/funk, and the blending of South African sounds, through two albums he recorded with Herb Alpert, and solo recordings, Techno-Bush (recorded in his studio in Botswana), Tomorrow (featuring the anthem “Bring Him Back Home”), Uptownship (a lush-sounding ode to American R&B), Beatin’ Aroun de Bush, Sixty, Time, and Revival. His song “Soweto Blues”, sung by his former wife, Miriam Makeba, is a blues/jazz piece that mourns the carnage of the Soweto riots in 1976. He also provided interpretations of songs composed by Jorge Ben, Antônio Carlos Jobim, Caiphus Semenya, Jonas Gwangwa, Dorothy Masuka and Fela Kuti.

In 2006 Masekela was described by Michael A. Gomez, professor of history and Middle Eastern and Islamic studies at New York University as “the father of South African jazz.”

In 2009, Masekela released the album Phola (meaning “to get well, to heal”), his second recording for 4 Quarters Entertainment/Times Square Records. It includes some songs he wrote in the 1980s but never completed, as well as a reinterpretation of “The Joke of Life (Brinca de Vivre)”, which he recorded in the mid-1980s. From October 2007, he was a board member of the Woyome Foundation for Africa.

In 2010, Masekela was featured, with his son Selema Masekela, in a series of videos on ESPN. The series, called Umlando – Through My Father’s Eyes, was aired in 10 parts during ESPN’s coverage of the FIFA World Cup in South Africa. The series focused on Hugh’s and Selema’s travels through South Africa. Hugh brought his son to the places he grew up. It was Selema’s first trip to his father’s homeland.

On 3 December 2013, Masekela guested with the Dave Matthews Band in Johannesburg, South Africa. He joined Rashawn Ross on trumpet for “Proudest Monkey” and “Grazing in the Grass”.

In 2016, at Emperors Palace, Johannesburg, Masekela and Abdullah Ibrahim performed together for the first time in 60 years, reuniting the Jazz Epistles in commemoration of the 40th anniversary of the historic 16 June 1976 youth demonstrations.

Masekela was involved in several social initiatives, and served as a director on the board of the Lunchbox Fund, a non-profit organization that provides a daily meal to students of township schools in Soweto.

Hugh Masekela died in Johannesburg on the early morning of 23 January 2018 from prostate cancer, aged 78.

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Billy Hancock 1/2018

Billy Hancock (71) – multi instrumentalist session player – was born November 4, 1946 in Washington, D.C., and raised in Alexandria, Virginia, where he lived most of his life. He attended George Washington High School in Alexandria, graduating in 1964.

He came from a musical family. His maternal grandmother Katie sang with Minstrel shows in black face accompanying herself on piano and harmonica. Two of his aunts Eileen and Anita were a singing duo in the 1940s who sang at two or three Washington DC radios stations on a regular basis. His paternal grandfather Mitchell (Mitch) Hancock played mandolin from about 1897 until 1902. He often played on River Boats in New Orleans and recorded for the Edison Label. Billy’s father worked for the Southern Railway and his mother worked for Waxie Maxie’s, a local record store chain, and other record stores. The records his mother brought home from work, primarily rhythm and blues from the late 1940s, played a large and influential role in his musical development.

Hancock began his career playing in bands around Washington, D.C., while still a teenager. After graduating from high school, he played with bands in Rhode Island and New York before returning to the Washington area. In 1968, he moved to Baltimore to attend the Peabody Conservatory, and continued to play in bands in the Baltimore area.

In the early 1970s, Hancock began a collaboration with Danny Gatton and they formed Danny and the Fat Boys with Hancock (bass, vocals), Gatton (guitars), and Dave Elliott (drums, vocals). In 1975, the group released American Music on a label owned by Hancock and his brother. The album’s title was taken from a rhythm and blues song Hancock had written. It was later re-issued on CD.

In 1978, Hancock recorded four rockabilly songs under the name Billy Hancock and the Tennessee Rockets for Ripsaw Records, a small independent label. He continued to record rockabilly for Ripsaw under that name for two years. Ripsaw released four singles during that time and licensed those and other titles to larger labels both in the U.S. and France. It is these rockabilly recordings for which Hancock is known internationally.

In 1983, Hancock recorded another rockabilly record, “Hey! Little Rock And Roller”, that was released in France on the Big Beat Label. Later that year, he returned to Ripsaw to record various rock and roll songs, six of which Ripsaw released in 1985. All of the Ripsaw material was later released on CDs by Finnish Bluelight Records.

Throughout his career, Hancock played in backing bands for prominent musicians, including Fats Domino, Gene Vincent, blues guitarist Roy Buchanan, rockabilly Charlie Feathers, the Clovers, Amos Milburn, and country musicians Dottie West and Jean Shepard. He co-produced and played guitar on Tex Rubinowitz’s rockabilly song “Hot Rod Man.”

In 2002, Hancock and his brother the television director, Dale Hancock founded Turkey Mountain Records, an independent record label. The label was formed to find and promote talented artists of all genres who, for whatever reasons, have been ignored by other record labels. Their Archival Series re-released material on artists of the past whose works have been unavailable until now. Turkey Mountain Records roster of artists included: Danny Gatton, The British Walkers (featuring Roy Buchanan), Bobbie (The Kid) Howard with Link Wray and The Ray Men, Charlie Feathers, The Fallen Angels and Billy Hancock himself.

In 2005, the Washington Area Music Association WAMA awarded Hancock a Special Recognition Award for his 40-plus years as a vocalist, musician, songwriter, producer, promoter, and label owner. In 2006, WAMA presented him two “Wammie” awards for 2005 Roots Rock Vocalist and Roots Rock Recording. In 2012, WAMA presented Hancock as one of “The Fallen Angels” a special recognition award.

In 2010, Hancock was inducted into the Southern Legends Hall of Fame. He was already a member of three other International Halls of Fame.Hancock was also the television host for American Music in Arlington, Virginia, where he interviewed and showcased songwriters, and a music historian.

He was also a member of the resurrected art rock group from the sixties, The Fallen Angels. On November 4, 2012 Hancock was inducted into The Northern Virginia Blues Society, Blues Hall of Fame in Mannassas, Va.

He appeared on more than 17 albums and he performed live primarily in the Washington, D.C., area, but also played regularly at European roots music festivals.

 Billy Hancock died on January 22, 2018 at the age of 71.

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Jim Rodford 1/2018

Jim Rodford (76) – bass player with Argent, the Zombies and the Kinks – was born July 7, 1941 in St Albans, Hertfordshire, England.
In the late 1950s and early 1960s he was a member of the Bluetones, the biggest band in St Albans at the time. Although he did not become a band member at this stage, Rodford was instrumental in helping his younger cousin Rod Argent form the Zombies in 1964. Rodford later joined the Mike Cotton Sound as a bass guitarist.
He played bass guitar for several British rock groups. He was a founding member of Argent, which was led by his cousin Rod Argent, and performed with them from their formation in 1969 until their disbanding in 1976. He was the bass guitarist for The Kinks from 1978 until they disbanded in 1996. In 2004, he joined The Zombies reunited, whom he had been closely associated with since the early 1960s, and remained a member until his death in 2018. He was also a member of The Swinging Blue Jeans and The Kast Off Kinks.

