December 25, 2016 – George Michael was born Georgios Kyriacos Panayiotou in Finchley, North London, England on June 25, 1963. His father, was a Greek Cypriot restaurateur, who moved to England in the 1950s and his mother, was a dancer. Michael spent the majority of his childhood in Kingsbury, London, in the home his parents bought soon after his birth.
While he was in his early teens, the family moved to Radlett, Hertfordshire where he attended Bushey Meads School in the neighbouring town of Bushey, and where he also befriended his future Wham! partner Andrew Ridgeley. Continue reading George Michael 12/2016
December 24, 2016 – Rick Richard John Parfitt (Status Quo) was born in Woking, Surrey on 12 October 1948. His father was an insurance salesman “who was a drinker and a gambler” and his mother worked in cake shops. He described his upbringing as “wonderful”, and has described his childhood self as a “typical naughty boy”.
Parfitt first started to learn to play the guitar at the age of 11. He began playing a guitar when he was 11. In 1963 Parfitt was playing guitar and singing in The Feathers, a pub on Goodge Street in Camden, London, when his father was approached by an agent from Sunshine Holiday Camp on Hayling Island, who gave Parfitt a performing job. At the camp Parfitt joined Jean and Gloria Harrison, performing at the time as the double act The Harrison Twins, to form a cabaret trio called The Highlights.
Following the season, the Harrison Twins’ manager Joe Cohen—who had been one of the Keystone Cops—arranged for The Highlights to perform at Butlins in Minehead. It was at Butlins that Parfitt met future Status Quo partner Francis Rossi, who was playing with Alan Lancaster and John Coghlan in a band called The Spectres (soon to be renamed Traffic Jam) — a forerunner to Status Quo. After Parfitt became friends with the band, their manager Pat Barlow invited him to join the group as they needed another singer and, on leaving school at 15, got a job performing at Sunshine Holiday Camp in Hayling Island, Hampshire, earning £5 a week. Much of his new income went to his father however, who was a committed drinker and gambler.
“He was forever getting in trouble and coming to me crying,” Parfitt later recalled. “I probably ended up giving him a couple of thousand quid in total. Back then, that was a lot of money.”
His partnership with Francis Rossi became the core of Status Quo, one of Britain’s most enduring bands.
Their brand of boogie-woogie rock survived changes in musical fashion and made them one of the best-loved live acts of their generation.
In 1967, Traffic Jam changed their name to The Status Quo (they soon dropped the definite article and later still would often be known simply as ‘Quo’), beginning Parfitt’s almost 50-year career in the band. Early successes came with the Rossi-penned hit “Pictures of Matchstick Men“, which embraced the psychedelic movement of the time and went to number seven in the UK charts.
Their follow up, Black Veils of Melancholy, failed to chart but they did get to number eight with Ice in the Sun, written by Marty Wilde. The single became the group’s only Top 40 hit in the United States, peaking at number twelve on the Billboard Hot 100.
But the band became disillusioned with the direction they were taking and abandoned their flowery clothes, embraced denim and T-shirts and settled down to a more traditional style of rock.
Parfitt co-wrote two of the tracks on their breakthrough album, Piledriver, released on the Vertigo label in 1972.
In an interview in 2014, Parfitt said of the record. “You know what? I love every track on that album! I think All The Reasons is just such a beautiful song. I wrote that about my wife at the time.” Piledriver reached number 5 and spent a total of 37 weeks on the UK Albums Chart.
The album became the template for subsequent releases, with Parfitt receiving a number of writing credits.
Whatever You Want, co-written by Parfitt and Andy Bown, became one of the band’s biggest hits and a staple of their increasingly popular live shows.
The band’s more popular songs during the early 70s include “Paper Plane” (1972), “Caroline” (1973), “Down Down” (1975), “Rain” (1976), “Rockin’ All Over the World” (1977) and “Whatever You Want” (1979). “Down Down” topped the UK Singles Chart in January 1975, becoming their only UK number one single. In 1976, they signed a pioneering sponsorship deal with Levi’s.
The 1976 hit “Mystery Song“, co-written with Bob Young, was composed after Rossi had laced Parfitt’s tea with amphetamine sulphate during the sessions for the Blue for You album. Rossi later said: “He was playing the riff when we left the studio, and he was still playing it when we came back the next day!”
By the late seventies the rock musical landscape was changing, from prog to punk, and into the ’80s with the New Romantics. Inside the tent, Status Quo continued to play their 12-bar blues style maintaining an ever loyal fan base.
The band set off on a farewell tour in 1984 but decided to carry on after Bob Geldof persuaded them to open the Live Aid concert the following year. “God, I’m so pleased we did it now. Quo opening Live Aid, it was meant to be.”
Quo continued to be highly successful in Europe, Japan, Australia and New Zealand throughout the 1980s and 90s, and were the opening act for 1985’s Live Aid, and they continue to be successful in the present day. By February 2015 they had sold over 118 million records worldwide. With his flowing blonde locks, denim gear and Fender Telecaster, Rick Parfitt was one of rock’s most recognizable guitarists. As well as driving the Quo sound on stage, Parfitt penned and co-wrote many of the band’s biggest hits.
They also embraced the hedonistic rock lifestyle with gusto. Parfitt admitted spending £1,000 a week on cocaine and another £500 on vodka. His addictions, coupled with the tragic drowning of their two-year-old daughter, Heidi, led to the breakdown of his first marriage to Marietta Broker.
“It’s not buying the drugs that is the most expensive thing,” he later said. “It’s the divorce which taking drugs eventually leads to.”
He later married Patty Beedon, who had been his childhood sweetheart. The couple divorced and reunited again, before finally going their separate ways. It was an acrimonious separation, with Patty later describing him as “a selfish child who never grew up”.
Parfitt’s experience of paying millions in divorce settlements made him vow never to marry again, but he tied the knot again in 2006 with Lyndsay Whitburn, a fitness instructor.
Other band members came and went over the years but Parfitt remained, with Rossi, the definitive face of Status Quo. While Rossi officially remained the band’s frontman, the musical partners were hard to separate on stage. In contrast to the rows that are part of many rock bands, the two remained good friends throughout the decades. When Status Quo had embarked on what they hinted would be their final tour, Parfitt offered an explanation for the longevity of veteran rock bands. “Why do you think all these bands like the Stones and Deep Purple stay on the road? We’re having fun and I love being up there on stage. Once the lights go down and the crowds roar, something magical happens. All your aches and pains go.”
He added: “It would be weird to just stop because I would have nothing to do.”
He had a throat cancer scare in December 2005. He suffered a second heart attack in December 2011 and underwent surgery on the following day.
In 2010, Parfitt and Ross were awarded the OBE ( Officers of the Order of the British Empire) for services to music, posing together with their gongs after the investiture ceremony.
By this time Parfitt had suffered a number of health problems including undergoing quadruple heart by-pass surgery in 1997. He made a full recovery and was performing with the band within a matter of months.
Doctors warned the musician that he would have to leave behind his rock lifestyle, although he admitted at the time that he still enjoyed “the odd pint”.
In 2013 and 2014, Parfitt and Rossi reunited temporarily with original Quo bandmates Lancaster and Coghlan for a series of reunion concerts on what would be called the “Frantic Four” tour. On 1 August 2014, while on the European tour leg, Parfitt was hospitalized in Pula, Croatia, forcing the cancellation of six shows on the tour. He had suffered another heart attack while on his tour bus after performing a concert in Austria, and had a stent inserted. He later told the Daily Mail he was pleased to have suffered another heart attack as it had forced him to stop smoking and drinking after 50 years.
By 2014 he was living a relaxed life in Spain. “I haven’t smoked a joint for 27 years and I haven’t done any cocaine for 10 years. I just do normal stuff – the kids keep me busy and I go shopping with the missus.”
In April 2015, along with his wife Lyndsay and Julian Hall, Parfitt set up “Status Homes”, a real estate company based in Marbella, Spain.
On June 14, 2016, however, after playing with the band in Antalya, Turkey, he had another heart attack and was hospitalized. His management described his condition as serious. Parfitt was clinically dead for several minutes, resulting in mild cognitive impairments. The band announced that their ongoing tour would continue with Freddie Edwards, son of bassist John “Rhino” Edwards, as a temporary replacement. On 22 June it was announced that Parfitt had been flown home to the UK and was described as “comfortable” in hospital in London, where he was undergoing more tests. He had a defibrillator fitted into his chest.In September it was announced that he would not be well enough to tour in the autumn and he did not intend to tour with the band in future.
Parfitt died on December 24, 2016 in Marbella, Spain from septicaemia, after being admitted the previous day, following complications to a shoulder injury. He was 64.
In 1973, Parfitt married his first wife, Marietta Boeker, and in 1974 they had their first son, Richard, better known as sports car racer and musician Rick Parfitt Jr. The couple also had a daughter, Heidi, who drowned in the family pool at the age of 2.
This tragedy, combined with Parfitt’s cocaine habit, led to the couple divorcing, and Parfitt going on to marry his second wife and former girlfriend, Patty Beedon, in 1988. They had a son, Harry, in 1989. They divorced when Parfitt had an affair with Boeker, before reuniting in 2000.
Parfitt and Beedon split up again when he secretly became engaged to fitness instructor Lyndsay Whitburn, whom he married in 2006. The couple remained married for the remainder of Parfitt’s life, and had twins Tommy and Lily in 2008, although by the time of Parfitt’s death, the couple were apparently separated.
In July of 2017, Whitburn claimed that Parfitt’s death was mostly the result of medical negligence.
December 7, 2016 – Gregory Stuart “Greg” Lake was born on 10 November 1947 in Poole, Dorset near Bournemouth, England. Lake was given his first guitar at the age of 12 and took lessons from a local tutor called Don Strike.
first learned to play guitar at age 12. After 12 months of guitar lessons, Lake ended his tuition as he wished to learn songs by The Shadows but his instructor “wouldn’t have any of it.” After he left school, Lake worked as a draughtsman for a short period of time before he joined The Shame, where he is featured on their single “Don’t Go Away Little Girl”, written by Janis Ian. Lake then became a member of The Gods, which he described as “a very poor training college”.
In the 1960s, Lake formed a close friendship with guitarist Robert Fripp, who was also from Dorset and had shared the same guitar teacher. When Fripp formed King Crimson in 1969, he chose Lake to be the singer and bassist. Lake had been a regular guitarist for 11 years and this change marked Lake’s first time playing the instrument.
“I am both a bass guitarist and guitarist,” Greg explains. “A lot of the really good bass players also play guitar. McCartney and Sting for example both play guitar and I certainly grew up on it. But, because King Crimson didn’t need two guitarists, I took over playing the bass.”
In taking on the instrument, he also pioneered a new way of playing it. “I derived a great deal of enjoyment playing bass partly – I think – because I played it in a different way from most people at the time. The style I developed was a more percussive and more sustained approach, which almost certainly came from all my years on guitar. I was frustrated by the normal dull sound of bass guitars at the time and was searching for a more expressive sound. I discovered the key was to use the wire wound bass strings, which have far more sustain, rather like the low end of a Steinway Grand Piano. I think I was the first bass player to really use them in this way.” However, it was the acoustic guitar that provided the setting for the ballads ELP and Lake became famous for. Lake wrote and sang: “C’est La Vie,” “From the Beginning,” “Still…You Turn Me On,” “Watching Over You,” and “Lucky Man.” One of the most famous Christmas songs ever was penned by Greg Lake. “I Believe in Father Christmas” has been covered by artists ranging from classical to rock, among them Irish rockers U2, actress and singer Sarah Brightman, and Dream Theater’s Jordan Rudess. Greg has performed it with Jethro Tull’s Ian Anderson frequently as a fundraiser. Greg Lake composed ballads, he says, so he could play the guitar with ELP and still contribute the electric bass that paired so well with Emerson’s fiery keyboards and Palmer’s explosive drums.
Though Peter Sinfield was the band’s lyricist, Lake had some involvement in the lyrics for their debut album In the Court of the Crimson King. After their contracted producer Tony Clarke walked away from the project, Lake produced the album. Released in October 1969, the album an immediate commercial and critical success, as Lake recalled: “There was this huge wave of response. The audiences were really into us because we were an underground thing – the critics loved us because we offered something fresh”. He won worldwide acclaim as lead vocalist, bass guitarist and producer.
The album featured such songs as 21st Century Schizoid Man. The album set a standard for progressive rock and received a glowing, well-publicized testimonial from The Who’s Pete Townshend, who called it “an uncanny masterpiece”.
