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
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. Continue reading Fats Domino 10/2017
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
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
August 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
July 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
April 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
January 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
January 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
May 20, 2013 – Raymond Daniel Manczarek Jr. was the architect of The Doors’ intoxicating sound. His evocative keyboard playing fused rock, jazz, blues, classical and an array of other styles into something utterly, dazzlingly new, and his restless artistic explorations continued unabated for the rest of his life.
He was born on February 12, 1939 to Polish immigrants Helena and Raymond Manczarek and grew up on the South Side of Chicago, and was introduced to the piano at the tender age of seven.Growing up, he took private piano lessons from Bruno Michelotti and others although he originally wanted to play basketball, but only power forward or center. When he was sixteen his coach insisted either he play guard or not at all and he quit the team. Manzarek said later if it was not for that ultimatum, he might never have been with The Doors.
Though he would later be electrified by the sensual strut of boogie-woogie, the raw power of the blues and the transgressive energy of rock ‘n’ roll, Manzarek credits the “little red book”, written by John Thompson, that his first piano teacher gave him with ideas and motifs he would draw on throughout his career.
While at St. Rita high-school he began playing in a band with his brothers, Rick and Jim, earning pocket money at dances and talent shows. He continued this sideline as an economics student at DePaul University; upon graduating he moved west in the fall of 1961 to attend law school at UCLA. Unable to acclimate to the curriculum, he transferred to the Department of Motion Pictures, Television and Radio as a graduate student before dropping out altogether after breaking up with a girlfriend. Although he attempted to enlist in the Army Signal Corps as a camera operator on a drunken lark during a visit to New York City, he was instead assigned to the Army Security Agency as an intelligence analyst in Okinawa and then Laos. While in the Army, Manzarek played in various musical ensembles and first smoked and grew cannabis. However, because he wanted to eventually visit Poland, he refused to sign the requisite security clearance and was discharged as a private first class after several months of undesignated duty. According to Britt Leach, a fellow Army Security Agency enlistee, Manzarek “had collected an entire duffel bag” of cannabis specimens during his service in Laos; this may have been used to fund his subsequent graduate education.
In 1962, he re-enrolled in UCLA’s 3 year graduate film program, where he received a M.F.A. in cinematography in 1965. During this period, he not only met future wife Dorothy Fujikawa, but also undergraduate film student Jim Morrison. At the time, Manzarek was in a band called Rick and the the Ravens with his brothers Rick and Jim.
Forty days after finishing film school in 1965, thinking they had gone their separate ways, Manzarek and Morrison met by chance on Venice Beach in California. Morrison said he had written some songs, and Manzarek expressed an interest in hearing them, whereupon Morrison sang rough versions of “Moonlight Drive,” “My Eyes Have Seen You” and “Summer’s Almost Gone.” Manzarek liked the songs and co-founded the Doors with Morrison at that moment. The singer’s poetry wturned out to be a perfect fit for the classically trained keyboardist’s musical ideas.
When Robby Krieger and John Densmore came onboard as guitarist and drummer, The Doors were complete.
Manzarek met guitarist Robby Krieger and drummer John Densmore at a Transcendental Meditation lecture. Densmore said, “There wouldn’t be any Doors without Maharishi.
Though several bassists auditioned for the group, none could match the bass lines provided by Manzarek’s left hand on the keyboards.
In January 1966, the Doors became the house band at the London Fog on the Sunset Strip. According to Manzarek, “Nobody ever came in the place…an occasional sailor or two on leave, a few drunks. All in all it was a very depressing experience, but it gave us time to really get the music together.” The same day the Doors were fired from the London Fog, they were hired to be the house band of the Whisky a Go Go.
The Doors’ first recording contract was with Columbia Records. After a few months of inactivity, they learned they were on Columbia’s drop list. At that point, they asked to be released from their contract. After a few months of live gigs, Jac Holzman “rediscovered” the Doors and signed them to Elektra Records. And from there their Shooting Star into one of the most defining band’s in Rock and Roll History was established until Jim Morrison passed away under dubious circumstances in Paris in July of 1971.
Signed to Elektra, The Doors released six studio albums, a live album and a compilation before Morrison’s untimely demise in 1971.
Devastated the remaining band members attempted two albums without Morrison, featuring Manzarek on vocals as Manzarek occasionally sang for the Doors, including the live recording “Close To You” and on the B-side of “Love Her Madly,” “You Need Meat (Don’t Go No Further).” He sang on the last two Doors albums, recorded after Morrison’s death, Other Voices and Full Circle. Additionally, he provided one of several guitar parts on the song “Been Down So Long” but fan support was low and the band slowly fell apart.
In 1973, he released his first solo album, The Golden Scarab, and began to tour again. 1974’s The Whole Thing Started with Rock and Roll Now It’s Out of Control came next, but Manzarek was itching to work with a band again and eventually started Ray Manzarek’s Nite City, which invited comparisons to Mott the Hoople and Aerosmith. The quintet released its self-titled debut in 1977 and the follow-up “Golden Days Diamond Nights” the following year, but they failed to capitalize on the success of the original Doors and fell apart again. The sixties were gone forever.
The surviving Doors reunited to create a musical backdrop for Morrison’s recorded poetry on the 1978 release “An American Prayer.”
It was soon after that that the punk movement became a driving force in Los Angeles, and the band X contacted Manzarek about working with them in a production capacity. The end result was Los Angeles, one of the all-time most important punk albums, which remains one of the high-water marks of the punk movement.
Reinvigorated, he began work on Carmina Burana, a high-concept solo album about opera and minstrels that was released in 1983. Unfortunately, the effort was viewed as too pretentious and he quietly faded away for almost ten years.
When Oliver Stone’s film biography The Doors was released in 1991, Manzarek came out of semi-retirement to voice his displeasure in how the band was portrayed by the controversial filmmaker. In 1993, he released an album of Michael McClure’s beat poetry over his keyboard playing, Love Lion, to a warm reception. The duo toured the country with the act, while Manzarek worked on his autobiography and a Doors tribute album. Both eventually came out, and he continually voiced his desire to make a musical based on the career of his former band. At the turn of the century, he released an album with British musician/actor Darryl Read and saw his son score a major-label record deal with his band A.I.
Other collaborators have included acclaimed modern-classical and film composer Philip Glass; poet Michael McClure; glam-punk icon Iggy Pop; the British band Echo and the Bunnymen; U.K. poet-musician Darryl Read; writer Scott Richardson, with whom he recorded the innovative spoken-word-and-blues series “Tornado Souvenirs;” guitarist Roy Rogers, who joined him for the 2008 collection “Ballads Before the Rain” (featuring instrumental takes on a couple of Doors songs, among other material); and pop parodist Weird Al, for whose 2009 Doors homage “Craigslist” Manzarek did a spot-on salute to his own work.