Along with Rod Argent, Rodford was one of the founding members of Argent. When Rod Argent quit the band, the remaining three members (Rodford, Bob Henrit, and John Verity) formed the short-lived band Phoenix. Two years later, Rodford joined the Kinks as bass guitarist in 1978 and played with them until their final disintegration in 1996. From 1999–2001 Rodford appeared in a band that ex-Animals guitarist Hilton Valentine formed, The Animals II, which also featured former Animals drummer John Steel, and keyboardist Dave Rowberry. Rodford continued with this band (which changed its working name to “The Animals and Friends” after Valentine left) until joining Argent and Colin Blunstone in the revival of the Zombies.

Rodford never played with the Zombies in the 1960s, despite having been closely involved with them. However, he began to play the bass guitar with the band’s reincarnation in the early years of the 21st century, with his son Steve on drums.

In 2008, Rodford joined the Kast Off Kinks, on the retirement of John Dalton, whom he had followed into the Kinks after Andy Pyle. In 2009, Jim Rodford regularly played in “The Rodford Files” along with Steve Rodford (Blunstone/Argent band) on drums, Russ Rodford on guitar, and Derik Timms (mOOn Dogs) on guitar, lap steel, slide and vocals.

In 2010, the original line-up of Argent reformed and resumed playing in concert. They mounted a short tour including gigs in Frome, Southampton, Wolverhampton, Leamington Spa and London.

Jim Rodford died after a fall from the stairs on 20 January 2018, at age 76.

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Ray Thomas 1/2018

Ray Thomas (76) -The Moody Blues- was born in Stourport-on-Severn, England on December 29, 1941.
His father taught him at the age of nine to play harmonica, and this sparked his interest in music. He joined the school choir a year later. He quit schooling at the age of 14, and briefly left music to work as a toolmaking trainee at Lemarks. By the age of 16 he had embarked on a search for a music band, and within two years had left his trade to pursue a career in music.

In the 1960s, Thomas joined the Birmingham Youth Choir then began singing with various Birmingham blues and soul groups including The Saints and Sinners and The Ramblers. Thomas began his true musical career with El Riot and the Rebels where he met future Moody Blues bandmate John Lodge. Mike Pinder also joined a couple of years later. On Easter Monday 1963 they opened for the Beatles at the Bridge Hotel, Tenbury Wells.
The band however broke up when Lodge went to college and Pinder entered the army. After his release, Thomas and Pinder began playing together again in the Krew Kuts, eventually bringing in Denny Laine, Graeme Edge and Clint Warwick to form the Moody Blues.
This original version of the band had an international monster hit in 1965 with their second single “Go Now” and followed with their debut album, The Magnificent Moodies but subsequent releases did not do well and, when Warwick retired from music and Laine left the group, they effectively disbanded.

In November 1966, a second version of the Moody Blues formed with the addition of Lodge and Justin Hayward and the head of Decca Records charged them with recording a rock version of Dvorak’s New World Symphony. While that project was never completed, it did set the band on the road to orchestral accompanied rock which came to fruition with their album Days of Future Passed.
Thomas began writing music for the band around this time with the new album including his songs “Another Morning” and “Twilight Time”. He would go on to write other group favorites including “Legend of a Mind”, “Dr. Livingstone, I Presume”, “Dear Diary”, “Are You Sitting Comfortably?” and “For My Lady”.

Between 1967 and 1972, the Moody Blues released seven albums that have gone on to become classics of progressive and orchestral rock including In Search of the Lost Chord, A Question of Balance, Every Good Boy Deserves Favour and Seventh Sojourn but, in 1974, they broke up, allowing Thomas to test the solo waters with the albums From Mighty Oaks (1975) and Hopes, Wishes and Dreams (1976).
The Moody Blues reformed in 1977 and continued to release albums but Thomas’ contributions began to diminish as they moved to a more modern sound in the 80’s. Ray did contribute to their albums during the 90’s but, due to failing health, Thomas stopped touring around the millennium and he left the band in 2002. Hayward and Lodge continued along with Edge, but somehow the magic’s been lost, if only the Moody Blues had all died in a plane crash, they’d be legendary today, living to old age kills your career.

But the Moodys not only had a long run, they also started their own genre, which could be labeled, “symphonic rock,” “art rock,” “classical rock”? They were not limited by trends, so they went their own way, and won. In spite of the fact that they could not be pigeonholed. The band could not be categorized. The band was not destroying hotel rooms. There was little personal mystery, few shenanigans, only music.

Ray Thomas’ contributions were overshadowed by the giants Justin Hayward and John Lodge became. Still he was the dignified guy who played the flute… But in hindsight, he was an integral member of the Moody Blues, and provided leavening no other member could, his compositions were not only for royalties, they added flavor.

Although Thomas most commonly played flute, he was a multi-instrumentalist, who also played piccolo, oboe, harmonica, saxophone, and, on the album In Search of the Lost Chord, the French horn. He frequently played tambourine and also shook maracas during the group’s R&B phase. The 1972 video for “I’m Just a Singer (In a Rock and Roll Band)” features Thomas playing the baritone saxophone, but it is unclear if he actually did play on the recording.

In October 2013, Thomas announced that he had been diagnosed with inoperable prostate cancer and was being treated with an experimental drug.

It is not sure if the Moody Blues will ever have a renaissance, they really haven’t even gotten their victory lap, but if you were a fan, and they were legion, the band holds a special place in your heart, there was no competition, they set your mind free, took you on an adventure, AND IT ALL SOUNDED SO GOOD!

Ray Thomas was not a footnote. The Moody Blues were not an also-ran. They were part of the fabric when music drove the culture and ruled the world. And in the eyes and ears of those who were there…

Ray Thomas, the singer and multi-instrumentalist for the Moody Blues, died from a heart attack on Thursday January 4, 2018 after a multi-year battle with prostate cancer. He was 76. He was inducted in the Rock and Roll Hall of Fame, as a member of the Moody Blues, just a few months after his death.

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Robert Lee (Pops) Popwell 11/2017

November 27, 2017 – Robert Lee (Pops) Popwell (the Young Rascals) was born on the 29th of December 1950 in Daytona Beach, Florida.

Popwell started his career in the ’60s. He quickly got work in the jazz and R&B worlds.

As a member of the house band The Macon Rhythm Section (with Johnny Sandlin, Pete Carr, Paul Hornsby and Jim Hawkins) for the Capricorn Records Studio in Macon Georgia, from 1968 he recorded with Doris Duke, Hubert Laws, Deryll Inman, The Atlanta Disco Band, Johnny Jenkins, and Livingston Taylor. Continue reading Robert Lee (Pops) Popwell 11/2017

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DikMik 11/2017

November 16, 2017 – DikMik (Hawkwind) was born Michael Davies in 1943 in Richmond, England.