King Crimson supported In the Court of the Crimson King with a tour of the UK and the US, with some of the shows featuring prog-rock band The Nice as the opening act. During the US leg, Lake struck up a friendship with Nice keyboardist Keith Emerson and the two shared similar musical interests and talked about forming a new group.
When King Crimson returned to the UK in early 1970, Lake agreed to sing on the band’s second album, In the Wake of Poseidon, and appear on the music television show Top of the Pops with them, performing the song “Cat Food”.
After returning from the USA tour, founding member Mike Giles quit, but Lake stuck around long enough to sing on their second album, In the Wake of Poseidon, which was criticized for treading old ground, but refused to work with the band on the promotional tours.
He was approached by Keith Emerson to be the bass player and singer for his new band. Introduced to Atomic Rooster and The Crazy World of Arthur Brown drummer Carl Palmer, by Robert Stigwood, very soon thereafter they formed Emerson Lake and Palmer and made their live debut at the Guildhall in Plymouth in 1970 before giving a career-making performance at the Isle of Wight Festival. That special concert propelled them on their path to become one of the world’s first “super groups.”
The 1971 debut album, Emerson Lake and Palmer went platinum and underscored their Super Group status. It was produced by Lake and featured a song Greg had written while still in school: “Lucky Man.” “Lucky Man,” performed on acoustic guitar, would become an iconic song for the band and a popular classic on radio. The song has become synonymous with Greg Lake and the title was chosen as the title for Greg Lake’s 2012 autobiography.
Unusually, the band combined heavy rock riffs with a classical influence and created a unique live theatrical performance which stretched the imagination and enthralled audiences. In the next several years they scored hit albums with Pictures at an Exhibition (a full rock-ified version of Russian composer Modest Mussorgsky’s famous 1874 piano suite), Trilogy and Brain Salad Surgery – many of them produced by Lake himself. They were commercially successful in the UK with five albums charting in the Top 10, while Lake contributed acoustic and electric guitar work to Emerson Lake & Palmer, and his voice had a wider and more diverse range than anything The Nice had recorded.
Tarkus, released in 1971, featured an opening track inspired by the fictional Tarkus character – a half-tank, half-armadillo creature that would appear on stage at gigs – that lasted more than 20 minutes. Emerson and Lake conflicted between Emerson’s interest in complex, classically-influenced music and Lake’s more straightforward rock tastes. During the making of Tarkus, Lake initially rejected the title track, but was persuaded to record it following a band meeting with management, which ended in the addition of an original Lake tune, “Battlefield”, into the suite.
In 1975, while still a member of ELP, Lake achieved solo chart success when his single, “I Believe in Father Christmas”, reached number two on the UK Singles Chart. It has become a Yuletide perennial.
The band went on to enjoy chart success in 1977 with their version of Aaron Copland’s Fanfare for the Common Man.
ELP’s ambitious light shows and on-stage theatrics were the epitome of ’70s rock excess, and several punk acts cited ELP as one of the bands they were reacting against.
But the band sold more than 48 million records, and Lake continued to be an influential and popular touring musician even after the band wound down in the late 1970s and split in 1979, following the unsuccessful album Love Beach. The group reformed for a number of years in the mid-1990s before permanently disbanding, bar a one-off gig in 2010.
Lake briefly joined Asia in 1983, replacing fellow King Crimson alumnus John Wetton, along with Palmer, members of Yes and King Crimson—before joining with Emerson to form the slightly poppier ELP reboot Emerson, Lake and Powell (Cozy Powell on drums) in the late 80s, featuring the Hot 100 hit “Touch and Go.”
He also formed partnerships on stage, and off, in performances, writing, recording, and productions with musicians whose brilliance matches his own. Solo tours and recordings have been extremely successful as he continues to recreate hits, add to his vast repertoire and raise the bar for others in the industry. His collaborations are many and impressive: Sheila E; Ringo Starr (joining Ringo Starr’s All-Star Band to great acclaim and with great enjoyment); Led Zepplin’s Robert Plant; The Who’s Roger Daltrey (which led to a guest recording on a hit Who single); Procol Harum’s Gary Booker, and Gary Moore. Greg has joined his friend Ian Anderson onstage with Jethro Tull and performed with the Trans-Siberian Orchestra.
Greg also completed a successful and critically acclaimed tour in 2010. That tour was the foundation for the unique and inventive format which relies on audience participation. It preceded the reunion performance of Emerson Lake and Palmer as the headliners of the first and much celebrated and awarded High Voltage Festival.
2012 sees a reimagining and expansion of his intimate, interactive musical event format with his autobiographical tour, Songs of a Lifetime, full of drama, pathos, and humor. That show was inspired by the writing of Greg Lake’s greatly anticipated autobiography, Lucky Man. Available in both audio (read by the author) and hard cover formats, the book is not a recording of the show; it is completely different.
Greg Lake was a formidable producer in his own right. He was one of the driving forces behind the now legendary Manticore Records, which he says, was built “with the noble ideal of helping other progressive artists, music we thought worth supporting, that weren’t getting help from the majors.”
Lake’s inventive production shaped the best selling ELP albums and his solo work.
In 2005, Lake toured Germany and the United Kingdom with his “Greg Lake Band” which included David Arch, Florian Opahle, Trevor Barry on bass, and Brett Morgan. Lake performed “Karn Evil 9” with the Trans-Siberian Orchestra at several shows. He was a special guest on the album Night Castle (2009).
In July 2010, Lake joined Emerson and Palmer for what was to be the final live concert by Emerson, Lake and Palmer, at the High Voltage rock festival, in Victoria Park, London. The entire concert was later released as the double-CD live album, High Voltage, and subsequently on DVD and Blu-Ray.
Most recently Greg worked with arranger, composer and keyboard artist David Arch (whose vast credentials include scoring and playing now-classic movies including three Harry Potter films, Star Wars, Bridget Jones’ Diary and Notting Hill).
On 9 January 2016, he was awarded an honorary degree in music and lyrics composition by Conservatorio Nicolini in Piacenza, Italy, the first degree awarded by the conservatory.
Greg Lake passed on after a long and troubled fight with cancer on December 7, 2016. He was 69 years old.
“The greatest music is made for love, not for money,” Lake is quoted as saying on his official website. “The early ELP albums were pioneering because there is no standing still; time is always moving forward.” Greg says “There is a common thread throughout all the music. The forms may be different, but each one to some degree draws upon inspiration from the past. I am as proud to have been as influenced by people like Elvis and Little Richard as I am by composers like Copeland and Prokofiev and I’m honored when other musicians regard me as one of their inspirations.
“I love acoustic guitars. They’re delicate and light and yet at the same time are unbelievably powerful. They are really a strange instrument from that point of view, but there is something very special about them,” he explains. “You just have to look at some of the truly great songs written on acoustic guitar – “Scarborough Fair,” “Forever Young,” “Yesterday” – truly iconic songs that all came from a small piece of wood with thin steel strings tied to each end.” The acoustics worked perfectly with Lake’s “golden” voice, which Record Collector magazine calls “extraordinary, altering comfortably between angelic and magisterial.” Lake’s remarkable voice also powered ELP’s more electric pieces such as Karn Evil #9, one of the world’s most beloved songs. The opening line “Welcome back my friends to the show that never ends…” is an international favourite, globally used as a television theme. To date Emerson Lake and Palmer has sold over 48 million records. Lake produced Tarkus, Pictures at an Exhibition, Trilogy, Brain Salad Surgery, Works Vol. 1 and 2, and two different live albums. All went platinum and featured a series of hit singles , most written and all sung by Greg, who credits their success to his constant search for perfection and his heart.
“The greatest music is made for love, not for money. The early ELP albums were pioneering because there is no standing still; time is always moving forward.” It wasn’t just the albums, it was the performances. The band filled arenas and stadiums in record breaking numbers. They toured the world with an enormous assembly of technicians, musicians and artists to realize their spellbinding shows.
November 12, 2016 – Leon Russell was born Claude Russell Bridges in Lawton, Okla., on April 2, 1941. An injury to his upper vertebrae at birth caused a slight paralysis on his right side that would shape his music, since a delayed reaction time forced him to think ahead about what his right hand would play.
He started classical piano lessons when he was 4 years old, played baritone horn in his high school marching band and also learned trumpet. At 14 he started gigging in Oklahoma; since it was a dry state at the time, he could play clubs without being old enough to drink. Soon after he graduated from high school, Jerry Lee Lewis hired him and his band to back him on tour for two months.
He moved to Los Angeles in the late 1950s and found club work and then studio work; he also learned to play guitar. Calling himself Leon Russell — the name Leon came from a friend who lent him an ID so he could play California club dates while underage — he drew on both his classical training and his Southern roots, playing everything from standards to surf-rock, from million-sellers to pop throwaways. He was glimpsed on television as a member of the house band for the prime-time rock show “Shindig!,” the Shindogs, in the mid-1960s.
In 1967, he built a home studio and began working with the guitarist Marc Benno as the Asylum Choir, which released its debut album in 1968. He also started a record label, Shelter, in 1969 with producer Denny Cordell. Russell drew more recognition as a co-producer, arranger and musician on Joe Cocker’s second album, “Joe Cocker!,” which included Russell’s song “Delta Lady.”
By the time Mr. Russell released his first solo album in 1970, he had already played on hundreds of songs as one of the top studio musicians in Los Angeles. Mr. Russell was in Phil Spector’s Wall of Sound Orchestra, and he played sessions for Frank Sinatra, Sam Cooke, Aretha Franklin, the Ventures and the Monkees, among many others. He is heard on “Mr. Tambourine Man” by the Byrds, “A Taste of Honey” by Herb Alpert, “Live With Me” by the Rolling Stones and all of the Beach Boys’ early albums, including “Pet Sounds.”
When Joe Cocker’s Grease Band fell apart days before an American tour, Russell assembled the big, boisterous band — including three drummers and a 10-member choir — that was named Mad Dogs & Englishmen. Its 1970 double live album and a tour film became a showcase for Russell as well as Cocker; the album reached No. 2 on the Billboard album chart. Russell also released his first solo album in 1970; it included “A Song for You” and had studio appearances from Joe Cocker, Eric Clapton, two ex-Beatles and three Rolling Stones. But Russell’s second album, “Leon Russell and the Shelter People,” fared better commercially; it reached No. 17 on the Billboard chart.
With a top hat on his head, hair well past his shoulders, a long beard, an Oklahoma drawl in his voice and his fingers splashing two-fisted barrelhouse piano chords, Russell had his widest visibility as the 1970s began. His songs also became hits for others, among them “Superstar” (written with Bonnie Bramlett) for the Carpenters, “Delta Lady” for Joe Cocker and “This Masquerade” for George Benson. More than 100 acts have recorded “A Song for You,” a song Mr. Russell said he wrote in 10 minutes.He played the 1971 Concert for Bangladesh at Madison Square Garden with George Harrison and Bob Dylan; he produced and played on Dylan’s songs “When I Paint My Masterpiece” and “Watching the River Flow.” He toured with the Rolling Stones and with his own band. His third album, “Carney,” went to No. 2 with the hit “Tight Rope.” In 1973 his “Leon Live” album reached the Top 10; he also recorded his first album of country songs under the pseudonym Hank Wilson. The fledgling Gap Band, also from Oklahoma, backed Russell in 1974 on his album “Stop All That Jazz.” His 1975 album “Will O’ the Wisp” included what would be his last Top 20 pop hit, “Lady Blue.”
But he continued to work. He made duet albums with his wife at the time, Mary Russell (formerly Mary McCreary). And he collaborated with Willie Nelson for a double LP in 1979 of pop and country standards, “One for the Road,” which sold half a million copies.
The music Leon Russell made on his own, put a scruffy, casual surface on rich musical hybrids, interweaving soul, country, blues, jazz, gospel, pop and classical music. Like Willie Nelson, who would collaborate with him, and Ray Charles, whose 1993 recording of “A Song for You” won a Grammy Award, Russell made a broad, sophisticated palette of American music sound down-home and natural.