The keyboardist’s memoir “Light My Fire: My Life With the Doors” was published in 1998; he subsequently published two novels, 2001′s “The Poet in Exile” (riffing on the urban legend that Morrison faked his own death) and the ghostly 2006 Civil War tale “Snake Moon.” He also flexed his cinematic chops as the writer-director (and score composer) of the 2000 thriller “Love Her Madly.”
In 2002, Ray rejoined forces with Robby Krieger and they toured together for over ten years, playing classic Doors material to sold-out crowds composed of longtime fans and newcomers alike.
Although he subsequently made some challenging and interesting music, including the soundtrack to the film Love Her Madly in 2006, his huge influence over the world of rock will forever associate him with the Doors, and luckily Manzarek seemed completely comfortable with that legacy.
He died on May 20, 2013 in Rosenheim, Germany after a brief battle with bile duct cancer; Ray Manzarek was 74 years old.
There was no keyboard player on the planet more appropriate to support Jim Morrison’s words.”
Greg Harris, President and CEO of the Rock and Roll Hall of Fame, said in reaction to Manzarek’s death that “The world of rock ‘n’ roll lost one of its greats with the passing of Ray Manzarek.” Harris also said that “he was instrumental in shaping one of the most influential, controversial and revolutionary groups of the ’60s. Such memorable tracks as ‘Light My Fire’, ‘People are Strange’ and ‘Hello, I Love You’ – to name but a few – owe much to Manzarek’s innovative playing.” At 9:31 on May 21, 2013 The Whisky a Go Go and other clubs where the Doors played, dimmed their lights in his memory.
July 16, 2012 – John Douglas “Jon” Lord ( Deep Purple/Whitesnake) was born in Leicester, England on June 9th 1941 and retained a strong bond with the city throughout his life. His father was an amateur saxophone musician and encouraged Lord from an early age. There was an old upright piano in the house and Jon showed an early interest in the instrument so his parents enrolled him for formal piano lessons when he was seven. At nine he found another teacher, Frederick All, who gave recitals for the BBC and played the church organ. “He was a marvelous teacher”, says Lord. “He could impart a love of music to his students as well as teaching them to play it. He taught me to enjoy music and to want to play well.” Those influences were a recurring trademark in Jon’s work.
He attended Wyggeston Grammar School for Boys between 1952 and 1958 and then worked as a clerk in a solicitor’s office for two years, but was fired for taking too much time off work.
Lord absorbed the blues sounds that played a key part in his rock career, principally the raw sounds of the great American blues organists Jimmy Smith, Jimmy McGriff and “Brother” Jack McDuff (“Rock Candy”), as well as the stage showmanship of Jerry Lee Lewis and performers like Buddy Holly, whom he saw perform at the De Montfort Hall in Leicester in March 1958.
Lord moved to London in 1959–60, intent on an acting career and enrolling at the Central School of Speech and Drama, in London’s Swiss Cottage. Following a celebrated student rebellion he became a founder of Drama Centre London, from where he graduated in 1964. From here on his life became a Who’s Who in the early London years of the British Invasion and beyond.
Small acting parts followed, and Lord continued playing the piano and the organ in nightclubs and as a session musician to earn a living. He started his band career in London in 1960 with the jazz ensemble The Bill Ashton Combo. Ashton became a key figure in jazz education in Britain, creating what later became the National Youth Jazz Orchestra. Between 1960 and 1963, Lord and Ashton both moved on to Red Bludd’s Bluesicians (also known as The Don Wilson Quartet), the latter of which featured the singer Arthur “Art” Wood, brother of guitarist Ronnie Wood. Wood had previously sung with Alexis Korner’s Blues Incorporated and was a junior figure in the British blues movement.
In this period, Lord altered the spelling of his name from his birth name “John” to “Jon” and his session credits included playing the keyboards in “You Really Got Me”, The Kinks number one hit of 1964, however in a Guitar World interview Ray Davies of The Kinks stated it was actually Arthur Greenslade playing piano on that particular track.
Following the break-up of Redd Bludd’s Bluesicians in late 1963, Wood, Lord, and the drummer Red Dunnage put together a new band, The Art Wood Combo. This also included Derek Griffiths (guitar) and Malcolm Pool (bass guitar). Dunnage left in December 1964 to be replaced by Keef Hartley, who had previously replaced Ringo Starr in Rory Storm and the Hurricanes. This band, later known as “The Artwoods”, focused on the organ as the bluesy, rhythmic core of their sound, in common with the contemporary bands The Spencer Davis Group (Steve Winwood on organ) and The Animals (with Alan Price). They made appearances on the BBC’s Saturday Club radio show and on such TV programs as Ready Steady Go!. It also performed abroad, and it appeared on the first Ready Steady Goes Live, promoting its first single the Lead Belly song “Sweet Mary” — but significant commercial success eluded it. Its only charting single was “I Take What I Want”, which reached number 28 on 8 May 1966.
The jazz-blues organ style of black R&B organ players in the 1950s and 1960s, using the trademark blues-organ sound of the Hammond organ (B3 and C3 models) and combining it with the Leslie speaker system (the well-known Hammond-Leslie speaker combination), were seminal influences on Lord. Lord also stated later that he was heavily influenced by the organ-based progressive rock played by Vanilla Fudge after seeing that band perform in Great Britain in 1967, and earlier by the personal direction he received from British organ pioneer Graham Bond.
The Artwoods regrouped in 1967 as the “St. Valentine’s Day Massacre“. This was an attempt to cash in on the 1930s gangster craze set off by the American film Bonnie and Clyde. Hartley left the band in 1967 to join John Mayall’s Bluesbreakers. Lord next founded the “Santa Barbera Machine Head”, featuring Art’s brother, Ronnie Wood, writing and recording three powerful keyboard-driven instrumental tracks, giving a preview of the future style of Deep Purple. Soon thereafter, Lord went on to cover for the keyboard player Billy Day in “The Flower Pot Men”, where he met the bass guitarist Nick Simper along with drummer Carlo Little and guitarist Ged Peck. Lord and Simper then toured with this band in 1967 to promote its hit single “Let’s Go To San Francisco”, but the two men never recorded with this band.
In early 1967, through his roommate Chris Curtis of the Searchers, Lord met businessman Tony Edwards who was looking to invest in the music business alongside partners Ron Hire and John Coletta (HEC Enterprises). Session guitarist Ritchie Blackmore was called in and he met Lord for the first time, but Chris Curtis’s erratic behaviour led the trio nowhere. Edwards was impressed enough by Jon Lord to ask him to form a band after Curtis faded out. Simper was contacted, and Blackmore was recalled from Hamburg. Although top British player Bobby Woodman was the first choice as drummer, during the auditions for a singer, Rod Evans of “The Maze” came in with his own drummer, Ian Paice. Blackmore, who had been impressed by Paice’s drumming when he met him in 1967, set up an audition for Paice as well. The band was called the “Roundabout” at first and began rehearsals at Deeves Hall in Hertfordshire. By March 1968, this became the “Mark 1” line-up of “Deep Purple”: Lord, Simper, Blackmore, Paice, and Evans. Lord also helped form the band “Boz” with some of its recordings being produced by Derek Lawrence. “Boz” included Boz Burrell (later of King Crimson and Bad Company), Blackmore (guitar), Paice (drums), Chas Hodges (bass).