In 1969, DikMik Davies and friend Nik Turner signed on as roadies for the group that Dave Brock, a childhood friend of theirs, had formed with guitarist Mick Slattery, bassist John Harrison and drummer Terry Ollis.

It was the time of early psychedelics and electronic music and DikMik’s interest in the burgeoning genre of electronic music had led to him being offered a slot in the psychedelic space rock band Hawkwind, before even their first gig of .

Gatecrashing a local talent night at the All Saints Hall, Notting Hill, they were so disorganised as to not even have a name, opting for “Group X” at the last minute, nor any songs, choosing to play an extended 20-minute jam on The Byrds’ “Eight Miles High.” BBC Radio 1 DJ John Peel was in the audience and was impressed enough to tell event organizer, Douglas Smith, to keep an eye on them. Continue reading DikMik 11/2017

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Chad Hanks 11/2017

November 12, 2017 – Chad Hanks (American Head Charge) was born in 1971 in Los Angeles, California.

With vocalist friend Cameron Heacock he formed American Head Charge in 1997 after they met in 1995 in rehab in Minneapolis and emerged as major players from the late ’90s nu-metal boom. The success of their 1999 indie debut, Trepanation, caught the ear of mega-producer Rick Rubin (Metallica, Beastie Boys, Chili Peppers), who signed the band to his American Recordings label and got the group out to his allegedly haunted Los Angeles mansion to record 2001’s “The War of Art.” Metal magazines Kerang and Rough Edge each gave the album four-star reviews (out of five), and VH1 picked it as one of the “12 Most Underrated Albums of Nü Metal.” Continue reading Chad Hanks 11/2017

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Paul Buckmaster 11/2017

November 7, 2017 – Paul Buckmaster born on June 13, 1946 in London England.

At age four, Buckmaster started attending a small private school in London called the London Violoncello School, and continued studying cello under several private teachers until he was ten. In 1957, his mother, a concert pianist took him and his two siblings to Naples, where he auditioned with cello professor Willy La Volpe, to be assessed as eligible for a scholarship. After Paul’s attending classes over a two-month period, La Volpe determined that Paul was eligible for an Italian State scholarship, and for the next four years, he studied there eight months per year. This was a radically formative period, in which he deepened his love for the music of J. S. Bach, studying the unaccompanied cellos suites. It was during this period in Italy that Paul discovered his love for jazz. He then won a scholarship to study the cello at the Royal Academy of Music, from which he graduated with a performance diploma in 1967. Continue reading Paul Buckmaster 11/2017

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Whitey Glan 11/2017

November 7, 2017 – Pentti “Whitey” Glan was born on July 8, 1946 in Finland , just after World War II had come to an end and tensions with Russia were high. The family moved to Toronto Canada soon after.

Whitey Glan’s first serious band was the Canadian soul band The Rogues (later called Mandala) which he formed with keyboardist Josef Chirowski and bassist Don Elliot; they had worked together in other teenage bands like Whitey & The Roulettes. Mandala had their first hit single with “Opportunity” with original singer George Oliver, recorded at Chess Records.

In 1966 Glan played several shows with Mandala in Ontario and recorded the first two demo songs of his career (“I Can’t Hold Out No Longer” and “I’ll Make It Up To You”). Roy Kenner had replaced George Oliver. When they played their first shows in the USA they performed at the Whiskey A Go Go. They recorded their only album Soul Crusade in 1968 which produced a hit single (“Loveitis”) but they disbanded in 1969 after several line-up changes and poor album sales. Continue reading Whitey Glan 11/2017

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Fats Domino 10/2017

October 24, 20017 – Antoine Dominique Fats Domino was born on February 26, 1928 in New Orleans, Louisiana, the youngest of eight in a Louisiana Creole family. At age 9, he started to learn piano, taught by his brother-in-law, jazz guitarist Harrison Verrett. By age 14, Domino was performing in New Orleans bars.

In 1947, Billy Diamond, a New Orleans bandleader, accepted an invitation to hear the young pianist perform at a backyard barbecue. Domino played well enough that Diamond asked him to join his band, the Solid Senders, at the Hideaway Club in New Orleans, where he would earn $3 a week playing the piano. Diamond nicknamed him “Fats”, for three reasons: Domino reminded him of the renowned pianists Fats Waller and Fats Pichon, and young Domino’s ferocious appetite.

Continue reading Fats Domino 10/2017

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Martin Eric Ain 10/2017

October 21, 2017 – Martin Eric Ain was born Martin Stricker in the USA from Swiss parents on July 18, 1967. His mother was a Catholic religion teacher. She taught the catechism. Ain figured that most probably, the reason for him joining up with the arch rebel — Satan himself! — was because that was the most powerful force to oppose his mother.

I remember that traumatic experience being in a church, and there was this life-sized cross with this tormented human figure nailed, its limbs twisted and turned. I must have been about 5 or 6. That was really bizarre, having all those people around me being solemn in a way, but then, on the other hand, really getting joyous toward the end of that ritual about this person dying. And then going to the front of the church and coming back having devoured part of the body of that person. As a child, you take something like that quite literally, you know? And it was never really explained to me in a way that seemed really logical. I had nightmares. For me, religion didn’t have a redemptive quality. It didn’t help me to have a more positive outlook on life. It was a negative, oppressive kind of thing. Christ was a symbol of utter failure and absolute totalitarian control.

As part of the legendary bands Hellhammer and Celtic Frost, Ain transcended influence. Continue reading Martin Eric Ain 10/2017

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Grady Tate 10/2017

October 8, 2017 – Grady Tate was born on January 14, 1932 in Hayti, Durham, North Carolina. In 1963 he moved to New York City, where he became the drummer in Quincy Jones’s band.

Grady Tate’s drumming helped to define a particular hard bop, soul jazz and organ trio sound during the mid-1960s and beyond. His slick, layered and intense sound is instantly recognizable for its understated style in which he integrates his trademark subtle nuances with sharp, crisp “on top of the beat” timing (in comparison to playing slightly before, or slightly after the beat). The Grady Tate sound can be heard prominently on many of the classic Jimmy Smith and Wes Montgomery albums recorded on the Verve label in the 1960s. Continue reading Grady Tate 10/2017

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Alvin DeGuzman 10/2017

October 4, 2017 – Alvin DeGuzman (The Icarus Line) was born in Manila in the Philippines on December 3, 1978.

When he was 4 years old the family moved to the US.He attended Holy Family School in South Pasadena and graduated from Loyola High School in Los Angeles in 1997. He also attended Cal Poly Pomona. 

Alvin was a talented musician and passionate artist. While in High School he became a founding member of the indie punk rock band The Icarus Line, where he played the guitar both left and right handed, and also played bass and keys. The Icarus Line was the successor to high school friend Joe Cardamone’s first musical effort named “Kanker Sores”. Continue reading Alvin DeGuzman 10/2017

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Laudir de Oliveira 9/2017

September 17, 2017 – Laudir de Oliveira was born January 6, 1940 in Rio de Janeiro.  de Oliveira started out as a percussionist in Brazil, working with Sergio Mendes and Marcos Valle. He moved to the United States in 1968 and caught the eye of rock musicians and producers. Credited simply as “Laudir”, he also appeared on Joe Cocker’s 1969 debut album, playing on his hit single “Feelin’ Alright”.