In 1979 Mr. Russell married Janet Lee Constantine, who gave him six children: Blue, Teddy Jack, Tina Rose, Sugaree, Honey and Coco. For the next decades, Mr. Russell delved into various idioms, mostly recording for independent labels. He toured and recorded with the New Grass Revival, adding his piano and voice to their string-band lineup. He made more country albums as Hank Wilson. He recorded blues, Christmas songs, gospel songs and instrumentals. In 1992 songwriter and pianist Bruce Hornsby, who had long cited Russell’s influence, sought to rejuvenate Russell’s rock career by producing the album “Anything Can Happen,” but it drew little notice. Mr. Russell continued to tour for die-hard fans who called themselves Leon Lifers.
A call in 2009 from Elton John, whom Russell had supported in the early 1970s, led to the making of “The Union” — which also had guest appearances by Neil Young and Brian Wilson — and a 10-date tour together in 2010. Russell also sat in on Mr. Costello’s 2010 album, “National Ransom.” Then Russell, who had bought a new bus, returned to the road on his own.
He was inducted into the Rock and Roll Hall of Fame in 2011. At the ceremony, Elton John called him “the master of space and time” and added, “He sang, he wrote and he played just how I wanted to do it.”
His website announced on November 13 in the early morning hours that Leon Russell has passed on in his sleep. Russell had significant health difficulties over the past five years. In 2010, he underwent surgery for a brain fluid leak and was treated for heart failure. In July of this year, he suffered a heart attack and was scheduled for further surgery.
November 7, 2016 – Leonard Norman Cohen was born in Montreal, Quebec, Canada on September 21, 1934 and raised in the English-speaking Westmount area. His father, who had a clothing store passed away when Leonard was 9.
In high school he was involved with the student council and studied music and poetry. He became especially interested in the poetry of Federico García Lorca, after whom he named his daughter (Lorca) with artist/photographer Suzanne Elrod.
Even though poetry and writing were his first interests, he learned to play the guitar as a teenager and formed a country–folk group called The Buckskin Boys. Although he initially played a regular acoustic guitar, he soon switched to playing a classical guitar after meeting a young Spanish flamenco guitar player who taught him “a few chords and some flamenco.”
In High School he was involved with the student council and studied music and poetry. He became especially interested in the poetry of Federico García Lorca. As a teenager, he learned to play the guitar and formed a country–folk group called The Buckskin Boys. Although he initially played a regular acoustic guitar, he soon switched to playing a classical guitar after meeting a young Spanish flamenco guitar player who taught him “a few chords and some flamenco.”
His first published book of poetry, Let Us Compare Mythologies (1956), was published by Dudek as the first book in the McGill Poetry Series the year after Cohen’s graduation. The book contained poems written largely when Cohen was between the ages of 15 and 20, and Cohen dedicated the book to his late father.
After completing his undergraduate degree, Cohen spent a term in McGill’s law school and then a year (1956–57) at the School of General Studies at Columbia University in New York. Cohen described his graduate school experience as “passion without flesh, love without climax.” Consequently, Cohen left New York and returned to Montreal in 1957, working various odd jobs and focusing on the writing of fiction and poetry, including the poems for his next book, The Spice-Box of Earth (1961), which was the first book that Cohen published through the Canadian publishing company McClelland & Stewart.
His father’s will provided him with a modest trust income, sufficient to allow him to pursue his literary ambitions for the time, and The Spice-Box of Earth was successful in helping to expand the audience for Cohen’s poetry, helping him reach out to the poetry scene in Canada, outside the confines of McGill University. The book also helped Cohen gain critical recognition as an important new voice in Canadian poetry. One of Cohen’s biographers, Ira Nadel, stated that “reaction to the finished book was enthusiastic and admiring…. The critic Robert Weaver found it powerful and declared that Cohen was ‘probably the best young poet in English Canada right now.'”
Cohen continued to write poetry and fiction throughout much of the 1960s and preferred to live in quasi-reclusive circumstances after he bought a house on Hydra, a Greek island in the Saronic Gulf, with a thriving Bohemian expat community of writers, musicians and artists. While living and writing on Hydra, Cohen published the poetry collection Flowers for Hitler (1964), and the novels The Favorite Game (1963) and Beautiful Losers (1966). His novel The Favorite Game was an autobiographical bildungs (development)roman about a young man who discovers his identity through writing. Beautiful Losers received a good deal of attention from the Canadian press and stirred up controversy because of a number of sexually graphic passages. In 1966 Cohen also published Parasites of Heaven, a book of poems. Both Beautiful Losers and Parasites of Heaven received mixed reviews and sold few copies. Yet at this time Cohen’s life turned massively after meeting and falling in love with Norwegian muse Marianne Ihlen on the island of Hydra, the immortal source of his famous song “So Long Marianne.”
In 1967, disappointed with his lack of financial success as a writer, Cohen moved to the small town of Leiper’s Fork, just south of Nashville Tennessee to pursue a career as a folk music singer–songwriter. Subsequently, Cohen published less, with major gaps, concentrating more on recording songs. During the mid 1960s, he was a fringe figure in Andy Warhol’s “Factory” crowd. Warhol speculated that Cohen had spent time listening to Nico and Velvet Underground in clubs around New York and that this had influenced his musical style. His song “Suzanne” – with slight reflections of a friend’s ex-wife Suzanne Verdal, became a hit for Judy Collins (who subsequently covered a number of Cohen’s other songs, as well), and was for many years his most covered song. Cohen has stated in later years that he was duped into giving up the rights for the song, but was glad it happened, as it would be wrong to write a song that was so well-loved and to get rich for it also.
His first album in 1967, the self titled “Songs of Leonard Cohen” became a worldwide hit and turned him into an instant “rockstar”. The album became a cult favorite in the U.S., as well as in the UK and Western Europe, where it spent over a year on the album charts. Several of the songs on that first album were covered by other popular folk artists, including James Taylor and Judy Collins. Both the first and the second album had songs written on the island of Hydra and inspired by his love for Marianne Ihlen. (So Long Marianne, Bird on a Wire etc.)
Cohen became one of the most fascinating and enigmatic — if not the most successful — singer/songwriters of the late ’60s, who retained an global audience across six decades of music-making, interrupted by various digressions into personal and creative exploration, all of which have only added to the mystique surrounding him. If at all, second only to Bob Dylan and forming a triumvirate of Hebrew children with Paul Simon, he commanded the attention of critics and younger musicians more firmly than any other musical figure from the ’60s who was still working in the 21st century, all the more remarkable an achievement for someone who didn’t even aspire to a musical career until he was in his thirties.
Cohen was born a year before Elvis Presley, and his background — personal, social, and intellectual — couldn’t have been more different from those of the rock or folk stars of any generation. Though he knew some country music and played it a bit as a boy, he didn’t start performing on even a semi-regular basis, much less recording, until after he had already written several books — and as an established novelist and poet, his literary accomplishments far exceed those of Bob Dylan or most anyone else who one cares to mention in music.
It was his mother who encouraged Cohen as a writer, especially of poetry, during his childhood. This fit in with the progressive intellectual environment in which he was raised, which allowed him free inquiry into a vast range of pursuits. His relationship to music was more tentative. He took up the guitar at age 13, initially as a way to impress a girl, but was good enough to play country & western songs at local cafés, and he subsequently formed a group called the Buckskin Boys. At 17, he enrolled in McGill University as an English major. By this time, he was writing poetry in earnest and became part of the university’s tiny underground “bohemian” community. Cohen only earned average grades, but was good enough as a writer to earn the McNaughton Prize in creative writing by the time he graduated in 1955. A year later, the ink barely dry on his degree, he published his first book of poetry, Let Us Compare Mythologies (1956), which got great reviews but didn’t sell especially well.
He was already beyond the age that rock & roll was aimed at. Bob Dylan, by contrast, was still Robert Zimmerman, still in his teens, and young enough to become a devotee of Buddy Holly when the latter emerged. So was Paul Simon. In 1961, Cohen published his second book of poetry, The Spice Box of Earth, which became an international success, critically and commercially, and established Cohen as a major new literary figure. Meanwhile, he tried to join the family business and spent some time at Columbia University in New York, writing all the time.
Between the modest royalties from sales of his second book, literary grants from the Canadian government, and a family legacy, he was able to live comfortably and travel around the world, partaking of much of what it had to offer — including some use of LSD when it was still legal — and ultimately settling for an extended period in Greece, on the isle of Hydra in the Aegean Sea. He continued to publish, issuing a pair of novels, The Favorite Game (1963) and Beautiful Losers (1966), with a pair of poetry collections, Flowers for Hitler (1964) and Parasites of Heaven (1966). The Favorite Game was a very personal work about his early life in Montreal, but it was Beautiful Losers that proved another breakthrough, earning the kind of reviews that authors dare not even hope for. (Cohen found himself compared to James Joyce in the pages of The Boston Globe, and across the years, the book has enjoyed sales totaling well into six figures.)
It was around this time that he also started writing music again, songs being a natural extension of his poetry. His relative isolation on Hydra, coupled with his highly mobile lifestyle when he left the island, his own natural iconoclastic nature, and the fact that he’d avoided being overwhelmed (or even touched too seriously) by the currents running through popular music since the ’40s, combined to give Cohen a unique voice as a composer.
Though he did settle in Leiper’s Fork south of Nashville for a short time in the mid-’60s, he didn’t write quite like anyone else in the country music mecca or anywhere else. This might have been an impediment, but for the intervention of Judy Collins, a folksinger who had just moved to the front rank of that field. Collins had a voice just special enough to move her beyond the relatively emaciated ranks of remaining popular folk performers after Dylan shifted to electric music; she was still getting heard, and not just by the purists left behind in Dylan’s wake.
She added Cohen’s “Suzanne” to her repertoire and put it on her album In My Life, a record that was controversial enough in folk circles (because of her cover of the Beatles song that gave the LP its title) to pull in a lot of listeners and get a wide airing. The LP’s “Suzanne” received a considerable amount of radio airplay, and Cohen was also represented on the album by “Dress Rehearsal Rag.”
Songs of Leonard Cohen
It was Collins who persuaded Cohen to return to performing for the first time since his teens. He made his debut during the summer of 1967 at the Newport Folk Festival, followed by a pair of sold-out concerts in New York City and an appearance singing his songs and reciting his poems on the CBS network television show Camera Three, in a show entitled “Ladies and Gentlemen, Mr. Leonard Cohen.” It was around the same time that actor/singer Noel Harrison brought “Suzanne” onto the pop charts with a recording of his own. One of those who saw Cohen perform at Newport was John Hammond, Sr., the legendary producer whose career went back to the ’30s and the likes of Billie Holiday, Benny Goodman, and Count Basie, and extended up through Bob Dylan and, ultimately, to Bruce Springsteen. Hammond got Cohen signed to Columbia Records and he created The Songs of Leonard Cohen, which was released just before Christmas of 1967.
Producer John Simon was able to find a restrained yet appealing approach to recording Cohen’s voice, which might have been described as an appealingly sensitive near-monotone; yet that voice was perfectly suited to the material at hand, all of which, written in a very personal language, seemed drenched in downbeat images and a spirit of discovery as a path to unsettling revelation. Someone called it: Music to slit your wrist by.
Despite its spare production and melancholy subject matter — or, very possibly because of it — the album was an immediate hit by the standards of the folk music world and the budding singer/songwriter community. In an era in which millions of listeners hung on the next albums of Bob Dylan and Simon & Garfunkel — whose own latest album had ended with a minor-key rendition of “Silent Night” set against a radio news account of the death of Lenny Bruce – Cohen’s music quickly found a small but dedicated following. College students by the thousands bought it; in its second year of release, the record sold over 100,000 copies. The Songs of Leonard Cohen was as close as Cohen ever got to mass audience success.
Amid all of this sudden musical activity, he lightly neglected his other writing — but in 1968, he released a new volume, Selected Poems: 1956-1968, which included both old and newly published work, and earned him the Governor General’s Award, Canada’s highest literary honor, which he proceeded to decline. By this time, he was actually almost more a part of the rock scene, residing for a time in New York’s Chelsea Hotel, where his neighbors included Janis Joplin and other performing luminaries, some of whom influenced his songs very directly.
Songs from a Room
His next album, Songs from a Room (1969), entirely composed while in Leiper’s Fork, was characterized by an even greater spirit of melancholy — even the relatively spirited “A Bunch of Lonesome Heroes” was steeped in such depressing sensibilities, and the one song not written by Cohen, “The Partisan,” was a grim narrative about the reasons for and consequences of resistance to tyranny that included lines like “She died without a whisper” and included images of wind blowing past graves. Joan Baez subsequently recorded the song, and in her hands it was a bit more upbeat and inspiring to the listener; Cohen’s rendition made it much more difficult to get past the costs presented by the singer’s persona. On the other hand, “Seems So Long Ago, Nancy,” although as downbeat as anything else here, did present Cohen in his most expressive and commercial voice, a nasal but affecting and finely nuanced performance.