Lord pushed the Hammond-Leslie sound through Marshall amplification, creating a growling, heavy, mechanical sound which allowed Lord to compete with Blackmore as a soloist, with an organ that sounded as prominent as the lead guitar. Said one reviewer, “many have tried to imitate [Lord’s] style, and all failed.” Said Lord himself, “There’s a way of playing a Hammond that’s different. A lot of people make the mistake of thinking that you can play a Hammond with a piano technique. Well, you can, but it sounds like you are playing a Hammond with a piano technique. Really, you have to learn how to play an organ. It’s a legato technique; it’s a technique to achieve legato on a non-legato instrument.”
In early Deep Purple recordings, Lord had appeared to be the leader of the band. Despite the cover songs “Hush” and “Kentucky Woman” becoming hits in North America, Deep Purple never made chart success in the UK until the Concerto for Group and Orchestra album (1970). Lord’s willingness later to play many of the key rhythm parts gave Blackmore the freedom to let loose both live and on record.
On Deep Purple’s second and third albums, Lord began indulging his ambition to fuse rock with classical music. An early example of this is the song “Anthem” from the album The Book of Taliesyn (1968), but a more prominent example is the song “April” from the band’s self-titled third album (1969). The song is recorded in three parts: 1. Lord and Blackmore only, on keyboards and acoustic guitar, respectively; 2. an orchestral arrangement complete with strings; and 3. the full rock band with vocals. Lord’s ambition enhanced his reputation among fellow musicians, but caused tension within the group.
Simper later said, “The reason the music lacked direction was Jon Lord fucked everything up with his classical ideas.” Blackmore agreed to go along with Lord’s experimentation, provided he was given his head on the next band album.
The resulting Concerto For Group and Orchestra (in 1969) was one of rock’s earliest attempts to fuse two distinct musical idioms. Performed live at the Royal Albert Hall on 24 September 1969 (with new band members Ian Gillan and Roger Glover, Evans and Simper having been fired), it was recorded by the BBC and later released as an album. The Concerto gave Deep Purple its first highly publicised taste of mainstream fame and gave Lord the confidence to believe that his experiment and his compositional skill had a future
Purple began work on Deep Purple in Rock, released by their new label Harvest in 1970 and now recognised as one of hard rock’s key early works. Lord and Blackmore competed to out-dazzle each other, often in classical-style, midsection ‘call and answer’ improvisation (on tracks like “Speed King”), something they employed to great effect live. Ian Gillan said that Lord provided the idea on the main organ riff for “Child in Time” although the riff was also based on It’s a Beautiful Day’s 1969 psychedelic hit song “Bombay Calling”. Lord’s experimental solo on “Hard Lovin’ Man” (complete with police-siren interpolation) from this album was his personal favourite among his Deep Purple studio performances.
Deep Purple released another six studio albums between 1971 (Fireball) and 1975 (Come Taste the Band). Gillan and Glover left in 1973 and Blackmore in 1975, and the band disintegrated in 1976. The highlights of Lord’s Purple work in the period include the 1972 album Machine Head (featuring his rhythmic underpinnings on “Smoke on the Water” and “Space Truckin'”, plus the organ solos on “Highway Star”, “Pictures of Home” and “Lazy”), the sonic bombast of the Made in Japan live album (1972), an extended, effect-laden solo on “Rat Bat Blue” from the Who Do We Think We Are album (1973), and his overall playing on the Burn album from 1974.
Roger Glover would later describe Lord as a true “Zen-archer soloist”, someone whose best keyboard improvisation often came at the first attempt. Lord’s strict reliance on the Hammond C3 organ sound, as opposed to the synthesizer experimentation of his contemporaries, places him firmly in the jazz-blues category as a band musician and far from the progressive-rock sound of Keith Emerson and Rick Wakeman. Lord rarely ventured into the synthesizer territory on Purple albums, often limiting his experimentation to the use of the ring modulator with the Hammond, to give live performances on tracks like Space Truckin’ a distinctive ‘spacy’ sound. Instances of his Deep Purple synthesizer use (he became an endorser of the ARP Oyssey) include “‘A’ 200”, the final track from Burn, and “Love Child” on the Come Taste the Band album.
In early 1973 Lord stated: “We’re as valid as anything by Beethoven.”
Lord continued to focus on his classical aspirations alongside his Deep Purple career. The BBC, buoyed by the success of the Concerto, commissioned him to write another piece and the resulting “Gemini Suite” was performed by Deep Purple and the Light Music Society under Malcolm Arnold at the Royal Festival Hall in September 1970, and then in Munich with the Kammerorchester conducted by Eberhard Schoener in January 1972. It then became the basis for Lord’s first solo album, Gemini Suite, released in November 1972, with vocals by Yvonne Elliman and Tony Ashton and with the London Symphony Orchestra backing a band that included Albert Lee on guitar.(Ritchie Blackmore had played the guitar at the first live performance of the Gemini Suite in September 1970, but declined the invitation to appear on the studio version, which led to the involvement of Lee. Other performers were Yvonne Elliman, Ian Paice, Roger Glover, Tony Ashton).
In March 1974, Lord and Paice had collaborated with friend Tony Ashton on First of the Big Bands, credited to ‘Ashton & Lord’ and featuring a rich array of session talent, including Carmine Appice, Ian Paice, Peter Frampton and Pink Floyd saxophonist/sessioner, Dick Parry. They performed much of the set live at the London Palladium in September 1974.
This formed the basis of Lord’s first post-Deep Purple project Paice Ashton Lord, which lasted only a year and spawned a single album, Malice in Wonderland in 1977, recorded at Musicland Studios Musicland Studios at the Arabella Hotel in Munich. He created an informal group of friends and collaborators including Ashton, Paice, Bernie Marsden, Boz Burrell and later, Bad Company’s Mick Ralphs, Simon Kirke and others. Over the same period, Lord guested on albums by Maggie Bell, Nazareth and even folk artist Richard Digance. Eager to pay off a huge tax bill upon his return the UK in the late-1970s (Purple’s excesses included their own tour jet and a home Lord rented in Malibu from actress Ann-Margret and where he wrote the Sarabande album), Lord joined former Deep Purple band member David Coverdale’s new band, Whitesnake in August 1978 (Lord’s job in Whitesnake was largely limited to adding color or, in his own words, a ‘halo’ to round out a blues-rock sound that already accommodated two lead guitarists, Bernie Marsden and Micky Moody.