In 1973, Chicago invited de Oliveira to play on their album “Chicago VI.” After playing on the albums Chicago VI and Chicago VII as a sideman, de Oliveira officially joined the band in 1975. Continue reading Laudir de Oliveira 9/2017

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Grant Hart 9/2017

Grant Hart of Husker DuSeptember 13, 2017 – Grant Hart (Hüsker Dü) was born in St. Paul, MN on March 18, 1961 and at the age of 10, he inherited his older brother’s drum set and records, after he was killed by a drunk driver. Hart described his family as a “typical American dysfunctional family. Not very abusive, though. Nothing really to complain about.” He soon began playing in a number of makeshift bands throughout high school. Continue reading Grant Hart 9/2017

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Frank Capp 9/2017

August 20, 1931 – Frank Capp was born Francis W. Cappuccio on August 20, 1931 in Worcester, Massachusetts. His uncles worked at Walberg and Auge, a percussion accessory manufacturer. One of them brought a pair of drumsticks home when he was four or five years old. He started banging on the furniture with the sticks, and I ultimately became a drummer. At age 14 he worked in the same music manufacturer shop which got him to the next phase of drumming. And when his dad later bought him his first Slingerland kit, he started a high school dance band and drumming became his life.

At age 19 he was recommended by a mutual friend and began playing with Stan Kenton in California starting in 1951 and remained with Kenton for a couple of years.This auspicious beginning was followed by a career as one of the hardest-working studio players in Los Angeles and as a drummer sought after by some of the world’s biggest singing stars and bandleaders—accomplishments that have almost been eclipsed by his success as a musical contractor. Continue reading Frank Capp 9/2017

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Virgil Howe 9/2017

September 11, 2017 – Virgil Howe was born on September 23, 1975 in London, England, the second son to Yes founding member/ guitarist Steve Howe. He played on several of his father’s projects: he performed on keys, alongside his brother Dylan Howe on drums, for the Steve Howe solo albums The Grand Scheme of Things (1993) and Spectrum (2005). He was in Steve Howe’s Remedy band, who released an album Elements (2003), toured the UK and then released a live DVD. He wrote and performed on a piece on his father’s 2011 release Time. He also plays drums on 11 tracks of Steve Howe’s Anthology 2: Groups and Collaborations that were largely recorded in the 1980s. Under the name The Verge, Virgil Howe produced the Yes Remixes album, released 2003.

Nexus, due November 2017, is a joint album by Virgil & Steve Howe, due on InsideOut. Father Steve described the album: “Most of the credit goes to Virgil on this; it’s Virgil’s bed and melodies but I’ve come in to add a little bit more.” Continue reading Virgil Howe 9/2017

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Holger Czukay 9/2017

September 5, 2017 – Holger Czukay was born on March 24, 1938 in the Free City of Danzig (since 1945 Gdańsk, Poland), from which his family was expelled after World War II. Due to the turmoil of the war, Czukay’s primary education was limited. One pivotal early experience, however, was working, when still a teenager, at a radio repair-shop, where he became fond of the aural qualities of radio broadcasts (anticipating his use of shortwave radio broadcasts as musical elements) and became familiar with the rudiments of electrical repair and engineering.

Czukay studied music under Karlheinz Stockhausen from 1963 to 1966 and then worked for a while as a music teacher. Initially Czukay had little interest in rock music, but this changed, when a student played him the Beatles’ 1967 song “I Am the Walrus”, a 1967 psychedelic rock single with an unusual musical structure and blasts of AM radio noise. This opened his ears to music by rock experimentalists such as The Velvet Underground and Frank Zappa. Continue reading Holger Czukay 9/2017

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Earl Lindo 9/2017

September 4, 2017 – Earl Lindo was born Earl Wilberforce “Wire” Lindo on January 7, 1953 in Kingston, Jamaica. His nickname “wire” over time became “Wya”.

While attending Excelsior High School in the late sixties, he played bass and classical piano, before he became interested in the jazz sounds of Lee Dorsey and Jimmy Smith.  With Barry Biggs, Mikey “Boo” Richards, and Ernest Wilson he then played in the Astronauts. Continue reading Earl Lindo 9/2017

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Hedley Jones 9/2017

September 1, 2017 – Hedley Jones (the Wailers) was born on November 12, 1917 in near Linstead, Jamaica, the son of David and Hettie Jones, and started making music as a child. He made his own cello at the age of 14, as well as a banjo. In 1935 he moved to Kingston, where he heard Marcus Garvey speak, and worked as a tailor, cabinet maker, bus conductor, repairing sewing machines, radios and gramophones. He said: “I was what people called a jack of all trades. I could fix everything.” His main work was as a proofreader, with the Gleaner and Jamaica Times.

He also played banjo in a Hawaiian jazz band, before forming his own Hedley Jones Sextet. Inspired by the recordings of Charlie Christian, but unable to afford an imported guitar, he built himself a solid-bodied electric guitar, and was featured with it on the front page of The Gleaner in September 1940, at about the same time that Les Paul was doing similar pioneering work in the US. Jones continued to build guitars for other Jamaican musicians in the years that followed. Continue reading Hedley Jones 9/2017

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Goldy McJohn 8/2017

Goldy McJohn - SteppenwolfAugust 1, 2017 – Goldy McJohn (Steppenwolf) was born John Raymond Goadsby in Toronto, Canada on May 2, 1945. He was raised by middle class parents in Toronto, Canada. They put him into piano lessons at a young age and with this foundation he became a pioneer in the use of the electronic organ in rock and roll.
“I was classically trained,” said Goldy. He also stated that no one else in rock and roll was doing was he was at the time. “I played on a Lowrey,” he said. And this is part of what he said gave songs such as “Born to be Wild” and “Magic Carpet Ride” their unique sound.
“I was up at 4 a.m. daily to practice from the age of seven until…I got stupid,” Goldy said.
While school in general was not his thing, (he was suspended from high school for three months,) he always did exceptionally well in music.
“I got 100 in music, which brought my average up to maybe 14,” Goldy said. His parents could not afford private school that could have catered more to the needs of a student like him. Continue reading Goldy McJohn 8/2017

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David Z(ablidowski) 7/2017

July 14, 2017 – David Z (Zablidowski) was born in Brooklyn, New York in 1979. 

He formed his first band, Legend, as a freshman at Franklin Delano Roosevelt High School and attended Brooklyn College.

“I was in music class at FDR and spotted a few kids with long hair and we formed a band,” David Z said, adding that his older brother Pauli joined the band six months later.