In all, however, Songs from a Room was less well-received commercially and critically. Nashville star producer Bob Johnston’s restrained, almost minimalist production made it less overtly appealing than the subtly commercial trappings of his debut, though the album did have a pair of tracks, “Bird on the Wire” and “The Story of Isaac,” that became standards rivaling “Suzanne.” “The Story of Isaac,” a musical parable woven around biblical imagery about Vietnam, was one of the most savage and piercing songs to come out of the antiwar movement, and showed a level of sophistication in its music and lyrics that put it in a whole separate realm of composition; it received an even better airing on the Live Songs album, in a performance recorded in Berlin during 1972.
Cohen may not have been a widely popular performer or recording artist, but his unique voice and sound, and the power of his writing and its influence, helped give him gain entry to the front rank of rock performers, an odd status for the then 35-year-old author/composer. He appeared at the 1970 Isle of Wight festival in England, a post-Woodstock gathering of stars and superstars, including late appearances by such soon-to-die-or-disband legends as Jimi Hendrix and the Doors. Looking nearly as awkward as his fellow Canadian Joni Mitchell, Cohen strummed his acoustic guitar backed by a pair of female singers in front of an audience of 600,000 (“It’s a large nation, but still weak”), comprised in equal portions of fans, freaks, and belligerent gatecrashers, but the mere fact that he was there — sandwiched somewhere between Miles Davis and Emerson, Lake & Palmer — was a clear statement of the status (if not the popular success) he’d achieved.
(Cohen’s performance of “Suzanne” was one of the highlights of Murray Lerner’s long-delayed 1996 documentary Message to Love: The Isle of Wight Festival, and his full set was reissued in 2009, both on audio and video formats.)
Already, he had carved out a unique place for himself in music, as much author as performer and recording artist, letting his songs develop and evolve across years — his distinctly non-commercial voice became part of his appeal to the audience he found, giving him a unique corner of the music audience comprising listeners descended from the same people who had embraced Bob Dylan’s early work before he’d become a mass-media phenomenon in 1964. In a sense, Cohen embodied a phenomenon vaguely similar to what Dylan enjoyed before his early-’70s tour with the Band — people bought his albums by the tens and, occasionally, hundreds of thousands, but seemed to hear him in uniquely personal terms. He earned his audience seemingly one listener at a time, by word of mouth more than by the radio, which, in any case (especially on the AM dial), was mostly friendly to covers of Cohen’s songs by other artists.
Songs of Love and Hate
Cohen’s third album, Songs of Love and Hate (1971), was one of his most powerful works, brimming with piercing lyrics and music as poignantly affecting as it was minimalist in its approach — arranger Paul Buckmaster’s work on strings was peculiarly muted, and the children’s chorus that showed up on “Last Year’s Man” was spare in its presence. Balancing them was Cohen’s most effective vocalizing to date, brilliantly expressive around such acclaimed songs as “Joan of Arc,” “Dress Rehearsal Rag” (which had been recorded by Judy Collins five years before), and “Famous Blue Raincoat.” The bleakness of the tone and subject matter ensured that he would never become a “pop” performer; even the beat-driven “Diamonds in the Mine” — catchy children’s chorus accompaniment and all, with a twangy electric guitar accompaniment to boot — was as dark and venomous a song as Columbia Records put out in 1971. And the most compelling moments — among an embarrassment of riches — came on lyrics like “Now the flames they followed Joan of Arc/As she came riding through the dark/No moon to keep her armor bright/No man to get her through this night…”
Teenagers of the late ’60s (or any era that followed) listening devotedly to Leonard Cohen might have worried their parents, but could well have been the smartest or most sensitive kids in their class and the most well-balanced emotionally — if they weren’t depressed — but also effectively well on their way out of being teenagers, and probably too advanced for their peers and maybe most of their teachers (except maybe the ones listening to Cohen). Songs of Love and Hate, coupled with the earlier hit versions of “Suzanne,” etc., earned Cohen a large international cult following. He also found himself in demand in the world of commercial filmmaking, as director Robert Altman used his music in his 1971 feature film McCabe and Mrs. Miller, starring Warren Beatty and Julie Christie, a revisionist period film set at the turn of the 19th century that was savaged by the critics (and, by some accounts, sabotaged by its own studio) but went on to become one of the director’s best-loved movies. The following year, he also published a new poetry collection, The Energy of Slaves.
As was his wont, Cohen spent years between albums, and in 1973 he seemed to take stock of himself as a performer by issuing Leonard Cohen: Live Songs. Not a conventional live album, it was a compendium of performances from various venues across several years and focused on highlights of his output from 1969 onward. It showcased his writing as much as his performing, but also gave a good account of his appeal to his most serious fans — those still uncertain of where they stood in relation to his music who could get past the epic-length “Please Don’t Pass Me By” knew for certain they were ready to “join” the inner circle of his legion of devotees after that, while others who only appreciated “Bird on the Wire” or “The Story of Isaac” could stay comfortably in an outer ring.
New Skin for the Old Ceremony
Meanwhile, in 1973, his music became the basis for a theatrical production called Sisters of Mercy, conceived by Gene Lesser and loosely based on Cohen’s life, or at least a fantasy version of his life. A three-year lag ensued between Songs of Love and Hate and Cohen’s next album, and most critics and fans just assumed he’d hit a dry spell with the live album covering the gap. He was busy concertizing, however, in the United States and Europe during 1971 and 1972, and extending his appearances into Israel during the 1973 Yom Kippur War. It was during this period that he also began working with pianist and arranger John Lissauer, whom he engaged as producer of his next album, New Skin for the Old Ceremony (1974). That album seemed to justify his fans’ continued faith in his work, presenting Cohen in a more lavish musical environment. He proved capable of holding his own in a pop environment, even if the songs were mostly still depressing and bleak.
Greatest Hits The following year, Columbia Records released The Best of Leonard Cohen, featuring a dozen of his best-known songs — principally hits in the hands of other performers — from his previous four LPs (though it left out “Dress Rehearsal Rag”). It was also during the mid-’70s that Cohen first crossed paths professionally with Jennifer Warnes, appearing on the same bill with the singer at numerous shows, which would lead to a series of key collaborations in the ensuing decade. By this time, he was a somewhat less mysterious persona, having toured extensively and gotten considerable exposure — among many other attributes, Cohen became known for his uncanny attractiveness to women, which seemed to go hand in glove with the romantic subjects of most of his songs.
Death of a Ladies’ Man
In 1977, Cohen reappeared with the ironically titled Death of a Ladies’ Man, the most controversial album of his career, produced by Phil Spector. The notion of pairing Spector — known variously as a Svengali-like presence to his female singers and artists and the most unrepentant (and often justified) over-producer in the field of pop music — with Cohen must have seemed like a good one to someone at some point, but apparently Cohen himself had misgivings about many of the resulting tracks that Spector never addressed, having mixed the record completely on his own. The resulting LP suffered from the worst attributes of Cohen’s and Spector’s work, overly dense and self-consciously imposing in its sound, and virtually bathing the listener in Cohen’s depressive persona, but showing his limited vocal abilities to disadvantage, owing to Spector’s use of “scratch” (i.e. guide) vocals and his unwillingness to permit the artist to redo some of his weaker moments on those takes.
For the first (and only) time in Cohen’s career, his near-monotone delivery of this period wasn’t a positive attribute. Cohen’s unhappiness with the album was widely known among fans, who mostly bought it with that caveat in mind, so it didn’t harm his reputation. A year after its release, Cohen also published a new literary collection using the slightly different title Death of a Lady’s Man, as his relationship with the mother of his two children came to an end.
Cohen’s next album, Recent Songs (1979), returned him to the spare settings of his early-’70s work and showed his singing to some of its best advantage. Working with veteran producer Henry Lewy (best known for his work with Joni Mitchell), the album showed Cohen’s singing as attractive and expressive in its quiet way, and songs such as “The Guests” seeming downright pretty. He still wrote about life and love, and especially relationships, in stark terms, but he almost seemed to be moving into a pop mode on numbers such as “Humbled in Love.” Frank Sinatra never needed to look over his shoulder at Cohen (at least, as a singer), but he did seem to be trying for a slicker pop sound at moments on his record.
Then came 1984, and two key new works in Cohen’s output — the poetic/religious volume The Book of Mercy and the album Various Positions (1984). The latter, recorded with Jennifer Warnes, is arguably his most accessible album of his entire career up to that time — Cohen’s voice, now a peculiarly expressive baritone instrument, found a beautiful pairing with Warnes, and the songs were as fine as ever, steeped in spirituality and sexuality, with “Dance Me to the End of Love” a killer opener: a wry, doom-laden yet impassioned pop-style ballad that is impossible to forget. Those efforts overlapped with some ventures by the composer/singer into other creative realms, including an award-winning short film that he wrote, directed, and scored, entitled I Am a Hotel, and the score for the 1985 conceptual film Night Magic, which earned a Juno Award in Canada for Best Movie Score.
I’m Your Man
Sad to say, Various Positions went relatively unnoticed, and was followed by another extended sabbatical from recording, which ended with I’m Your Man (1988). But during his hiatus, Jennifer Warnes had released her album of Cohen-authored material, entitled Famous Blue Raincoat, which had sold extremely well and introduced Cohen to a new generation of listeners. So when I’m Your Man did appear, with its electronic production (albeit still rather spare) and songs that added humor (albeit dark humor) to his mix of pessimistic and poetic conceits, the result was his best-selling record in more than a decade. The result, in 1991, was the release of I’m Your Fan: The Songs of Leonard Cohen, a CD of recordings of his songs by the likes of R.E.M., the Pixies, Nick Cave & the Bad Seeds, and John Cale, which put Cohen as a songwriter pushing age 60 right back on center stage for the ’90s.
He rose to the occasion, releasing The Future, an album that dwelled on the many threats facing mankind in the coming years and decades, a year later. Not the stuff of pop charts or MTV heavy rotation, it attracted Cohen’s usual coterie of fans, and enough press interest as well as sufficient sales, to justify the release in 1994 of his second concert album, Cohen Live, derived from his two most recent tours. A year later came another tribute album, Tower of Song, featuring Cohen’s songs as interpreted by Billy Joel, Willie Nelson, et al.
Ten New Songs
In the midst of all of this new activity surrounding his writing and compositions, Cohen embarked on a new phase of his life. Religious concerns were never too far from his thinking and work, even when he was making a name for himself writing songs about love, and he had focused even more on this side of life since Various Positions. He spent time at the Mt. Baldy Zen Center, a Buddhist retreat in California, and eventually became a full-time resident, and a Buddhist monk in the late ’90s. When he re-emerged in 1999, Cohen had many dozens of new compositions in hand, songs and poems alike. His new collaborations were with singer/songwriter/musician Sharon Robinson, who also ended up producing the resulting album, Ten New Songs (2001) — there also emerged during this period a release called Field Commander Cohen: Tour of 1979, comprised of live recordings from his tour of 22 years before.
In 2004, the year he turned 70, Cohen released one of the most controversial albums of his career, Dear Heather. It revealed his voice anew, in this phase of his career, as a deep baritone more limited in range than on any previous recording, but it overcame this change in vocal timbre by facing it head-on, just as Cohen had done with his singing throughout his career. It also contained a number of songs for which Cohen wrote music but not lyrics, a decided change of pace for a man who’d started out as a poet. And it was as personal a record as Cohen had ever issued. His return to recording was one of the more positive aspects of Cohen’s resumption of his music activities.
On another side, in 2005, he filed suit against his longtime business manager and his financial advisor over the alleged theft of more than five million dollars, at least some of which took place during his years at the Buddhist retreat.
Live in London
Five decades after he emerged as a public literary figure and then a performer, Cohen remained one of the most compelling and enigmatic musical figures of his era, and one of the very few of that era who commands as much respect and attention, and probably as large an audience, in the 21st century as he did in the ’60s. As much as any survivor of that decade, Cohen has held onto his original audience and has seen it grow across generations, in keeping with a body of music that is truly timeless and ageless.
In 2006, his enduring influence seemed to be acknowledged in Lions Gate Films’ release of Leonard Cohen: I’m Your Man, director Lian Lunson’s concert/portrait of Cohen and his work and career. A performance set, Live in London, was released in 2009.