A number of singles such as “Here I Go Again”, “Wine, Women and Song”, “She’s a Woman” and “Till the Day I Die” entered the UK chart, taking the now 40-something Lord onto Top of the Pops with regularity between 1980 and 1983. He later expressed frustration that he was a poorly paid hired-hand, but fans saw little of this discord and Whitesnake’s commercial success kept him at the forefront of readers’ polls as heavy rock’s foremost keyboard maestro. His dissatisfaction (and Coverdale’s eagerness to revamp the band’s line-up and lower the average age to help crack the US market) smoothed the way for the reformation of Deep Purple Mk II in 1984.
During his tenure in Whitesnake, Lord had the opportunity to record two distinctly different solo albums and was later commissioned by producer Patrick Gamble for Central Television to write the soundtrack for their 1984 TV series, Country Diary of an Edwardian Lady, based on the book by Edith Holden, with an orchestra conducted by Alfred Ralston and with a distinctly gentle, pastoral series of themes composed by Lord. Lord became firmly established as a member of UK rock’s “Oxfordshire mansion aristocracy” – with a home, Burntwood Hall, set in 23.5 acres at Goring-on-Thames, complete with its own cricket pitch and a hand-painted Challen baby grand piano, previously owned by Shirley Bassey. He was asked to guest on albums by friends George Harrison (Gone Troppo from 1982) and Pink Floyd’s David Gilmour (1984’s About Face), Cozy Powell (Octopus in 1983) and to play on an adaptation of Kenneth Grahame’s classic, Wind in the Willows. He composed and produced the score for White Fire (1984), which consisted largely of two songs performed by Limelight. In 1985 he made a brief appearance as a member of The Singing Rebel’s band (which also featured Eric Clapton, George Harrison and Ringo Starr) in the Dick Clement and Ian La Frenais-scripted film Water (1985) (Handmade Films).
In the 1980s he was also a member of an all-star band called Olympic Rock & Blues Circus fronted by Pete York and featuring a rotating line-up of the likes of Miller Anderson, Tony Ashton, Brian Auger, Zoot Money, Colin Hodgkinson, Chris Farlowe and many others. Olympic Rock & Blues Circus toured primarily in Germany between 1981 and 1989. Some musicians, including Lord, took part in York’s TV musical extravaganza Superdrumming between 1987 and 1989.
Lord’s re-emergence with Deep Purple in 1984 resulted in huge audiences for the reformed Mk II line-up, including 1985s second largest grossing tour in the US and an appearance in front of 80,000 rain-soaked fans headlining Knebworth on 22 June 1985, all to support the Perfect Strangers album. Playing with a rejuvenated Mk. II Purple line-up (including spells at a health farm to get the band including Lord into shape) and being onstage and in the studio with Blackmore, gave Lord the chance to push himself once again. His ‘rubato’ classical opening sequence to the album’s opener, “Knocking at Your Back Door” (complete with F-Minor to G polychordal harmony sequence), gave Lord the chance to do his most powerful work for years, including the song “Perfect Strangers”. Further Deep Purple albums followed, often of varying quality, and by the late-1990s, Lord was clearly keen to explore new avenues for his musical career.
In 1997, he created perhaps his most personal work to date, Pictured Within, released in 1998 with a European tour to support it. Lord’s mother Miriam had died in August 1995 and the album is a deeply affecting piece, inflected at all stages by Lord’s sense of grief. Recorded largely in Lord’s home-away-from-home, the city of Cologne, the album’s themes are Elgarian and alpine in equal measure. Lord signed to Virgin Classics to release it, and perhaps saw it as the first stage in his eventual departure from Purple to embark on a low-key and altogether more gentle solo career. One song from Pictured Within, entitled “Wait A While” was later covered by Norwegian singer Sissel Kyrkjebø on her 2003/2004 album My Heart. Lord finally retired from Deep Purple amicably in 2002, preceded by a knee injury that eventually resolved itself without surgery. He said subsequently, “Leaving Deep Purple was just as traumatic as I had always suspected it would be and more so – if you see what I mean”. He even dedicated a song to it on 2004’s solo effort, Beyond the Notes, called “De Profundis”. The album was recorded in Bonn with producer Mario Argandoña between June and July 2004.
Lord slowly built a small, but distinct position and fan base for himself in Europe. He collaborated with former ABBA superstar and family friend, Frida (Anni-Frid Lyngstad,) on the 2004 track, “The Sun Will Shine Again” (with lyrics by Sam Brown) and performed with her across Europe. He subsequently also performed European concerts to première the 2007-scheduled Boom of the Tingling Strings orchestral piece.
In 2003 he also returned to his beloved R-n-B/blues heritage to record an album of standards in Sydney, with Australia’s Jimmy Barnes, entitled Live in the Basement, by Jon Lord and the Hoochie Coochie Men, showing himself to be one of British rock music’s most eclectic and talented instrumentalists. Lord was also happy to support the Sam Buxton Sunflower Jam Healing Trust and in September 2006, performed at a star-studded event to support the charity led by Ian Paice’s wife, Jacky (twin sister of Lord’s wife Vicky). Featured artists on stage with Lord included Paul Weller, Robert Plant, Phil Manzanera, Ian Paice and Bernie Marsden.
In July 2011, Lord performed his final live concert appearance, the Sunflower Jam at the Royal Albert Hall, where he premiered his joint composition with Rick Wakeman. At that point, they had begun informal discussion on recording an album together. Up until 2011, Lord had also been working on material with the recently formed rock supergroup WhoCares, also featuring singer Ian Gillan from Deep Purple, guitarist Tony Iommi from Black Sabbath, second guitarist Mikko Lindström from HIM, bassist Jason Newsted formerly from Metallica and drummer Nicko McBrain from Iron Maiden, specifically the composition “Out of My Mind,” in addition to new compositions with Steve Balsamo and a Hammond Organ Concerto. Lord subsequently cancelled a performance of his Durham Concerto in Hagen, Germany, for what his website said was a continuation of his medical treatment (the concert, scheduled for 6 July 2012, would have been his return to live performance after treatment).
Lord’s Concerto for Group and Orchestra was effectively recommissioned by him, recorded in Liverpool and at Abbey Road Studios across 2011 and under post-production in 2012 with the Liverpool Philharmonic Orchestra performing, conducted by long-time collaborator, conductor Paul Mann. The recording was at completion at the time of Lord’s death, with Lord having been able to review the final master recordings. The album and DVD were subsequently released in 2012.
In July 2011, Lord was found to be suffering from pancreatic cancer. After treatment in both England and in Israel, he died on 16 July 2012 at the London Clinic after suffering from a pulmonary embolism. He was 71.