They played at city nightclubs and bars, but the band fell apart shortly after high school. Then, the Z brothers approached drummer Joey Cassata to join their band. Z02 was born. David by that time had already joined the early incarnations of TSO (Trans Siberian Orchestra) as they started performing their Christmas shows. This exposure opened many doors for him.  In 2004, the guys, who where in their early and middle 20s, scraped together money to release their first album, and soon were touring with the likes of Kiss, Stone Temple Pilots, Poison and Alice Cooper on the VH1 Rock the Nation tour.  Continue reading David Z(ablidowski) 7/2017

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Melvyn Deacon Jones 7/2017

melvyn deacon jones bluesJuly 6, 2017 – Melvyn “Deacon” Jones was born December 12, 1943 in Richmond Indiana. By the time he was a teenager, Deacon was proficient on trumpet and performed with his brother Harold in the high school band. Harold Jones later became a famed jazz drummer.

After graduating in 1962, Jones was a founding member of Baby Huey and the Babysitters with Johnny Ross and James Ramey. After paying a few dues in the Gary area, Deacon and the band set up shop in Chicago where they played five nights a week for five years, according to USA Today. During that time, Jones managed to further his musical education at the prestigious American Conservatory of Music. Continue reading Melvyn Deacon Jones 7/2017

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Nic Ritter 6/2017

nic ritter, drummer for WarbringerJune 3o, 2017 – Nic Ritter (Warbringer) was born Nicholas Dieter Ritter on April 13, 1981 in Tulsa, Oklahoma.

There is very little published about Nic Ritter beyond the little over 2 years that he played drums for Southern California metal trash band “Warbringer” and another short stint in 2008 with the band Prototype.

Best known as drummer with Warbringer, Nic joined this latter band in 2008, replacing previous drummer Ryan Bates.
Continue reading Nic Ritter 6/2017

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John Blackwell 7/2017

john blackwell drummer for PrinceJuly 4, 2017 – John Blackwell was born on September 9, 1973 and raised in Columbia, South Carolina, and started playing drums at age 3. He learned from his father, John Blackwell Sr., a drummer himself, who played with Mary Wells, King Curtis, Joe Simon, J.J. Jackson, The Drifters, The Spinners, and others. Blackwell stated that he experienced synesthesia since he was a child, seeing colors for musical notes, and was identified as having perfect pitch while in high school.

As a teenager, Blackwell played in both his high-school jazz and marching bands. He began playing in jazz clubs at age 13. At 17, he landed his first professional gig backing jazz singer and bandleader Billy Eckstine. After high school, he attended Berklee College of Music and worked steadily in local Boston jazz clubs. He left Berklee in 1995 to play with the funk band Cameo, a gig which lasted for three years. Continue reading John Blackwell 7/2017

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Noel Neal 6/2017

June 19, 2017 – Noel Neal (James Cotton Band) was born in Baton Rouge, Louisiana in 1963. The Neal family from Baton Rouge is known nationwide as a blues family with numerous performers, Kenny probably being the most famous one.

Neal journeyed to Chicago early on where he played with James Cotton for over 30 years, touring and recording for the late Chicago blues star and harmonica virtuoso  James Cotton, who also recently passed on March 16 of this year. He also recorded with his late father, Raful Neal, and his brother, Kenny Neal. Continue reading Noel Neal 6/2017

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Jimmy Copley 5/2017

session drummerMay 13, 2017 – Jimmy Copley was born in London on December 29, 1953.

Jimmy started playing drums at the age of 5 years old, accompanying his Mother’s (Nina) Jazz piano at parties. Jimmy turned professional joining the band ‘Spreadeagle’ who had just signed to Charisma Records and performed live, opening for various headlining acts such as ‘Genesis’, ‘Lindisfarne’ and ‘Audience’. Jim recorded the Spreadeagle album ‘The Piece of Paper, produced by Kinks and Who producer: Shel Talmy. Continue reading Jimmy Copley 5/2017

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Corki Casey O’Dell 5/2017

May 11, 2017 – Corki Casey O’Dell was born Vivian J. Ray Casey on May 13, 1936 in Phoenix, Arizona where she grew up as teenage guitarists with the likes of Lee Hazlewood, Sanford Clark and Duane Eddy.

In 1956, she joined then-husband, guitarist Al Casey, playing rhythm guitar on Sanford Clark’s country, pop and R&B hit “The Fool,” which would later be recorded by Elvis Presley, among others. The tune was penned by songwriter-producer Lee Hazelwood, who would use O’Dell on several of the sessions he produced.  Continue reading Corki Casey O’Dell 5/2017

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Clive Brooks 5/2017

Clive Brooks,center, with EggMay 5, 2017 – Clive Brooks was born on December 28, 1949 in Bow, East London where he  was also raised.

Answering a Melody Maker ad in early 1968, Brooks joined Uriel, a blues-rock group in the style of Hendrix / Cream / blues / psychedelic group original formed by three City of London School pupils Dave Stewart (keyboards), Mont Campbell (bass and lead vocals) and Steve Hillage (guitar and vocals). The band re-grouped later under the name Arzachel and released one album in 1969, after they had already changed musical direction. Continue reading Clive Brooks 5/2017

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Casey Jones 5/2017

casey jones, chicago blues first call drummerMay 3, 2017 – Casey Jones (Albert Collins/Johnny Winter) was born July 26, 1939  in Nitta Yuma, Mississippi and raised in Greenville. As a kid he played with the Coleman High School band, but claimed he learned more about drumming from Little Milton’s drummer Lonnie Haynes, than from the band director

In 1956 at age 17, his sister Atlean and her husband Otis Luke enticed him with the promise of a drum kit and entry into the musician’s union, if he would move to Chicago to live with them. True to his word, they went to Frank’s Drum Shop on Wabash Ave and from there on Casey Jones played drums  in Otis’s band. His first gig with Otis Luke & the Rhythm Bombers in 1956 made him $5. Continue reading Casey Jones 5/2017

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Kerry Turman 4/2017

kerry turman, bass for the Temptations April 23, 2017 – Kerry Turman (long time bass player for the Temptations) was born in Detroit, Michigan on September 28, 1957.

Kerry left Detroit, Michigan at the age of 19 to pursue his passion in music and further develop his “chops” in Los Angeles, California. He cut his teeth as part of the killer band that Roy Ayers (King of Neo Soul) put together in the late 1970s.

In the 1970s and 80s he traveled the world playing the bass for many artists, including, Roy Ayers, Evelyn “Champagne” King and legendary drummer Gene Dunlap. Continue reading Kerry Turman 4/2017

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Calep Emphrey 4/2017

calep emphrey, drummer for all three blues kingsApril 25, 2017 – Calep Emphrey (played blues with all 3 Kings) was born on May 1, 1949 in Greenville, Mississippi. He started out playing a whole range of wind instruments such as French horn, saxophone, baritone horn and a lot of other brass instruments in the Coleman High School band while growing up. The high school band director Wynchester Davis had a band called the Green Tops, which went all around the state. He went on to play in a concert band in college at Mississippi Valley State, where he was a music major in 1967-1968.