In 2010, the combined video and audio package Songs from the Road was issued, documenting his 2008 world tour (which actually lasted until late 2010), revisiting songs from each part of his career. The tour covered 84 dates and sold over 700,000 tickets worldwide.
Cohen didn’t rest long, however: in early 2011 he began to craft what would become Old Ideas, his first album of new material in seven years. The sessions took place with producers Ed Sanders (renowned poet and leader of the Fugs), Patrick Leonard, Cohen’s saxophonist Dino Soldo, and his partner, singer and songwriter Anjani Thomas. Old Ideas contained ten new songs dealing with spirituality, mortality, sexuality, loss, and acceptance, similar in sound and texture to Dear Heather. The tracks “Lullaby” and “Darkness” were staples of the world tour, while the cut “Show Me the Place” was pre-released in late 2011. Old Ideas was released at the end of January 2012. It became a tremendous success, debuting inside the Top Five in the U.S. and U.K., as well as reaching number one in Canada. Cohen’s success in Europe was more impressive; Old Ideas reached number one in almost ten countries.
After yet another world tour that brought him universal accolades, Cohen, uncharacteristically, returned quickly to the studio with producer (and co-writer) Patrick Leonard, emerging with nine new songs, at least one of which — “Born in Chains” — had origins that dated back 40 years. Popular Problems was released in September of 2014 to positive reviews and chart success. (Just like its predecessor, it hit number one across Europe as well as Canada.) The album includes “A Street”, which he had previously recited in 2006, during promotion of his book of poetry Book of Longing, and later printed twice, as “A Street” in 2 March 2009 issue of The New Yorker magazine and appeared as “Party’s Over” in Everyman’s Library edition of Poems and Songs in 2011. Cohen continued to tour internationally with impressive vigor, and in December 2014 he released Live in Dublin, his third live album since returning to the road. The album had been recorded in September 2013, during a concert at Dublin’s O2 Arena, and a high-definition video release appeared in tandem with the audio edition. Yet another concert document, Can’t Forget: A Souvenir of the Grand Tour, appeared in May 2015, with the album drawn from live takes as well as pre-show rehearsals at soundchecks.
Cohen went right back to work on new material. On September 21 2016, his 82nd birthday, he released “You Want It Darker” — the eerie, mortality-drenched title track of a new studio album — to the internet. The full-length, produced by his son Adam Cohen, was issued on October 21, 2016. Two weeks later Leonard Cohen passed away.
This cherished poet of my youth and teenage years died on 7 November 2016 at the age of 82 at his home in Los Angeles. His death was not announced until 10 November, the day he was laid to rest in Montreal Canada. Cohen was survived by his two children Adam and Lorca and three grandchildren.
According to his manager, Cohen’s death was the result of a fall at his home on the night of November 7, and he subsequently died in his sleep.
His son Adam stated, “My father passed away peacefully at his home in Los Angeles with the knowledge that he had completed what he felt was one of his greatest records ‘You Want It Darker’. He was writing up until his last moments with his unique brand of humor.”
His paramour Marianne Ihlen, immortalized in “So Long Marianne” and Bird on a Wire” had died earlier in 2016 on July 28. In an email letter he wrote to her 2 days before her passing, he said prophetically: “Know that I am so close behind you that if you stretch out your hand, I think you can reach mine.”
While the email was read to her Marianna in comatose state stretched her hand out. It appears that she reached for Leonard’s hand and they are now reunited in Hydra.
“I see no disenchantment in Leonard’s lyrics at all,” Bob Dylan told The New Yorker earlier this year. “There’s always a direct sentiment, as if he’s holding a conversation and telling you something, him doing all the talking, but the listener keeps listening.” Leonard Cohen spurned nicknames like ‘the high priest of pathos’, telling a BBC interviewer: “You get tired, over the years, hearing that you’re the champion of gloom.” During a career spanning more than 50 years, the Canadian poet and singer-songwriter created songs of love and loss, mortality and meditation, his Jewish faith and Buddhist practice infusing his lyrics with a spirituality that was often uplifting. Many of his works offer a way out of the darkness. In Anthem, he sings “There is a crack in everything, that’s how the light gets in”. And when describing the much-covered Hallelujah, Cohen said: “It seems to call down some kind of beneficial energy… in the face of the kind of catastrophes that are manifesting everywhere, to say ‘hallelujah’.”
Like for most of us, for me he dwelled in a higher strata inhabited by some living but mostly passed icons who seemed to have this direct line to the galaxy, whilst at the same time knowing exactly when to take out the trash. Formidable in both the sacred and the mundane… Farewell, Leonard, we need you now up there as much as we did down here.
October 23, 2016 – Peter Jozzeppi “Pete” Burns was born on August 5, 1959 in Port Sunlight, Cheshire, England. His mother was the daughter of a German Jew and had escaped Nazi Germany before the war. She met Burns’s father, Francis Burns, then a soldier, in Vienna, from where they returned together to Liverpool.
Burns described his upbringing as unconventional. His mother was an alcoholic, and attempted suicide several times when Burns was growing up.
“As far as parental skills go in the conventional, normal world, she certainly wasn’t a mother, but she’s the best human being that I’ve ever had the privilege of being in the company of, and I know that she had a special plan for me,” he said. “She called me ‘Star Baby’ and she knew that there was something special in me.”
“I lived, I know now, a very solitary childhood. I had nothing to compare it with, so it seemed fine to me. I rarely left the house. I didn’t need to; I had a secret world I shared with my mother. In those early years, I couldn’t possibly have wished for a better friend. She gave me the power to dream, the power to remove myself from where I might not be having any fun, and go inside my head and be somewhere else.”
Burns spoke German until he was five, which resulted in local children spending days outside his door shouting “Heil Hitler”. According to Burns, school was “almost non-existent”, and his mother frequently kept him away so he could spend the day with her. He dropped out of school at the age of 14 after being summoned to the headmaster’s office because he had arrived at school with “no eyebrows, Harmony-red hair, and one gigantic earring”. At around this age he was raped by a man who took him for a drive; Burns later recalled that he wasn’t upset by this, though he knew that people would expect him to be. He stated that he already knew the man, who drove him to Raby Mere and threatened him with an air gun.
While building his career, Burns worked at a Liverpool record shop, Probe Records, which became a meeting place for local musicians. Burns was notorious for his maltreatment of customers, sometimes throwing their purchases at them because he disapproved of their selection. Burns first performed as a member of the short-lived Mystery Girls, who gave one performance only and comprised Burns, Pete Wylie and Julian Cope, who stated that Burns’s performing style drew on that of the transgender punk performer Wayne County. Burns was next in Nightmares in Wax, a proto-Goth group that formed in Liverpool in 1979; they released a 12″ single, “Black Leather”, and a 7″ single, “Birth of a Nation”, each containing the same three songs, but never produced an album. In 1980, after replacing several members, Burns changed their name to Dead or Alive.
Dead Or Alive’s first album, Sophisticated Boom Boom (1984), had paved the way for the group’s success by reaching the UK Top 30 and yielding a Top 40 single with a cover of KC & The Sunshine Band’s That’s the Way (I Like It). The following year they released Youthquake, which was produced by the upcoming hit-makers Stock, Aitken and Waterman and not only contained You Spin Me Round, which became a number one hit in the UK, and a top 20 hit in the US, but also gave them a No 9 album in the UK and reached 31 on the US Billboard chart.
His heyday as a pop star coincided with the rise of the “New Pop” epitomised by Boy George and Culture Club, Wham! and Frankie Goes to Hollywood. With his ambiguous sexuality, androgynous look and spectacular fashion choices, Burns, after several years of trying, found himself in the right place at the right time. “Everything goes round in circles and luckily we’ve got the current sound of the moment,” he commented in 1984, a remark pointing to his inherent scepticism about fame, fashion and pop music.
Despite further hits with Lover Come Back to Me, In Too Deep and Brand New Lover, the huge success of You Spin Me Round was not to be repeated. Dead Or Alive continued through the 80s, but by the end of the decade had been reduced to the core duo of Burns and the drummer Steve Coy. Their album Nude (1989) gave them a belated chart fling by delivering a No 1 hit on the US dance charts with Come Home With Me Baby, while Turn Around & Count 2 Ten reached No 1 in Japan.
During the 90s, Dead Or Alive released several albums in various territories outside the UK, with limited success. In 1994 Burns sang and co-wrote the single Sex Drive for the Italian techno act Glam, and that same year Burns and Coy recorded David Bowie’s Rebel Rebel, calling themselves International Chrysis. Fragile (2000) was Dead Or Alive’s final album of new material, though some tracks were remixes and cover versions. The new century brought the compilations Evolution: The Hits (2003) and That’s The Way I Like It: The Best of Dead Or Alive (2010).
Burns’s decision to embrace reality TV came after he had spent years protesting that he would never do it (“I still have a career, and I don’t really do reality,” he said in 2003), but his outsized personality and caustic manner made him a natural. The sight of him dancing with the politician George Galloway, both of them dressed in lycra leotards, on Celebrity Big Brother was unforgettable for any number of reasons. Burns triggered further controversy on Big Brother when he claimed to be wearing a coat made of illegal gorilla skin, though tests proved it was made from the skin of the colobus monkey, using pelts that pre-dated legislation outlawing their use.
In 2007 Burns appeared on Big Brother’s Big Mouth and Celebrity Wife Swap, where he swapped places with Leah Newman, partner of the footballer Neil “Razor” Ruddock. Also on the show was Burns’s husband, Michael Simpson, whom he married in 2006 after his divorce from the stylist Lynne Corlett whom he had married in 1978. The three remained on good terms. In the series Pete’s PA, on Living TV, contestants competed to become Burns’s assistant.
In 2015, Burns was evicted from his London flat after running up £34,000 in rent arrears. Last month, Burns appeared on Channel 5’s Celebrity Botched Up Bodies and talked frankly about his horrific experiences with cosmetic surgery, which had given him near-fatal blood clots and pulmonary embolisms as he underwent further procedures to try to correct mistakes.
In the end Pete Burns later became a living advertisement for the dangers of plastic surgery. Burns, who died of a heart attack aged 57, on October 23, 2016, claimed to have undergone 300 surgical procedures, many of them in an attempt to repair previous botched efforts.
Pete Burns defied categorization and challenged those who pitied or sneered. The chaos, flamboyance and craven attention-seeking were matched by genuine eccentricity and intelligence. And despite bouts of depression and years of agony and ill health as the result of a botched lip filler operation, he appeared to be entirely lacking in self-pity. As he explained after the publication of his 2006 autobiography, Freak Unique, “I’m not thinking ‘Why me?’ but ‘Why NOT me?’ ”
A statement released by his partner, Michael Simpson, his ex-wife, Lynne Corlett, and his manager and former band member, Steve Coy, read: “All of his family and friends are devastated by the loss of our special star. He was a true visionary, a beautiful talented soul and will be missed by all those who loved and appreciated everything he was and all of the wonderful memories he has left us with.”
A couple of years after divorcing his wife Lynne and marrying his partner Michael Simpson, they separated and Burns remarked: “I view marriage as a sacred institution. I think two men naturally are predators. Gay relationships are a commercial break, not a whole movie. The relationships I’m aware of, apart from one … it’s as though there’s some kind of emotional inadequacy or narcissism, where they feel emotionally inadequate and need more validation, from either a father figure or a mirror image of themselves.I’m not condemning it, I think it needs researching and help.”
September 24, 2016 – Stanley “Buckwheat Zydeco” Dural Jr. (Buckwheat Zydeco) was born in Lafayette, Louisiana on November 14, 1947. He acquired his nickname as a youth, because, with his braided hair, he looked like the character Buckwheat from Our Gang/The Little Rascals movies. His father, a farmer, was an accomplished amateur traditional Creole accordion player, but young Dural preferred listening to and playing rhythm and blues.
Dural became proficient at the organ, and by the late 1950s he was backing Joe Tex, Clarence “Gatemouth” Brown and many others.
In 1971, he founded Buckwheat & the Hitchhikers, a funk band that he led for five years before switching to zydeco. They were a local sensation and found success with the single, “It’s Hard To Get,” recorded for a local Louisiana-based label.