• On 11 November 2010, he was inducted as an Honorary Fellow of Stevenson College in Edinburgh, Scotland. On 15 July 2011, he was awarded an honorary Doctor of Music degree at De Montfort Hall by the University of Leicester. Lord was posthumously inducted into the Rock and Roll Hall of Fame on 8 April 2016 as a member of Deep Purple.
• Lars Ulrich, founding member and drummer in Metallica commented, “Ever since my father took me to see them in 1973 in Copenhagen, at the impressionable age of 9, Deep Purple has been the most constant, continuous and inspiring musical presence in my life. They have meant more to me than any other band in existence, and have had an enormous part in shaping who I am. We can all be guilty of lightly throwing adjectives like ‘unique,’ ‘one-of-a-kind’ and ‘pioneering’ around when we want to describe our heroes and the people who’ve moved us, but there are no more fitting words than those right now and there simply was no musician like Jon Lord in the history of hard rock. Nobody. Period. There was nobody that played like him. There was nobody that sounded like him. There was nobody that wrote like him. There was nobody that looked like him. There was nobody more articulate, gentlemanly, warm, or fucking cooler that ever played keyboards or got anywhere near a keyboard. What he did was all his own.”
• Former keyboard player of rock band Yes, Rick Wakeman, who was a friend of Lord’s, said he was “a great fan” and added “We were going to write and record an album before he became ill. His contribution to music and to classic rock was immeasurable and I will miss him terribly.” In mid-2013, Wakeman presented a BBC One East Midlands-produced TV program about Lord and his connection to the town of his birth.
• Singer Anni-Frid Lyngstad (ABBA), who described Jon Lord as her “dearest friend”, paid him tribute at the 2013 edition of Zermatt Unplugged, the annual music festival which both he and she served as patrons. “He was graceful, intelligent, polite, with a strong integrity,” she said. “He had a strong empathy and a great deal of humor for his own and other people’s weaknesses.”
• Keyboardist Keith Emerson said of Lord’s death, “Jon left us now but his music and inspiration will live forever. I am deeply saddened by his departure.” In a later interview in November 2013, he added, “In the early years I remember being quite jealous of Jon Lord – may he rest in peace. In September 1969 I heard he was debuting his “Concerto For Group & Orchestra” at the Royal Albert Hall, with none other than Malcolm Arnold conducting. Wow! I had to go along and see that. Jon and I ribbed each other, we were pretty much pals, but I walked away and thought: ‘Shit, in a couple of weeks’ time I’m going to be recording The Nice’s Five Bridges Suite … not at the Albert Hall but at the Fairfield Halls, Croydon!’ A much more prosaic venue. Later, Jon wanted me to play on his solo album, Gemini Suite, but that was around the time ELP were breaking big and we were touring. He was a lovely guy, a real gentleman.”
• A concert tribute to Lord took place on 4 April 2014 at the Royal Albert Hall. Performers and presenters included Deep Purple, Bruce Dickinson, Alfie Boe, Jeremy Irons, Joe Brown, Glenn Hughes, Miller Anderson and Steve Balsamo.
• In December 2012 the Mayor of Leicester, Sir Peter Soulsby, joined the campaign to honor Lord with a blue plaque at his childhood home at 120 Averill Road, where he lived until he was twenty, saying it would be “an important reminder of the city’s contribution to the world of contemporary music.”
• Lord was posthumously inducted into the Rock and Roll Hall of Fame as a member of Deep Purple in April 2016
June 6, 2006 – William Everett “Billy” Preston (Beatles keyboards) was born on September 2, 1946 in Houston, Texas but raised mostly in Los Angeles, California.
When he was three, the family moved to Los Angeles, where Preston began playing piano while sitting on his mother Robbie’s lap. Noted as a child prodigy, Preston was entirely self-taught and never had a music lesson. By the age of ten, Preston was playing organ onstage backing several gospel singers such as Mahalia Jackson, James Cleveland and Andraé Crouch. At age eleven, Preston appeared on Nat King Cole’s national TV show singing the Fats Domino hit, “Blueberry Hill” with Cole. Also at eleven, he appeared in the W.C. Handy biopic starring Nat King Cole: St. Louis Blues (1958), playing W.C. Handy at a younger age.
In 1962, Preston joined Little Richard’s band as an organist, and it was while performing in Hamburg that Preston met the Beatles. In 1963, he played the organ on Sam Cooke’s Night Beat album and released his own debut album, 16 Yr Old Soul, for Cooke’s SAR Records label. In 1965, he released the album The Most Exciting Organ Ever and performed on the rock and roll show Shindig! In 1967, he joined Ray Charles’ band. Following this exposure, several musicians began asking Preston to contribute to their sessions.
In addition to his successful, Grammy-winning career as a solo artist, Billy collaborated with some of the greatest names in the music industry, including the Beatles, the Rolling Stones, Nat King Cole, Little Richard, Eric Burdon, Ray Charles, George Harrison, Elton John, Eric Clapton, Bob Dylan, Sam Cooke, Johnny Cash, King Curtis, Sammy Davis Jr., Sly Stone, Aretha Franklin, the Jackson 5, Quincy Jones, Mick Jagger, Richie Sambora, Red Hot Chili Peppers and many others.
He played the Fender Rhodes electric piano and the Hammond organ on the Beatles’ Get Back sessions in 1969.
During the 1960s, Preston’s prowess with the piano was well known as he was one of the top session musicians of his day. He was adept at such wide-ranging music as gospel, R & B, soul, funk and rock, and backed such stellar acts as Little Richard, Sam Cooke and even the Beatles.
Having first met the Fab Four while touring with Little Richard’s band in the early ‘60s, Preston would hook up with them years later when they were working on their 1970 release “Let It Be.” The album was to be a revisiting of the band’s raw, live-in-the-studio sound as opposed to recent efforts, like the elaborate orchestration of “Sgt. Pepper’s Lonely Hearts Club Band” or the surreal psychedelia of “Magical Mystery Tour.”
By 1969 when the Beatles went into the studio to record “Let It Be,” disagreements and rising tensions among the members were pushing them to the brink of breaking up. Guitarist George Harrison brought in Preston not only to play on the album but to help relieve some of the turmoil surrounding the band.
Preston played electric piano and Hammond organ on several of the tracks, but his distinctive, energetic work on the up-tempo “Get Back” helps make it one of the album’s brightest spots. Reaching number one around the world, the single even notched the young African-American musician a co-credit since it was billed as “The Beatles with Billy Preston,” making it the revered band’s only single that credited another artist.
John Lennon felt the American keyboardist was such a good fit that at one point during the sessions he proposed making him a full-fledged member of the band. This idea was quickly shot down by Paul McCartney, stating that things were difficult enough to agree upon with only four members. The group did, however, bring Preston along to perform with them at their famous rooftop concert above the Apple Studio headquarters while they were filming the making of the album. That impromptu concert on Jan. 30, 1969, turned out to be the final public performance of arguably the greatest band ever — and Preston was a part of it.