Professionally, he started off with Little Milton about ’69 in Greenville. (Milton was from the Greenville area and Emphrey used to hang around him a lot.) Milton needed somebody to fill the drummer position and he called Calep, who admitted, “I couldn’t make no money with the French horn.” Continue reading Calep Emphrey 4/2017

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Bruce Langhorne 4/2017

mr. tambourine man, Bruce LanghorneApril 14, 2017 – Bruce Langhorne was born on May 14, 1938 in Tallahassee, Florida.

At age 4 he moved with his mother to Spanish Harlem, New York. When he was a 12-year old violin prodigy living in Harlem in the fifties, he accidentally blew several of his finger tips off with a cherry bomb that he held onto for too long. In the ambulance on the way to the hospital, Bruce looked up at his distraught mom and said, “At least I don’t have to play violin anymore.” In a gang fight, he got involved in a stabbing and left the country for Mexico for 2 years. By age 17 he started to pick the guitar. Continue reading Bruce Langhorne 4/2017

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Barry “Frosty” Smith 4/2017

Barry Smith, a musician's drummer

April 12, 2017 – Barry “Frosty” Smith (Soulhat/Sweathog) was born Barry Eugene Smith on March 20, 1946 in Bellingham, Washington.

Smith was raised in the California Bay Area, where he proved a tap dancing prodigy. He was a professional tap dancer from age 3 to 12. Obviously rhythm was part of him. He received schooling in classical piano before taking to the drum kit, due to their natural feel. After playing in dive clubs and strip bars in the San Francisco – San José area, he moved to Los Angeles in the early 70s where he got his first big break, as drummer for organist Lee Michaels with whom he toured nationally and internationally. Continue reading Barry “Frosty” Smith 4/2017

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Toby Smith 4/2017

Toby Smith, Fender Rhodes  keyboard magician with JamiroquaiApril 11, 2017 – Toby Smith (Jamiroquai) was born Toby Grafftey-Smith on October 29, 1970.

Growing up he received classical training on piano and early on developed a keen interest in the “nerdy” side of music. At age 14 he started recording his own tunes on a Tascam and produced his first record at 17, then signed his track “Kleptomaniacs” to London Records. At about the same time his sister took him clubbing in London and he developed an interest in house (dance) music.  Continue reading Toby Smith 4/2017

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Banner Thomas 4/2017

banner thomas, bass for molly hatchettApril 10, 2017 – Banner Thomas – bass for Molly Hatchet, was born on September 6, 1954 in Savannah, Georgia.

About his musical ambitions during childhood he said: “There was always some kind of music to listen to in my house when I was a child. Unfortunately, it was all either on the radio or on records. There were no musicians in my family. I still got exposed to a lot of good music, from Nat King Cole and Al Hirt through Elvis and Johnny Horton to Tennessee Ernie Ford. Then the Beatles came along. By the time the sixties were halfway over, I had a guitar and was learning songs by the Monkees and Donovan, the Beatles and the Stones. Then I discovered Hendrix and Cream, and by the time Led Zeppelin and Black Sabbath came out, I was hopelessly addicted. By the time I graduated high school, I had already been in a few bands. I was a music major at college for about a year or so, then I dropped out and joined an early version of Molly Hatchet. Who knows where I would be now if I had finished school? Probably not talking to you now.” Continue reading Banner Thomas 4/2017

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Alan Henderson 4/2017

Alan Henderson,bass player for ThemApril 9, 2017 – Alan Henderson (bass for Them) was born in Belfast, Northern Ireland, on November 26, 1944. He caught the music bug during his teenage years and set his sights on becoming a professional musician.

In 1962, he was recruited into the Gamblers, a Belfast-based band  founded by guitarist Billy Harrison. With Ronnie Millings as their drummer and pianist Eric Wrixon coming aboard a little later, the group specialized in hard American-style rock & roll and R&B, with a repertory that included both Elvis Presley and Little Willie John. It was sometime after Wrixon joined that he and Harrison crossed paths with songwriter/singer/sax-player Van Morrison, and not long after that – depending on whose story carries more logic – either Morrison joined the Gamblers or they agreed to become his backing band. Continue reading Alan Henderson 4/2017

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Keni Richards 4/2017

autograph drummer keni richardsApril 8, 2017 – Keni Richards was born in 1956 in Des Moines, Iowa but spent his high school years Village Park California. As a youth he learned to play the piano and picked up the drums.

Keni Richards on how it all started:

I was working with A&M for a band called The TUBES at the time and had played with Steve Plunkett (Autograph singer) in a band around 1980 called John Doe. We had not been a part of that whole Gazarris, Whisky club thing going on with all the metal bands. We did however, have a gig working on a demo at Record Plant with Andy Johns (Led Zeppelin) and we were really invested in that. I had gotten an invitation from my good friend then and jogging buddy David Lee Roth to go out on the road with him in 1984…..to just go out and party basically and I explained to him that I couldn’t and I had this gig doing a demo and that was it. The next day I go down to The Troubadour club with Dave and he goes hey I got a surprise for you, Edward’s on the phone for you. So I get on the phone with Eddie Van Halen and he’s like “Hey, we need a T-shirt band” and of course I’m like “Well, what’s a T-shirt band” and Eddie Van Halen’s like “It’s a band that goes out on the road with us and people boo you cuz they don’t like you and they go buy one of our t-shirts” (laughs). Continue reading Keni Richards 4/2017

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David Peel 4/2017

New York street musicianApril 6, 2017 – David Peel, born David Michael Rosario on August 3, 1942 in New York City. After his fulfilling his national duty in the US military, he became a New York City-based street musician and social activist, who first recorded in the late 1960s with Harold Black, Billy Joe White, George Cori and Larry Adam performing as David Peel and The Lower East Side Band. His raw, acoustic “street rock” with lyrics about marijuana and “bad cops” appealed mostly to hippies and the disenfranchised.

Brooklyn-born Peel had been performing in the blossoming counter-culture that awakened in the early 1960s, since forsaking a potential job on Wall Street in favor of becoming a hippie in the mid-60s, soaking up the vibes in San Francisco’s Haight Ashbury before taking his stoner street activist ethos to Washington Square Park. (At this point it should be pointed out that, apart from the more dullard factions, punk was essentially propagated by hippies with shorter hair). Continue reading David Peel 4/2017

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Lonnie Brooks 4/2017

chicago blues manApril 1, 2017 – Lonnie Brooks, Chicago bluesman who achieved fame in the late 70s, was born Lee Baker Jr. on December 18, 1933 in Dubuisson, St. Landry Parish, Louisiana. He learned to play blues from his banjo-picking grandfather but did not think about a career in music until after he moved to Port Arthur, Texas, in the early 1950s. There he heard live performances by Clarence “Gatemouth” Brown, T-Bone Walker, B.B. King, Long John Hunter, Johnny Copeland and others and began to think about making money from music.

He focused on the guitar comparatively late in life, when he was already in his 20s. But he learned fast and a little while later, Award winning Zydeco king Clifton Chenier heard Brooks strumming his guitar on his front porch in Port Arthur and offered him a job in his touring band. Continue reading Lonnie Brooks 4/2017

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Sib Hashian 3/2017

boston drummerMarch 22, 2017 – Sib Hashian – John Thomas “Sib” Hashian, (drummer for Boston) was born August 17, 1949, in Boston, Massachusetts.