He began backing Clifton Chenier, one of the most legendary zydeco performers. Though not a traditional zydeco fan when growing up, Buckwheat accepted an invitation in 1976 to join Clifton Chenier’s Red Hot Louisiana Band as organist. He quickly discovered the popularity of zydeco music, and marveled at the effect the music had on the audience. “Everywhere, people young and old just loved zydeco music,” Dural says. “I had so much fun playing that first night with Clifton. We played for four hours and I wasn’t ready to quit.”
Dural’s relationship with the legendary Chenier led him to take up the accordion in 1978. After practicing for a year, he felt ready to start his own band under the name Buckwheat Zydeco. They debuted with One for the Road in 1979 on the Blues Unlimited label and then recorded for New Orleans’ Black Top label. In 1983, they were nominated for a Grammy Award for Turning Point and in 1985 for Waitin’ For My Ya Ya after switching to the Rounder Records label. The band then signed to Island Records, becoming the first zydeco act on a major label, and released On a Night Like This, a critically acclaimed album that was nominated for a Grammy as well. The band appeared in the movie The Big Easy in 1987.
In 1988, Eric Clapton invited the band to open his North American tour as well as his 12-night stand at London’s Royal Albert Hall. As even more doors opened, Buckwheat found himself sharing stages and/or recording with Keith Richards, Robert Plant, Willie Nelson, Mavis Staples, David Hidalgo, Dwight Yoakam, Paul Simon, Ry Cooder, the Cherry Poppin’ Daddies and many others, including indie music stalwarts Yo La Tengo on the soundtrack to the Bob Dylan bio-pic, I’m Not There. His music has been featured in films including The Waterboy, The Big Easy, Fletch Lives and Hard Target. BET’s show Comic View, used his live version of “What You Gonna Do?” as theme music for the program’s 10th anniversary “Pardi Gras” season. He also wrote and performed the theme music for the PBS television series Pierre Franey’s Cooking In America. Buckwheat won an Emmy for his music in the CBS TV movie, Pistol Pete: The Life And Times Of Pete Maravich.
Buckwheat Zydeco has played many major music festivals, including the New Orleans Jazz & Heritage Festival (numerous times), Newport Folk Festival, Summerfest, San Diego Street Scene, Bumbershoot, Montreux Jazz Festival, the Voodoo Experience, and countless others.
The band performed at the closing ceremonies of the 1996 Summer Olympics to a worldwide audience of three billion people. Buckwheat performed for President Clinton twice, celebrating both of his inaugurations. The band appeared on the Late Show with David Letterman, CNN, The Today Show, MTV, NBC News, CBS Morning News, and National Public Radio’s Mountain Stage.
During the 1990s and early 2000s Buckwheat recorded for his own Tomorrow Recordings label and maintained an extensive touring schedule. Buckwheat Zydeco’s latest album, Lay Your Burden Down, was released on May 5, 2009 on the Alligator Records label. It was produced by Steve Berlin of Los Lobos and included guest appearances by guitarists Warren Haynes and Sonny Landreth, Trombone Shorty, JJ Grey and Berlin himself. The album was nominated for a Grammy Award. Sonicboomers.com says, “The CD is a vastly entertaining and appealingly diverse package. Bandleader Dural remains an ever-engaging vocalist and a whiz on any keyboard he touches. So, for Buckwheat Zydeco fans, Lay Your Burden Down finds the maestro and his group near the top of their form. For listeners with less interest in the ol’ accordion get-down, the collection supplies enough interesting wrinkles to get the good times rolling.”
Buckwheat’s especially powerful and haunting version of the classic “Cryin’ in the Streets” appears on the benefit album for Hurricane Katrina recovery, Our New Orleans: A Benefit Album for the Gulf Coast.
Buckwheat’s version of Memphis Minnie and Kansas Joe McCoy’s “When the Levee Breaks” appeared on 2011’s Alligator Records 40th Anniversary Collection. It originally appeared on the 2009 Buckwheat Zydeco album Lay Your Burden Down.
Buckwheat Zydeco died after a battle with lung cancer on September 24, 2016.
“Whether performing on the final episode of ‘Late Night With Jimmy Fallon,’ or on the Letterman show many times, or in the closing ceremonies of the Atlanta Olympics, or at President Clinton’s inaugurals, or with Eric Clapton, Paul Simon or Willie Nelson, Stanley Dural Jr.’s musical genius and genuine warm, welcoming personality carried the banner for zydeco and Southwest Louisiana’s Creole community.
He once said: ‘Life is a tour, and it’s all about how you decide to get where you’re going…I don’t want to ignore the bad things in life, but I want to emphasize the good things.’
Buck made everything and everyone he touched better and happier.
Since 1979, Buckwheat Zydeco has been one of the most celebrated bands to come out of Louisiana. The group has shared the stage and studio with Eric Clapton, U2, the Boston Pops Orchestra, B.B. King and other renowned names.
Dural and band performed in the closing ceremonies of the 1996 Summer Olympics in Atlanta, which reached a TV audience of 3 billion people. They played at both inaugurations for former President Bill Clinton and countless commercials and TV shows, such as “The Late Show with David Letterman” and the last episode of “Late Night with Jimmy Fallon.”
Last November, Dural and band members were part of an all-star tribute to country music legend Willie Nelson, who received the Library of Congress Gershwin Prize for Popular Song. The TV special aired on PBS stations across the country.
Buckwheat won the Best Zydeco or Cajun Music Album Grammy for the 2009 CD, “Lay Your Burden Down,” which featured Trombone Shorty, Sonny Landreth and other stars. The band received an Emmy for the music in the CBS TV movie from 2001, “Pistol Pete: The Life and Times of Pete Maravich.”
August 20, 2016 – Matt Roberts (Three Doors Down) was born in rural Mississippi in 1978 – Roberts grew up with lead singer Brad Arnold (vocalist/drummer) and bassist Todd Harrell in Escatawpa, Mississippi, where they formed 3 Doors Down in 1994. He became a seasoned guitarist and back-up vocalist for the group,
The founding members of 3 Doors Down were raised in Escatawpa, a cozy town of 8,000 people. Although brought up in religious households, the musicians also felt the call of rock & roll at an early age, eventually forming a rock trio in 1994 to play a friend’s backyard party.
As the years progressed, so did the band’s sound, and the group soon added guitarist Chris Henderson and retained a studio drummer so that Arnold could come forward and sing live. After touring the Gulf Coast’s venues, the band made its way to New York, where a showcase at CBGB brought 3 Doors Down to the attention of Republic Records. A subsidiary of Universal, Republic Records signed the musicians and issued their major-label debut, The Better Life, in early 2000.
The Better Life became one of the biggest-selling albums of 2000, going platinum four times during its first year of release and spawning several singles. The band furthered its success with 2002’s Away from the Sun, which debuted at number eight on the Billboard Top 200 and, like its predecessor, climbed to multi-platinum status. 3 Doors Down toured steadily throughout 2003 and 2004 in support of Away from the Sun, and issued the live EP Another 700 Miles in November 2003 as a holdover between studio efforts. The group returned with a heavier album, Seventeen Days, in early 2005. It debuted at number one on the Billboard 200 and went platinum in its first week of release. A self-titled album, which followed in May 2008, repeated its predecessor’s success when it too debuted at the top of the Billboard 200.
3 Doors Down toured throughout 2009, released a digital-only acoustic holiday album at the end of the year, and began to work on their next album in 2010. With Howard Benson serving as producer, the guys shuttled themselves between L.A. and Tokyo, recording the album in both cities and eventually emerging with 2011’s Time of My Life. The following year saw the release of the band’s first Greatest Hits collection, which featured three brand-new tracks.
In 2012 Roberts, who had been dealing with health and circulation problems – issues that were increasingly exacerbated by performing nearly 300 dates each year with the band, announced his departure from the band.
“3 Doors Down will always have a special place in my heart and it saddens me to take this time off,” said Roberts in his official statement. “But my health has to be my first priority.”
“Matt is our brother and he will always be a part of this band and he will always be welcomed back with open arms,” added lead singer and founding member Brad Arnold.
On August 20, 2016 Matt Roberts died of an apparent accidental overdose of pain medication while staying in a hotel room just outside Milwaukee Wisconsin where he was scheduled to perform for a charity event. Darrell says Matt had rehearsal until 1 AM Saturday and the two went back to their hotel with an adjoining room. He was 38 years old.
June 28, 2016 – Winfield Scott “Scotty” Moore III, (Elvis Presley) was born on December 27, 1931 near Gadsden, Tennessee. He learned to play the guitar from family and friends at eight years of age. Although underage when he enlisted, Moore served in the United States Navy between 1948 and 1952. Moore’s early background was in jazz and country music. A fan of guitarist Chet Atkins, Moore led a group called the “Starlite Wranglers” before Sam Phillips at Sun Records put him together with then teenage Elvis Presley. The trio was completed with bass player Bill Black, who brought a “rhythmic propulsion” that much pleased Phillips.
In 1954 Moore and Black accompanied Elvis on what would become the first legendary Presley hit, the Sun Studios session cut of “That’s All Right”, a recording regarded as a seminal event in rock and roll history. Continue reading Scotty Moore 6/2016
June 14, 2016 – Henry Campbell Liken McCullough (Wings) was born in Northern Ireland on 21 July 1943. He first came to prominence as a guitar player of talent in the early 1960s as the teenage lead guitarist with The Skyrockets showband from Enniskillen. In 1964, with three other members of The Skyrockets, he left and formed a new showband fronted by South African born vocalist Gene Chetty, which they named Gene and The Gents.
In 1967 McCullough moved to Belfast where he joined Chris Stewart (bass), Ernie Graham (vocals) and Dave Lutton (drums) to form the psychedelic band The People. Later that year the band moved to London and were signed by Chas Chandler’s management team, who changed the group’s name to Éire Apparent. Under Chandler’s guidance after a single release they toured with groups such as Pink Floyd, Soft Machine, The Move and The Jimi Hendrix Experience, as well as Eric Burdon and the Animals. Continue reading Henry McCullough 6/2016
May 21, 2016 – Nicholas “Nick” Menza was born on July 23, 1964 in Münich, Germany. As the son of jazz musician Don Menza, Nick began playing drums at the age of two, at which age he performed at his first public concert when during the intermission someone sat him down on Jack DeJohnette’s drums and he proceeded to play. His influences stem from being nurtured around the tutelage of such notables as Buddy Rich, Steve Gadd, Nick Ceroli, Jeff Porcaro and Louie Bellson.
Beginning his professional musical career at the age of 18 drumming in the band Rhoads featuring singer Kelle Rhoads, brother of the late Randy Rhoads, Nick released his first record with Rhoads called Into the Future in Europe.
Moving on to session playing including styles ranging from R&B to gospel, funk and heavy metal, recording with the likes of John Fogerty, Nick caught the attention of then Megadeth drummer Chuck Behler and became his tech. He had also been chosen to play in Slayer on South of Heaven, but original drummer Dave Lombardo came back and beat Menza in the audition. When Megadeth needed a drummer in 1989, Nick Menza was asked by Dave Mustaine to join the band. Mustaine noted that Menza previously filled in on drums when Behler was unable to. Menza first played live with Megadeth on May 12, 1988 in Bradford, England. This prior experience and personal relationship led to the invitation to join Megadeth for the 1990 recording Rust in Peace.
For the next ten years, Nick became associated with Megadeth’s “classic” period and also his Greg Voelker Rack System. This included a double-bass drum kit with the tom-toms mounted on a lower chrome rack and all cymbal crashes mounted on a higher rack, which was supported by two chrome bars behind the drummer. This was later adopted by Megadeth on 2004’s Blackmail the Universe tour, which featured a similar rack system.
During his stint in Megadeth, Nick also played drums on his bandmate Marty Friedman’s three solo albums Scenes (1992), Introduction (1994), and True Obsessions (1996).
By the summer of 1998, while the band was still touring in support of Cryptic Writings, Menza was having knee problems and sought medical advice. He was informed he had a tumor, which was later found to be benign, and had it removed. Rather than cancel any dates, Megadeth hired Jimmy DeGrasso as a temporary replacement. When the time came to record a follow-up album, Menza was not asked back and DeGrasso became the band’s official drummer. Menza has said in several interviews that, while in the hospital recovering from knee surgery, he received a phone call from Mustaine that simply said “Your services are not needed anymore“.