In 1971, Preston left Apple and signed with Herb Alpert’s A&M Records. The previous year, he contributed to another hit single when Stephen Stills asked to use Preston’s phrase “if you can’t be with the one you love, love the one you’re with”, a song on Stills’ self-titled debut solo album.
Following the release of ‘I Wrote a Simple Song’ on A&M, Preston’s solo career peaked at this time, beginning with 1972’s “Outa-Space”, an instrumental track that further popularized the sound of the clavinet in funk music. The song reached number 2 on the US Billboard Hot 100 and topped Billboard’s R&B chart, before going on to win the Grammy Award for Best Pop Instrumental Performance. “Outa-Space” sold over 1 million copies in America, and was awarded a gold disc by the RIAA in June 1972.
Over the next two years, Preston followed up with the US chart-topping singles “Will It Go Round in Circles” and “Nothing From Nothing”, and the number 4 hit “Space Race”. Each of the three singles sold in excess of 1 million copies. American Bandstand host and executive producer Dick Clark enjoyed “Space Race” so much that he used the instrumental for the mid-show break for virtually the remainder of its run.
Preston played keyboards (including piano, organ, clavinet and various synthesizers) for the Rolling Stones, sometimes alongside pianists Nicky Hopkins and Ian Stewart, on their albums Sticky Fingers, Exile on Main St, Goats Head Soup, It’s Only Rock ‘n Roll and Black and Blue.
As the band’s primary touring keyboardist from 1973 to 1977, he also performed as a support act with his own band (including Mick Taylor on guitar) on their 1973 European Tour. A Munich performance was documented in the live album Live European Tour 1973.
In 1974, along with Beach Boy Dennis Wilson, he composed one of Joe Cocker’s biggest hits, “You Are So Beautiful”.
On October 11, 1975, he was the first musical guest on Saturday Night Live’s series premiere episode (along with Janis Ian). Preston’s 1973 song “Do You Love Me” was the basis for the Rolling Stones’ track “Melody”, released on Black and Blue in 1976. Although two of his songs (“Nothing from Nothing” and “Outa-Space”) were included in the band’s 1976 live sets, the Stones and Preston parted company in 1977, mainly due to a disagreement over money. He continued to play on solo records by Stones members and made appearances on the band’s 1981 Tattoo You and 1997 Bridges to Babylon albums.
Preston’s solo career began to decline after 1976. After five years with A&M, he signed with Motown Records. In 1980, he duetted with Syreeta Wright on the ballad “With You I’m Born Again”, which reached number 4 on the charts in the US.
In 1978, he appeared as Sgt. Pepper in Robert Stigwood’s film Sgt. Pepper’s Lonely Hearts Club Band, which was based on the Beatles’ album of the same name, and sang “Get Back” as the penultimate song.
In 1980, he duetted with Syreeta Wright on the ballad “With You I’m Born Again”, which reached number 4 on the charts in the US. Failing thereafter to match its success, Preston left Motown in 1984 and focused for a while on session work. He served as musical director for Nightlife, a late-night talk show hosted by David Brenner that lasted one season from 1986 – 1987. After this his life was spiraling into addiction for a handful of years.
In 1991, Preston was arrested and convicted for insurance fraud after setting fire to his own house in Los Angeles, and he was treated for alcohol and cocaine addictions. In the same year, he was also arrested for sexually assaulting a 16-year-old Mexican boy, after picking him up at a gathering point for day laborers. After submitting to a drug test, he tested positive for cocaine. That year, he entered no-contest pleas to the cocaine and sexual assault charges. He was sentenced to nine months at a drug rehabilitation center and three months of house arrest.
Preston overcame his problems in the early 1990s, toured with Eric Clapton, recorded with Gary Walker, one of the vocalists in his Los Angeles-based band, and worked with a wide range of other artists. He also toured with Ringo Starr and appeared on the 1990 live album Ringo Starr and His All-Starr Band. He was invited to become a member of The Band in 1991, after the death of piano player Stan Szelest. He performed on tour with the group, but the sentencing from his cocaine and sexual assault charges ended the collaboration.
In an interview for a 2010 BBC4 radio documentary on his life and career, Preston’s manager Joyce Moore revealed that after she began handling his affairs, Preston opened up to her about the lifelong trauma he had suffered as the result of being sexually abused as a boy. Preston told Moore that at about the age of nine, after he and his mother moved to Los Angeles from Houston to perform in a touring production of Amos ‘n’ Andy, he was repeatedly abused by the touring company’s pianist. When Preston told his mother about the abuse, she did not believe him, and failed to protect him. The abuse subsequently went on for the entire summer, and Preston stated that he was also later abused by a local pastor.
Another traumatic incident, which reportedly affected Preston deeply, occurred in the early 1970s, while he was engaged to actress/model Kathy Silva. At this time Preston had become close friends with musician Sly Stone, and made many contributions to Stone’s recordings of the period (including the landmark album There’s a Riot Goin’ On). According to Moore, Preston was devastated when he came home one day to find Stone in bed with Silva (who later famously married Stone on stage at Madison Square Garden). According to Moore, Silva’s affair with Stone was the trigger that led Preston to stop having relationships with women – it was after this incident that he began abusing cocaine and having sex with men, and Moore has stated that she saw his drug abuse as his a way of coping with the internal conflicts he felt about his sexual urges.
Preston overcame his problems in the early 1990s, toured with Eric Clapton, recorded with Gary Walker, one of the vocalists in his Los Angeles-based band, and worked with a wide range of other artists. In 1997, Billy Preston recorded the album You and I, in Italy, with Italian band Novecento. The album was produced by Vaughn De Spenza and Novecento members Lino and Pino Nicolosi.
In 1998, Preston played organ during the choir numbers on the UPN comedy show Good News. The same year he sang and played synthesizer in the film Blues Brothers 2000, as part of the super group, The Louisiana Gator Boys.
While touring and fighting his own health problems, Preston received the news that on November 29, 2001, George Harrison had died (having long suffered from throat cancer). Preston, among many of Harrison’s longtime friends, performed in the 2002 Concert for George at the Royal Albert Hall in London. Preston’s performance of “My Sweet Lord” received critical acclaim. Additionally, Preston sang “Isn’t It a Pity”, provided backing vocals on most of the other songs, and played the Hammond organ for the show. Ringo Starr called him one of the greatest Hammond players of all time (in the theatrical version of the concert).
In 2002, Preston appeared on the Johnny Cash album American IV: The Man Comes Around, playing piano on “Personal Jesus” and “Tear-Stained Letter”.