Hashian was of Armenian/Italian ancestry and grew up in Boston’s North Shores area, where he collaborated with most of his Boston band members in a variety of bands during his teenage years.

“I started playing with Sib back in Lynn English High School, and he’s one of a few drummers I’ve ever worked with,” Boston lead guitarist Barry Goudreau told the Globe in 1980, explaining why he turned to his Boston bandmates while preparing a solo outing. Continue reading Sib Hashian 3/2017

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James Cotton 3/2017

James Cotton at Monterey in 1981March 16, 2017 – James Cotton was born on July 1, 1935 in Tunica, Mississippi. He was the youngest of eight brothers and sisters who grew up in the cotton fields working beside their mother, Hattie, and their father, Mose. On Sundays Mose was the preacher in the area’s Baptist church. Cotton’s earliest memories include his mother playing chicken and train sounds on her harmonica and for a while he thought those were the only two sounds the little instrument made. His Christmas present one year was a harmonica, it cost 15 cents, and it wasn’t long before he mastered the chicken and the train. King Biscuit Time, a 15-minute radio show, began broadcasting live on KFFA, a station just across the Mississippi River in Helena, Arkansas. The star of the show was the harmonica legend, Sonny Boy Williamson (Rice Miller). The young Cotton pressed his little ear to the old radio speaker. He recognized the harmonica sound AND discovered something – the harp did more!   Continue reading James Cotton 3/2017

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Joey Alves 3/2017

Joey Alves rhythm guitar for Y&TMarch 12, 2017 – Joey Alves (Y&T guitarist) was born Joseph Lenny Alves on August 3, 1953 in Oakland California. He grew up just south of Oakland in the small town of San Lorenzo. He was a 1971 graduate of Arroyo High School, after which time he learned to play guitar and played in just one local band before joining up with Yesterday & Today in 1974.

The Oakland area band Y&T (abbreviation for the Beatles album Yesterday and Today, found its roots in a unnamed cover band that started out in 1972. After a couple of rhythm and bass changes in the early years, the band found footing after Joey Alves joined and the band began to write their own songs. The initial powerhouse quartet—featuring Dave Meniketti (lead guitar/lead vocals), Phil Kennemore (bass), Leonard Haze (drums), and Joey Alves (rhythm guitar)—tore through the ’70s and ’80s with their own brand of hard rock. After two ’70s albums on London Records, they shortened their name to Y&T and released eight albums on A&M in the ’80s. Continue reading Joey Alves 3/2017

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Lyle Ritz 3/2017

lyle ritz, uke virtuoso and bass player for the wrecking crewMarch 3, 2017 – Lyle Ritz – bassist for The Wrecking Crew and Father of the Jazz Ukulele, was born on January 10, 1930 in Cleveland, Ohio

He studied violin and tuba as a child and while attending college in California, he found a job at the Southern California Music Company in Los Angeles. Working in the “Small Goods Department” meant, he demonstrated and took care of harmonicas, accessories, and the instrument that was to become his love, the ukulele. He was often called upon to demonstrate the ukulele for potential customers as the instrument at the time was experiencing popularity due to its use by radio personality Arthur Godfrey. Ritz discovered that he enjoyed the uke and took it upon himself to learn how to play it properly, not just as a novelty instrument, its usual fate then and now.He purchased a Gibson tenor ukulele for his own use and became a master of the four-stringed uke. Even though the ukulele is still often considered a novelty instrument when in its usual Hawaiian surroundings, Lyle Ritz never felt that way. Continue reading Lyle Ritz 3/2017

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Clyde Stubblefield 2/2017

clyde stubblefield, drummer for james brownFebruary 18, 2017 – Clyde Stubblefield (drummer for James Brown) was born on April 18, 1943 and grew up in Chattanooga, Tennessee. Rhythm was in his soul. He was a natural who took his sense of rhythms from the streets, the neighborhoods, the factories and the railroad tracks. He later said that if he could hear a rhythm in his head, he could play it.

Stubblefield was already playing drums professionally in his teenage years when he moved to Macon, Georgia to play with Otis Redding, who hailed from there. In Macon, he performed with soul acts and was introduced to James Brown by a local club owner. Soon, in 1965, he was invited to become a permanent member of Brown’s band.

Over the next six years the band had two drummers, Stubblefield and John “Jabo” Starks who had joined the band two weeks earlier. Starks’ style was influenced by the church music he grew up with in Mobile, Alabama. The two drummers had no formal training. According to Stubblefield, “We just played what we wanted to play (…) We just put down what we felt it should be.Continue reading Clyde Stubblefield 2/2017

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David Axelrod 2/17

Composer David Axe AxelrodFebruary 5, 2017 – David Axelrod was born on April 17, 1931 in Los Angeles, California. His father was active in radical labour union politics who died when he was 13 and he was raised in tumultuous LA’s South Central Crenshaw neighborhood, where Axelrod’s future musical direction was influenced by the multicultural environment of the mostly black neighborhood.
 
At the time Axelrod’s parents moved into the area, it was changing from a working-class white district south of downtown Los Angeles into an area of predominantly African American stores, businesses, and homes. Even today, Crenshaw remains one of the most notable African-American communities in Los Angeles, with a cultural scene that includes museums devoted to black history and an active political life strengthened by some of the city’s most ardent black activists. During Axelrod’s youth, the Crenshaw district included the main thoroughfare of African-American cultural life in Los Angeles: Central Avenue–a street filled with music clubs, barber shops, beauty parlors, and other institutions of the African-American community. The fact that Axelrod was white did not prevent him from absorbing many of these influences.

Continue reading David Axelrod 2/17

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Steve Lang 2/2017

Steve Lang bassist for April WineFebruary 4, 2017 – Steve Lang, (April Wine) was born Stephen Keith Lang in Montreal, Quebec on March 24, 1949. The band that gave him fame as a musician, was formed in late 1969 in Halifax, Nova Scotia. The original members, the three brothers Henman with friend vocalist/guitarist Myles Goodwyn soon moved the band to Montreal to gain more exposure. They scored their first hit with “Fast Train” followed by a self-titled debut album.
The next year brought the band’s first Canadian number one single, “You Could Have Been a Lady,” which had been a hit in Europe for the band “Hot Chocolate”.

Brothers David and Ritchie Henman left the band they had founded before the next album, Electric Jewels, could be recorded; they were replaced by Jerry Mercer and Gary Moffet. After April Wine Live (1974) and Stand Back (1975), Steve Lang came in to replace Jim Clench, who left to join Bachman-Turner Overdrive and later Loverboy and in turn had replaced the third Henman brother a couple of years earlier. Continue reading Steve Lang 2/2017

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Reggie Young 1/2017

Reggie Young (82) was born on Dec. 12, 1936, in Caruthersville, Missouri and raised in Osceola, Arkansas. Young first picked up a guitar in the 1950s. From the start, he never wanted to be a frontman. “I was a little shy,” he said prior to the release of his solo album. He discovered that he could make himself useful by fitting into virtually any music situation that came his way and joined a rockabilly band called Eddie Bond and the Stompers, who cut a single in Memphis in 1956 called “Rockin’ Daddy.” Released on the Mercury label, it became a regional hit.