After his departure, he began work on Menza: Life After Deth with guitarist Anthony Gallo, bassist Jason Levin, and guitarist Ty Longley. The album was initially intended to have a 2002 release date and tour to follow, however, on the tour in 2003 with the reformed Great White, Longley was among the 100 people killed in The Station nightclub fire in Rhode Island and a year later Jason Levin died of heart failure, Menza and Gallo were devastated and the Life After Deth tour was never announced. Guest guitarist Christian Nesmith, son of The Monkees Michael Nesmith, did some leads and Menza hired producer Max Norman (Ozzy Osbourne, Megadeth).
Following the reissue of the entire Megadeth catalog, Menza was invited to reunite with Megadeth in 2004. Days after a reunion was announced Menza was fired after rehearsals and replaced with Shawn Drover. Dave Mustaine said that this was because Nick “just wasn’t prepared” for a full scale US tour, physically.
In April 2006, Menza joined the Los Angeles-based metal band Orphaned to Hatred. The group describe their sound as “a continuation of the heavy style of ’90s Pantera”. He left the band in late 2010.
Menza nearly suffered the loss of an arm in 2007, after having an accident with a power saw. He required reconstructive surgery and metal plates in his arm and a lengthy rehabilitation, but later recovered. Menza later auctioned off the blood-stained saw blade and an original copy of an X-ray from the incident.
In March 2011, Menza appeared in a music video for Mindstreem’s “We Up Next” a song originally written by current SIN 34 guitarist Anthony Gallo featuring Tony Lanza and Daniel Wayne Jr. on Vocals. The actual recording is Menza (drums), Gallo (guitars), Gregg Babuccio (bass), and Tony Lanza and Daniel Wayne jr. (vocals).
Also in March 2011, Menza’s band Deltanaut posted up a video for their song “Sacrifice”.
Menza died on May 21, 2016 after succumbing to heart failure while performing with his band, OHM, in Los Angeles. He was 51.
April 21, 2016 – Prince Rogers Nelson was born June 7, 1958 in Minneapolis, Minnesota. As singer, songwriter, multi-instrumentalist, record producer, and actor, Prince became a superstar between 1978 and 1990 and beyond. He was renowned as an innovator, and was widely known for his eclectic work, flamboyant stage presence, and wide vocal range. He was widely regarded as the pioneer of Minneapolis sound. His music integrates a wide variety of styles, including funk, rock, R&B, soul, hip hop, disco, psychedelia, jazz, and pop.
Prince developed an interest in music at an early age, writing his first song at age seven. After recording songs with his cousin’s band 94 East, 19-year-old Prince recorded several unsuccessful demo tapes before releasing his debut album For You in 1978, under the guidance of manager Owen Husney. His 1979 album Prince went platinum due to the success of the singles “Why You Wanna Treat Me So Bad?” and “I Wanna Be Your Lover”. His next three records—Dirty Mind (1980), Controversy (1981), and 1999 (1982)—continued his success, showcasing Prince’s trademark of prominently sexual lyrics and incorporation of elements of funk, dance, and rock music. In 1984, he began referring to his backup band as The Revolution and released Purple Rain, which served as the soundtrack to his film debut of the same name. A prolific songwriter, Prince in the 1980s wrote songs for and produced work by many other acts, often under pseudonyms.
After releasing the albums Around the World in a Day (1985) and Parade (1986), The Revolution disbanded and Prince released the critically acclaimed double album Sign “O” the Times (1987) as a solo artist. He released three more solo albums before debuting The New Power Generation band in 1991. He changed his stage name in 1993 to an unpronounceable symbol Prince logo.svg, also known as the “Love Symbol”. He then began releasing new albums at a faster pace to remove himself from contractual obligations to Warner Bros.; he released five records between 1994 and 1996 before signing with Arista Records in 1998. In 2000, he began referring to himself as “Prince” again. He released 15 albums after that; his final album, HITnRUN Phase Two, was first released exclusively on the Tidal streaming service on December 11, 2015.
Prince has sold over 100 million records worldwide, making him one of the best-selling artists of all time. He won seven Grammy Awards,a Golden Globe Award, and an Academy Award. He was inducted into the Rock and Roll Hall of Fame in 2004, the first year of his eligibility. Rolling Stone ranked Prince at number 27 on its list of the 100 Greatest Artists of All Time.
He died at his Paisley Park recording studio and home in Chanhassen, Minnesota, on April 21, 2016, after experiencing flu-like symptoms.
March 10, 2016 – Keith Noel Emerson (Emerson,Lake,Palmer ELP) was born in Todmorden, Yorkshire on 2 November 1944. His family had been evacuated there from the south coast of England during the Second World War. He grew up in Goring-by-Sea, in the borough of the seaside resort of Worthing, West Sussex and attended West Tarring School. His parents were musically inclined and arranged for him to take piano lessons starting at the age of 8. His father, Noel, was an amateur pianist, and thought that Emerson would benefit most as a player from being versatile and being able to read music. However, he never received any formal musical training, and described his piano teachers as being “local little old ladies”. He learned western classical music, which largely inspired his own style, combining it with jazz and rock themes. Continue reading Keith Emerson 3/2016
March 8, 2016 – George Martin (the Fifth Beatle) A trained musician, George Martin worked in the BBC’s classical department before moving to EMI and its subsidiary, Parlophone, producing jazz and classical as well as comedy records for Peter Sellers, Spike Milligan and Peter Ustinov. He was the genius producer behind a wave of hit British acts in the 1960s, including Gerry and the Pacemakers and Cilla Black, but it was his work with four other Liverpudlians that understandably overshadowed them all.
The Beatles auditioned for Martin on 6 June 1962, in studio three at the Abbey Road studios. Ron Richards and his engineer Norman Smith recorded four songs, which Martin (who was not present during the recording) listened to at the end of the session. The verdict was not promising, however, as Richards complained about Pete Best’s drumming, and Martin thought their original songs were simply not good enough. Martin asked the individual Beatles if there was anything they personally did not like, to which George Harrison replied, “Well, there’s your tie, for a start.” That was the turning point, according to Smith, as John Lennon and Paul McCartney joined in with jokes and comic wordplay, that made Martin think that he should sign them to a contract for their wit alone.
The Beatles’ second recording session with Martin was on 4 September 1962, when they recorded “How Do You Do It”, heavily modified by The Beatles which Martin thought was a sure-fire hit, even though Lennon and McCartney did not want to release it, not being one of their own compositions or style. Martin was correct: Gerry & the Pacemakers’ version, which Martin produced, spent three weeks at No. 1 in April 1963, before being displaced by “From Me to You”. On 11 September 1962, the Beatles re-recorded “Love Me Do” with session player Andy White playing drums. Ringo Starr was asked to play tambourine and maracas, and although he complied, he was definitely “not pleased”. Due to an EMI library error, a 4 September version with Starr playing drums was issued on the British single release; afterwards, the tape was destroyed, and the 11 September recording with Andy White on drums was used for all subsequent releases. Martin would later praise Starr’s drumming, calling him “probably … the finest rock drummer in the world today”. As “Love Me Do” peaked at number 17 in the British charts, on 26 November 1962 Martin recorded “Please Please Me”, which he did only after Lennon and McCartney had almost begged him to record another of their original songs. Martin’s crucial contribution to the song was to tell them to speed up what was initially a slow ballad. After the recording Martin looked over the mixing desk and said, “Gentlemen, you have just made your first number one record”. Martin directed Epstein to find a good publisher, as Ardmore & Beechwood had done nothing to promote “Love Me Do”, informing Epstein of three publishers who, in Martin’s opinion, would be fair and honest, which led them to Dick James.
Martin’s more formal musical expertise helped fill the gaps between the Beatles’ unrefined talent, and the sound which distinguished them from other groups, which would eventually make them successful. Most of the Beatles’ orchestral arrangements and instrumentation (as well as frequent keyboard parts on the early records) were written or performed by Martin, in collaboration with the less musically experienced band. It was Martin’s idea to score a string quartet accompaniment for “Yesterday”, against McCartney’s initial reluctance. Martin played the song in the style of Bach to show McCartney the voicings that were available. Another example is the song “Penny Lane”, which featured a piccolo trumpet solo that was requested by McCartney after hearing the instrument on a BBC broadcast. McCartney hummed the melody he wanted, and Martin notated it for David Mason, the classically trained trumpeter.
His work as an arranger was used for many Beatles recordings. For “Eleanor Rigby” he scored and conducted a strings-only accompaniment inspired by Bernard Herrmann. On a Canadian speaking tour in 2007, Martin said his “Eleanor Rigby” score was influenced by Herrmann’s score for the Alfred Hitchcock thriller, Psycho. For “Strawberry Fields Forever”, he and recording engineer Geoff Emerick turned two very different takes into a single master through careful use of vari-speed and editing. For “I Am the Walrus”, he provided a quirky and original arrangement for brass, violins, cellos, and the Mike Sammes Singers vocal ensemble. On “In My Life”, he played a speeded-up baroque piano solo. He worked with McCartney to implement the orchestral ‘climax’ in “A Day in the Life”, and he and McCartney shared conducting duties the day it was recorded.
Martin contributed integral parts to other songs, including the piano in “Lovely Rita”, the harpsichord in “Fixing a Hole”, the old steam organ and tape loop arrangement that create the Pablo Fanque circus atmosphere that Lennon requested on “Being for the Benefit of Mr. Kite!” (both Martin and Lennon played steam organ parts for this song), and the orchestration in “Good Night”. The first song that Martin did not arrange was “She’s Leaving Home”, as he had a prior engagement to produce a Cilla Black session, so McCartney contacted arranger Mike Leander to do it. Martin was reportedly hurt by this, but still produced the recording and conducted the orchestra himself. Martin was in demand as an independent arranger and producer by the time of The White Album, so the Beatles were left to produce various tracks by themselves.
Martin composed and arranged the score for the Beatles’ film Yellow Submarine and the James Bond film Live and Let Die, for which Paul McCartney wrote and sang the title song. He helped arrange Paul and Linda McCartney’s American Number 1 single “Uncle Albert/Admiral Halsey”.
Paul McCartney once commended Martin by saying: “George Martin was quite experimental for who he was, a grown-up.”
Film and composing work
Beginning in the late 1950s, Martin began to supplement his producer income by publishing music and having his artists record it. He used the pseudonyms Lezlo Anales and John Chisholm, before settling on Graham Fisher as his primary pseudonym.
Martin composed, arranged, and produced film scores since the early 1960s, including the instrumental scores of the films A Hard Day’s Night (1964, for which he won an Academy Award Nomination), Ferry Cross the Mersey (1965), Yellow Submarine (1968), and Live and Let Die (1973). Other notable movie scores include Crooks Anonymous (1962), The Family Way (1966), Pulp (1972, starring Michael Caine and Mickey Rooney), the Peter Sellers film The Optimists of Nine Elms (1973), and the John Schlesinger directed Honky Tonk Freeway (1981).
Martin oversaw post-production on The Beatles Anthology (which was originally entitled The Long and Winding Road) in 1994 and 1995, working again with Geoff Emerick. Martin decided to use an old 8-track analogue deck – which EMI learned an engineer still had – to mix the songs for the project, instead of a modern digital deck. He explained this by saying that the old deck created a completely different sound, which a new deck could not accurately reproduce. He also said he found the whole project a strange experience (and McCartney agreed), as they had to listen to themselves chatting in the studio, 25–30 years previously.
Martin stepped down when it came to producing the two new singles reuniting McCartney, Harrison, and Starr, who wanted to overdub two old Lennon demos. Martin had suffered a hearing loss, so he left the work to writer/producer Jeff Lynne of the Electric Light Orchestra.
Martin’s contribution to the Beatles’ work received regular critical acclaim, and led to him being described as the “Fifth Beatle” (in 2016, Paul McCartney wrote that “If anyone earned the title of the fifth Beatle it was George”. However, he distanced himself from this claim, stating that assistant and roadie Neil Aspinall would be more deserving of that title.
In the immediate aftermath of the Beatles’ break-up, a time when he made many angry utterances, John Lennon trivialized Martin’s importance to the Beatles’ music. In his 1970 interview with Jann Wenner, Lennon said, “Dick James is another one of those people, who think they made us. They didn’t. I’d like to hear Dick James’ music and I’d like to hear George Martin’s music, please, just play me some.”
In a 1971 letter to Paul McCartney, Lennon wrote, “When people ask me questions about ‘What did George Martin really do for you?,’ I have only one answer, ‘What does he do now?’ I noticed you had no answer for that! It’s not a putdown, it’s the truth.” Lennon wrote that Martin took too much credit for the Beatles’ music. Commenting specifically on “Revolution 9”, Lennon said with ironic authority, “For Martin to state that he was ‘painting a sound picture’ is pure hallucination. Ask any of the other people involved. The final editing Yoko and I did alone.”