In 2004, Preston toured with the Funk Brothers and Steve Winwood in Europe, and then with his friend Eric Clapton in Europe and North America. After he finished touring with Clapton, Preston went to France, where he was featured in one episode of the Legends Rock TV Show. His performance included a duet with Sam Moore singing “You Are So Beautiful”; this was Preston’s last filmed concert.
In 2004, Preston performed as a jazz organist on Ray Charles’ Genius Loves Company, an album of duets, on the song “Here We Go Again” with Charles and Norah Jones.
In March 2005, Preston appeared on the American Idol fourth season finale. Playing piano, he performed “With You I’m Born Again” with Vonzell Solomon (who finished the contest in third place). The same year, he recorded “Go Where No One’s Gone Before”, the main title song for the anime series L/R: Licensed by Royalty.
Preston played clavinet on the song “Warlocks” for the Red Hot Chili Peppers album Stadium Arcadium (2006). Although very ill by this point, he jumped out of his bed after hearing a tape of the song given to him by the band, recorded his part, and went back to bed.
Preston’s final recorded contributions were the gospel-tinged organ on the Neil Diamond album 12 Songs (2005), and his keyboard work on The Road to Escondido (2006) by Eric Clapton and JJ Cale.
In late 2005, Preston made his last public performance, in Los Angeles, to support the re-release of the 1972 movie The Concert for Bangladesh. Preston played a three song set of “Give Me Love”, “My Sweet Lord”, and “Isn’t It a Pity”, with Dhani Harrison and Ringo Starr joining on guitar and drums respectively for the last song.
He made his last public appearance in late 2005 at the Los Angeles press junket for the re-release of the Concert for Bangladesh movie. He was in good spirits and talked to many in the press. Afterwards he played a three song set of “Give Me Love”, “My Sweet Lord” and “Isn’t It a Pity”, featuring Dhani Harrison on guitar and Ringo Starr on drums for the final song only.
Although he received a kidney transplant in 2002, his health continued to deteriorate. He was 59 when he died on June 6, 2006 of complications of malignant hypertension that resulted in kidney failure and other complications. He had been in a coma since November 21, 2005.
July 11, 2001 – Herman Brood was born on November 5th 1946 in Zwolle, the Netherlands. In the early years, his influences included Fats Domino and Little Richard. He always liked to paint and play piano.
He started playing the piano at age 12 and founded beat band The Moans in 1964, which would later become Long Tall Ernie and the Shakers. He also briefly played piano with Dutch premier blues band Cuby and the Blizzards, but was removed by management when the record company discovered he used drugs.
For a number of years in the late 1960, early 1970s Herman spent time in jail for dealing LSD, or moved abroad, while he had a number of short-term engagements with The Studs, the Flash & Dance Band, Vitesse.
In 1976, Brood started his own group, Herman Brood & His Wild Romance, (and started work with photographer Anton Corbijn) initially with Ferdi Karmelk on guitar, (Nina Hagen’s romantic partner and father of her daughter), Gerrit Veen (bass), Peter Walrecht (drums), and Ellen Piebes and Ria Ruiters (back vocals). They played the club and bar circuit, first in Groningen, In 1977 the band released their first album, Street.
The band now played all over the Netherlands, playing as many gigs as possible. And Herman’s drug habit became public domain: In 1977 for instance the Wild Romance played a gig in a high school in Almelo, the Christelijk Lyceum; during the break Brood was caught on the toilet taking heroin or speed (there are different reports on the type of drug, but it is a well-known story amongst former students), the rest of the concert was cancelled, and this also was the last time a rock concert took place at this school for many years.
They are still best known for their second album, Shpritsz—a play on the German word Spritze for syringe—from 1978. This album contained Brood anthems like “Dope Sucks,” “Rock & Roll Junkie,” and their first Dutch hit single, “Saturday Night.” The band went through many personnel changes over the years; the best-known formation was Freddy Cavalli (bass), Dany Lademacher (guitar) (later replaced with David Hollestelle), and Cees ‘Ani’ Meerman (drums). A frequent contributor was Bertus Borgers (saxophone).
At the time Brood’s outspoken statements in the press about sex and drug use brought him into the Dutch public arena even more than his music. He was romantically involved with the German singer Nina Hagen, with whom he appeared in the 1979 film Cha-Cha, also starring Lena Lovich. He is reputed to be the subject of Nina’s song “Herrmann Hiess Er” (English title “Herrmann Was His Name”) from the 1979 Unbehagen album, a song about a drug addict. Brood relished the media attention and became the most famous hard drug user in the Netherlands. “It is quite common for an artist to use drugs, but not for him to tell everybody. I admit that it scared me that my popularity could make people start using drugs,” he once said in an interview.
In the summer of 1979, Brood tried to enter the American market, where he toured as a support-act for The Kinks, The Cars, and Foreigner. A re-recorded version of “Saturday Night” peaked at number 35 in the Billboard Hot 100, but the big break Brood hoped for didn’t happen.
When he returned to the Netherlands in October 1979, his band had begun to fall apart, and soon his popularity went downhill. Go Nutz, the album Brood had recorded while in the States, and the movie Cha-Cha, which finally premiered in December 1979, were considered artistic failures, even though Go Nutz produced three charting singles in the Netherlands and the Cha Cha soundtrack attained platinum status. The 1980 album Wait a Minute… was a minor success, but the follow-up albums Modern Times Revive (1981) and Frisz & Sympatisz (1982) failed to make the Dutch album charts.
Brood continued to record throughout the 1980s and had a few hits—a top-10 single, “Als Je Wint” with Henny Vrienten, and a minor hit with a reggae song, “Tattoo Song,” but he spent more and more time on his art work. In 1986, he made his debute as a theatrical actor in the play called Kamikaze. 1988 proved to be another one of the most successful years in Brood’s career, featuring his appearance at the famous Pinkpop Festival, and the release of the very well-received Yada Yada (CBS – 1988), along with another hit single, Sleeping Bird. Yada Yada, produced by George Kooymans (lead guitarist for Golden Earring), was well-received, and he toured Germany with a renewed Wild Romance (which saw the return of Dany Lademacher).
In 1990, he won the BV Popprijs, one of the highest Dutch awards for popular music, and recorded Freeze with Clarence Clemons of the E Street Band and Tejano accordion player Flaco Jiménez. A live “best of” album, Saturday Night Live, appeared in 1992. His 50th birthday, in 1996, was celebrated with a show in Paradiso, Amsterdam, and the album (of duets) was released the same year.
Toward the end of his life, Brood vowed to abstain from most drugs, reducing his drug use to alcohol and a daily shot of speed (“2 grams per day”). In 2001, depressed by the failure of his drug rehabilitation program and facing serious medical problems because of his prolonged drug use – doctors had actually told him he had only months to live – he committed suicide on 11 July by spectacularly jumping from the roof of the Amsterdam Hilton Hotel at the age of 54. He left a note, stating “Party on… I’ll be seeing you.”