Toward the end of the 1950s, Young became the go-to guitarist for Elvis Presley’s former bassist Bill Black in the latter’s own group, Bill Black’s Combo. Just as they scored their first big hit—“Smokie—Part 2,” on Memphis’ Hi Records, in late ’59—with stardom looming, Young was drafted into the Army and stationed in Ethiopia, far from the rock and roll revolution back home. When he came home he joined up with the Combo again, in time for the group to open for the Beatles on their first American tour in 1964. Continue reading Reggie Young 1/2017

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Geoff Nicholls 1/2017

geoff nicholls, keyboardist for Black SabbathJanuary 28, 2017 – Geoff Nicholls was born on 28 February 1948, in Birmingham, England. He started out as a guitarist in his early teens, and his idols included Chuck Berry, Buddy Holly, and Django Reinhardt. He also became proficient on the piano and organ, but never entirely forsook the guitar, and he became a serious admirer of Jimi Hendrix’s playing from 1966 onward.

Geoff Nicholls played lead guitar in several Birmingham bands such as Colin Storm & the Whirlwinds, The Boll Weevils, The Seed, starting in his teens. In 1968, Nicholls was recruited into the short-lived second lineup of the psychedelic pop band the World of Oz, succeeding David Kubinec on keyboards, as well as adding a second guitar to their sound on some songs. Following their split in the spring of 1969, he joined Johnny Neal & the Starliners, a cabaret-type act that was enjoying a good run of success in live performances, and even had a single out (“Put Your Hand in the Hand”) at the time on Parlophone. The group was busy enough, and made numerous television appearances, even winning a competition on the showcase Opportunity Knocks, but their brand of soft pop/rock wasn’t what Geoff had in mind for his career, nor the music he wanted to be playing. Continue reading Geoff Nicholls 1/2017

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Björn Thelin 1/2017

bass player for the SpotnicksJanuary 24, 2017 – Björn Ake  Thelin (The Spotnicks) was born on June 27, 1942 in the little village of Stöde about 25 miles west from the Swedish town of Sundsvall. He grew up in Frölunda, but lived with his family in northwestern Skåne for many years.

He joined The Spotnicks in 1961. The band had its great time in the 1960s when they became famous for their great instrumental guitar fire works and stage dressing in the form of space suits.
The group toured around the world and was very popular in countries such as West Germany, Japan, France and Mexico. The band sold in excess of 20 million albums. Quite a feat in those early days of rock and roll.
 
The Spotnicks originated from a duo, “The Rebels” (1956), formed by Bo Starander (rhythm guitar, vocals), and Björn Thelin (bass guitar). They were joined by lead guitarist Bo Winberg and became “Rock-Teddy and the Blue Caps” in 1957 in Gothenburg. He became Gothenburg’s rock king in 1958, like Rock-Teddy, in a competition in Göteborg’s concert hall with the Blue Caps companion group. In 1958 they added Ove Johansson (drums), changed their name to “The Frazers”, and began playing regularly in local clubs. They signed a recording contract in 1961, and changed their name to “The Spotnicks”, a play on the Russian satellite Sputnik as suggested by their manager, Roland Ferneborg. Starander was later known as Bob Lander.

Continue reading Björn Thelin 1/2017

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Butch Trucks 1/2017

Butch Trucks, drummer for the Allman Brothers BandJanuary 24, 2017 – Claude Hudson “Butch” Trucks was born on May 11, 1947 in Jacksonville, Florida.

A drummer, one of Trucks’ first bands was local Jacksonville band The Vikings, who made one 7-inch record in 1964. Another early band was The 31st of February which formed and broke up in 1968. This group’s lineup eventually included both Duane Allman and Gregg Allman. They recorded a cover of “Morning Dew”, by 1960s folk singer Bonnie Dobson.

Trucks then helped form The Allman Brothers Band in 1969, along with Duane Allman (guitar), Gregg Allman (vocals and organ), Dickey Betts (guitar), Berry Oakley (bass), and fellow drummer Jai Johanny Johanson.
Together, the two drummers developed a rhythmic drive that would prove crucial to the band’s success. Trucks laid down a powerful conventional beat while the jazz-influenced Johanson added a second laminate of percussion and ad libitum cymbal flourishes, seamlessly melded into one syncopated sound. Continue reading Butch Trucks 1/2017

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Marvell Thomas 1/2017

Memphis soul performer Marvell ThomasJanuary 23, 2017 – Marvell Thomas was born in Memphis Tennessee on August 22, 1941. The Thomas family is rooted in music and especially Memphis Soul. Legendary rock and roll pioneer Rufus (Walking the Dog) was his dad. His sisters Carla and Vaneese were much noted, especially Carla (the Queen of Memphis Soul) reached superstardom.

The eldest child of Rufus and Lorene Thomas, Marvell was born in 1941 and grew up in the shadow of Beale Street, where his father performed. “You could call it a second home,” Thomas said in 2011. “It was just three blocks from our house. I was a little kid, 5 years old, running up and down Beale Street all the time, much to my parents’ chagrin when they found out. Of course, I was there a lot legitimately too, when my father was hosting the talent show every Thursday night at the Palace Theatre.” Continue reading Marvell Thomas 1/2017

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Peter Overend Watts 1/2017

Overend Watts, bass player for Mott the HoopleJanuary 22, 2017 – Peter Overend Watts was born in the Yardley neighborhood of Birmingham, England on 13 May, 1947.

Watts began playing the guitar at the age of 13 and by 1965, he had switched to bass guitar and became a professional musician. Watts attended Ross Grammar School in 1963 and met his lifelong friend Dale Griffin aka Buffin and they played in local bands together such as The Anchors, Wild Dogs Hellhounds and The Silence when they met a rival band The Buddies who had Mick Ralphs and Stan Tippins as members and they collectively formed The Doc Thomas Group. Changes to that line-up occurred in 1968 and keyboard player Verden Allen joined and they changed their name to The Shakedown Sound.

In 1969 they all moved to London and came to the attention of record producer Guy Stevens who auditioned Ian Hunter and appointed him as their lead singer instead of Tippins and Mott The Hoople was formed. Watts was instrumental in getting David Bowie to write a song for the band and initially was offered the song “Suffragette City” which he turned down before David wrote especially for the band their now anthem “All The Young Dudes”. Mott The Hoople quickly built up a fearsome reputation as a dynamic live attraction playing gloriously ragged rock’n’roll and much of the group’s raw energy emanated from the bands propulsive engine room: the thunderous rhythm section of Overend and Dale. Visually the band also stood out and it was hard not to notice Watts in his thigh high platform boots, silver hair with a custom made bass guitar in the shape of a swallow! Continue reading Peter Overend Watts 1/2017

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