I hope that this isn’t your first introduction to this great artist.
If you are well aware of Mr. Brood’s whacky musical career, then I’m sure the songs below will bring back some very pleasant memories of a special time and place. If you don’t know him then I hope the music below will open your world up to a really special performer.
I first discovered Herman Brood in an article in The Trouser Press. A wonderful music magazine which I greatly miss. When the assigned journalist walked into the interview room, Herman was hiding behind the door. God knows what he thought was coming to get him. It was a fascinating piece. The previous night, Brood and one of his other musicians had been calculating how many cigarettes they had smoked and how many times they had shot heroin. It was a lot. (well over 10,000, if memory serves)
Who would not be intrigued by such an eccentric character? A short time later I had the album, “Go Nutz” clutched in my very curious hands. I don’t remember where I bought it (a flea market?) but when I got it home, it was not in the best of shape. I could only play the first two or three tracks on each side of the record. The rest of the vinyl was so warped that it made the needle bounce up and down. (remember those days, boys and girls?) But I didn’t need more that a few tracks to convince me that this Achterhoek Boomtown Rat was an original. (even thought this record was considered a bit of a commercial disappointment in his own country)
Herman was a musician, a junkie, an artist and a huge, huge personality. By the end of his life, he was making a lot more money from his paintings than from his music (which was still very popular). He had also limited his drug intake to one shot of speed a day. (plus as much booze as he wished to consume)
For about 25 years Mr. Brood and his Wild Romance would visit the charts in his home country. (mostly singing in English like a lot of European bands) The songs below will either grab you or they won’t. To me, they are the epitome of rock and roll. His anonymity in this country is just another indictment on the long list of America’s cultural war crimes.
The rock and roll epilogue:
A lot of musicians die lonely and sad deaths but Herman would have none of that. He was diagnosed with an inoperable brain tumor at 54. Who knows how any of us would react upon hearing that kind of news. With only a few months left to live, he trotted over to the Amsterdam Hilton and jumped off the roof.
There is a wonderful freedom in not giving a fuck and Herman had that in spades. He lived life on his terms and when life turned against him, he simply tipped his hat and said, “So long”. But he did leave us with some great music. I’ve still got that warped record and warm feeling in my heart for the man who made it.
So sit back, don’t give a fuck, and enjoy.
Soon after his suicide, Brood’s version of Paul Anka penned, Sinatra hit “My Way” spent three weeks as number one in the Dutch singles charts; the market value of his art work also increased greatly. A characteristic note is that Brood’s paintings were already targeted often by vandals during his life, while after his death they were stolen for their value. His popularity (or notoriety) was verified by the fact that his name turned out to be the strongest brand of the year 2001.
When U2 performed in the Netherlands three weeks after Brood’s suicide, they paid tribute to him at each of the three shows. They dedicated an acoustic version of Duke Ellington’s “Jump for Joy” to him, a song they never performed at any other time of their career. At the third show in Arnhem they also dedicated their own “Gone” to him and had his version of “My Way” played over the PA as outro music. In the middle of the show Bono delivered an emotional eulogy to Brood before the band performed “In a Little While”.
On 5 November 2006 the Groninger Museum opened an exposition devoted to Herman Brood’s life and work, comprising paintings, lyrics, and poetry, portraits by photographer Anton Corbijn, a collection of private pictures (from the family album), and concert photos and videos. The exhibition was on show until 28 January. It was centered on Herman’s atelier (studio) where he created most of his paintings. The atelier had been entirely re-built in the museum. During the 1990s, Herman Brood’s studio was located on the second floor of the gallery in the Spuistraat in Amsterdam and has remained untouched since his death.
In 2007 the film Wild Romance premiered in the Netherlands, a movie about Brood’s life. Brood was portrayed by Daniël Boissevain. He continues to inspire other artists: the 2007 album Bluefinger by Black Francis is based on the life and works of Brood. A tribute band called the Brood Roosters (“bread toasters”) was active in the Netherlands until they split up in early 2009. Another tribute band called Yada Yada is still active in the Netherlands, often appearing with original members of the Wild Romance (Dany Lademacher, Ramon Rambeaux) .
In 2010, the Catastrophic Theatre Company collaborated with Frank Black on a rock opera based on the Bluefinger album. The opera’s first performance, with Matt Kelly portraying Brood, was 12 November 2010 in Houston, Texas.
April 17, 1998 – Linda Louise, Lady McCartney was born Linda Eastman on September 24, 1941 in New York City. Prior to marrying Paul, she was a professional photographer of celebrities and contemporary musicians, with her work published in music industry magazines. Her photos were also published in the book, Linda McCartney’s Sixties: Portrait of an Era, in 1992.
Linda married McCartney in 1969 at St John’s Wood Church in London. Her daughter, Heather Louise, from her first marriage to Melville See, was adopted by her new husband. Together, the McCartneys had three other children.
After a priveliged upbringing in Scarsdale New York, she started work as a receptionist for the Town & Country magazine, and was the only unofficial photographer on board the SS Sea Panther yacht on the Hudson River, After which she became the house photographer at the Fillmore East concert hall, photographing artists such as Aretha Franklin, Grace Slick, Jimi Hendrix, Bob Dylan, Janis Joplin, Eric Clapton, Simon & Garfunkel, The Who, The Doors, The Animals, and Neil Young.
She photographed Clapton for Rolling Stone magazine, becoming the first woman to have a photo featured on the front cover May 11th 1968. She and Paul McCartney also appeared on the cover of Rolling Stone on January 31st 1974, making her the only person both to have taken a photo, and to have been photographed, for the front cover of the magazine. After the breakup of the Beatles in 1970, Paul taught Linda to play keyboards and recorded an album with her as a duo, on which she became the second accredited artist on Paul’s second post-Beatles LP, 1971’s “Ram”.
Paul permanently included Linda in the lineup for his subsequent group, Wings. The group won several Grammy Awards, becoming one of the most successful bands of the 1970s.
In 1977, a single entitled “Seaside Woman” was released by an obscure band called Suzy and the Red Stripes, on Epic Records in the US. In reality, Suzy and The Red Stripes were Wings, with Linda McCartney, who also wrote the song, on lead vocals.
She was a strong advocate for animal rights, and lent her support to many organizations like PETA; The Council for the Protection of Rural England, Friends of the Earth; and was a patron of the League Against Cruel SportMcCartney and her husband formed the band Wings after they married and following the break-up of the Beatles in 1970. In 1971 they both recorded the album, Ram. She was an animal rights activist and wrote and published several vegetarian cookbooks, and founded the Linda McCartney Foods company with her husband.
In 1995 she was diagnosed with breast cancer, and after a long battle, died on April 17, 1998 at the age of 56.