Lennon later retracted many of the comments he made in that era, attributing them to his anger. He subsequently spoke with great affection and fondness for Martin. In 1971 he said: “George Martin made us what we were in the studio. He helped us develop a language to talk to other musicians.”
Martin produced recordings for many other artists, including contemporaries of the Beatles, such as Matt Monro, Cilla Black, Gerry & The Pacemakers, Billy J. Kramer & the Dakotas, The Fourmost, David and Jonathan, and The Action, as well as The King’s Singers, the band America, guitarists Jeff Beck, John McLaughlin and John Williams, sixties duo Edwards Hand, Gary Brooker, Neil Sedaka, Ultravox, country singer Kenny Rogers, UFO, Cheap Trick, Elton John, Little River Band, Celine Dion and Yoshiki Hayashi of X Japan.
Martin produced 13 albums and 22 singles for the group between 1962 to 1970. His influence on The Beatles’ output is undeniable: he added strings to songs, encouraged the band to experiment with electronic sounds and harnessed recording techniques from his comedy days to play with backwards vocals and instrumentation.
Martin was among a small group – Phil Spector and Quincy Jones included – who revolutionized what a record producer could do, and an evidently inspirational figure for later generations.
George Martin died on 8 March, 2016 at the age of 90.
Among the many tributes left on Twitter, producer Mark Ronson wrote: “We will never stop living in the world you helped create.”
According to Alan Parsons, he had “great ears” and “rightfully earned the title of “Fifth Beatle”. Julian Lennon called Martin “The Fifth Beatle, without question”.
February 15, 2016 – Vanity was born Denise Katrina Matthews on January 4, 1959 in Niagara Falls, Ontario, Canada, the daughter of Helga Senyk and Levia James Matthews. Her mother was of Polish, German, and Jewish descent and was born in Germany, while her father was of African-American descent and was born in Wilmington, North Carolina.
Growing up in Niagara Falls, God wasn’t her priority. She was more concerned with hiding bruises from her classmates at Princess Margaret elementary school. Routinely beaten by an alcoholic father, Matthews rarely discussed her home life with friends. “She didn’t really like to,” recalls Debbie Rossi, one of Matthews’ best friends at Princess Margaret and later Stamford Collegiate. “And I wasn’t one to force. I just wanted to listen.”
Matthews didn’t confide because she thought every household was like this. Her father, James Levia Matthews, died in 1974 when she was 15 years old. Instead of feeling free, she watched her mother sink deeper into depression and alcoholism.
She felt more confused than ever, but had one huge advantage – she was one of the most gorgeous young women in Niagara Falls. A modeling career beckoned. While her sister, Patricia, became a star athlete at Stamford (she still holds nine school records), the younger Denise was turning heads. “Denise kind of blossomed and got really, really beautiful,” recalls Rossi. “She was fun-loving, and very aware of her beauty. “She had a little bit of trouble in Stamford with prejudice – guys wanted to go out with her, but they didn’t want anybody to know. It really hurt her, so she changed schools.”
After jumping to Westlane, where she graduated, Matthews got her first taste of success by winning the Miss Niagara Hospitality pageant. She was calm and poised accepting the crown. She seemed like a natural.
You just knew she had ambitions of making it big,” says Stamford classmate Vito DiMartino, now head of phys ed at A.N. Myer. “Denise always had good looks.” “Everyone seemed to like her,” adds friend Linda Clarkstone, now a librarian at Westlane. “She was always smiling, always happy. “She was beautiful, and even back then she could sing.” Within a year, Matthews left Niagara Falls for Toronto, and then California.
After she won the Miss Niagara Hospitality title in 1977, she went on to compete for Miss Canada in 1978. At age 17, she moved to New York City to further her career. She signed with Zoli Model Agency. However, because she was short in stature, her modeling career was limited to commercials and photo shoots and included no runway work. Vanity appeared in ads for Pearl Drops toothpaste, before completing a modeling stint in Japan.
In 1980, she had a small role in the horror movie Terror Train, which was filmed in Montreal a year earlier. She then went to Toronto to film the lead role in the B-movie Tanya’s Island. At the time of both film roles, she was billed as D.D. Winters.
In the early 1980s, Matthews was given two tickets to a Prince concert and she became enthralled with the funky Minneapolis singer, who wasn’t quite a superstar yet. Weeks later she met Prince backstage at the American Music Awards. That night Prince called her at 3 a.m. The couple dated for several months, and Prince, learning that she could sing, eventually invited her to Minneapolis to front a racy all-girl group he was forming.
“He wanted me to call myself Vagina. He said people would know me nationwide,” she discloses with a smile. “I said, ‘No kidding.’ ” They settled on Vanity (because he saw so much of himself in her), and Vanity 6, clad in scanty camisoles and singing tunes like Drive Me Wild and Nasty Girls, soon cracked the black Top 10.
Dressed in lingerie and garters, Vanity 6 stumbled with its first single – “He’s So Dull” – but the second, “Nasty Girl,” became a crude classic (and a strip club mainstay). With Vanity, Matthews had found the devillish flipside to her personality.
Prince was so taken with her, he chose her to appear with him on the cover of Rolling Stone in 1983 and offered her a major role as the female lead in his biographical musical Purple Rain. At 24, Matthews was starting to become the star everyone predicted. She was supposed to play the lead female role in “Purple Rain,” the semi-autobiographical Prince film that was a box-office hit in 1984, but abandoned the project before filming began. Back in Minneapolis Vanity had helped Prince script Purple Rain and had been slated to play the female lead, a role based in part on her own life story. But before the cameras rolled, Vanity left—off to California and a solo career. “I needed one person to love me, and he needed more,” she says of Prince and her departure. “I never thought, ‘Oh God, I’m in Prince’s shadow,’ ” she says firmly. “He’d been performing for years and he was my teacher. I miss his humor. I always felt we’d be like Richard Burton and Elizabeth Taylor over the years. I can honestly say I love the kid.”
She then went on to release two albums as a solo artist on Motown, “Wild Animal” and “Skin on Skin.”
After her music career started, as Vanity she starred in a number of movies, including The Last Dragon, which featured her underground hit “7th Heaven.” In 1986 she starred in Never Too Young to Die opposite John Stamos (“She was pretty wild,” Stamos once said about his co-star. “She was like Al Pacino in Scarface, blasting these fucking prop machine guns all over the place. We weren’t even rolling!”). The film also featured Gene Simmons. She went on to appear in 52 Pick-Up and 1988’s Action Jackson, her highest profile role, in which she starred opposite Carl Weathers, Craig T. Nelson, and Sharon Stone. From the mid–1980s to the early–1990s, Vanity guest–starred on numerous TV shows. She played a villain who tortured Nancy Allen’s character in the 1990 TV movie Memories of Murder, guest-starred in an episode of Miami Vice’s third season, and in 1992 appeared in an episode of Highlander: The Series. She also appeared in Friday the 13th: The Series in the episode entitled “Mesmer’s Bauble”.
She thrived on raciness, often performing in lingerie. “My music is very sexual, so you could say I’m just putting all of me out there,” she told The Associated Press in 1985. She was on the cover of Playboy in 1988.Vanity then left the group (and Prince’s organization), and signed with Motown Records as a solo artist in 1984. She released two albums for Motown in the mid-1980s, and had mild success on the US pop and R&B charts with a handful of singles.
Besides Prince, Vanity was linked romantically to Adam Ant and Billy Idol. In 1987, she stated that she and Mötley Crüe bassist Nikki Sixx were engaged. She joked that she would become Vanity 6 (Sixx) again. They never married. In Sixx’s 2007 autobiography, The Heroin Diaries: A Year in the Life of a Shattered Rock Star, he describes his 1987 drug use with Vanity who was addicted to crack cocaine at the time. Anecdote: At one point, the wasted couple is laying in bed when Sixx believes he hears voices and fires a .357 magnum through the door. It was only his radio.)
In 1994, Vanity overdosed on crack cocaine and suffered from near-fatal renal failure. She recalled that after being rushed to the hospital, doctors said she had three days to live while on life support. She said that Jesus appeared to her at this time and spoke to her, saying, if she promised to give up her Vanity persona, he would save her. Upon her recovery, she completely renounced her stage name and career and became a born-again Christian. In 1995, she said, “When I came to the Lord Jesus Christ, I threw out about 1,000 tapes of mine—interview, every tape, every video. Everything.”
In 1995, she married football player Anthony Smith of the Oakland Raiders, who later was sentenced to life in prison murder. She ignorantly had stated that she had chosen not to receive any further revenue from her work as Vanity, and cut off all ties with Hollywood and her former life in show business. Her marriage to Smith however lasted only one year.
After a kidney transplant in 1997, she decided to devote her life to Christ and became an Evangelist. “All I had become was thus painted on my face — vanity,” she later wrote on a personal website. According to her sister, the former Vanity eventually became an ordained minister and preached in churches around the country.
In 2010, she released her autobiography, Blame It On Vanity: Hollywood, Hell and Heaven.
Due to her kidney problems, which were caused by years of drug abuse, Matthews had to undergo peritoneal dialysis five times a day (each session was 20 minutes long).
She suffered from sclerosing encapsulating peritonitis, a rare complication of a peritoneal dialysis, and died in Fremont, California on February 15, 2016, from renal failure, aged 57.
Two months after her death, on April 21, 2016, Matthews’ ex-partner and music mentor Prince died in his Paisley Park residence, also aged 57.
Onstage in Melbourne, Australia, Prince offered a tribute of his own. “Her and I used to love each other deeply,” he told the crowd, according to Australian news media accounts. “She loved me for the artist I was; I loved her for the artist she was trying to be.”
By her own later admission, Vanity led a fast life, and it took its toll. In an interview with Jet magazine in 1993, she said she had been “extremely wild” in her younger days. “There was a lot of cocaine,” she said. “I tried men, women, everything. I didn’t snort cocaine, I smoked it. I had found my way into the playground of the pearly white stuff called cocaine,” says her bio Blame It On Vanity. “I’d inhaled so much rock that by the age of 35, you could light me up, smoke me and stick me in the nearest cold grave. Easily, the devil had won me and readied my tired body for hell.”
Even though she resents the “lies” former lover Motley Crue guitarist Nikki Sixx tells in his book about their times in 1987, she admittedly contributed to it. “I was the glutton for punishment (with Nikki), and also the punisher punishing,” she writes. “It wasn’t easy being high all the time and relating to another human being. He could have related better to a pet rock.”
February 4, 2016 – Maurice “Moe” White (Earth, Wind & Fire) was born December 19, 1941 in Memphis, Tennessee, the eldest of nine siblings. He grew up in South Memphis, where he lived with his grandmother in the Foote Homes Projects and was a childhood friend of Booker T Jones, with whom he formed a “cookin’ little band” while attending Booker T. Washington High School. He made frequent trips to Chicago to visit his mother, Edna, and stepfather, Verdine Adams, who was a doctor and occasional saxophonist. In his teenage years, he moved to Chicago and studied at the Chicago Conservatory of Music, and played drums in local nightclubs.
By the mid-1960s he found work as a session drummer for Chess Records. While at Chess, he played on the records of artists such as Etta James, Ramsey Lewis, Sonny Stitt, Muddy Waters, the Impressions, the Dells, Betty Everett, Sugar Pie DeSanto and Buddy Guy. White also played the drums on Fontella Bass’s “Rescue Me” and Billy Stewart’s “Summertime”. In 1962, along with other studio musicians at Chess, he was a member of the Jazzmen, who later became the Pharaohs. One song on which he played, Rescue Me by Fontella Bass (1965), was a worldwide hit. In 1966 he joined a trio led by the jazz pianist Ramsey Lewis and went on to play on nine of Lewis’s albums: the 1966 song Hold It Right There won a Grammy for best R&B group performance. While in the Trio he was introduced in a Chicago drum store to the African thumb piano or kalimba and on the Trio’s 1969 album Another Voyage’s track “Uhuru” was featured the first recording of White playing the kalimba. White brought the kalimba into mainstream use by incorporating its sound into the music of Earth, Wind & Fire. He was also responsible for expanding the group to include a full horn section – the Earth, Wind & Fire Horns, later known as the Phenix Horns.
In 1969, White left the Trio and joined his two friends, Wade Flemons and Don Whitehead, to form a songwriting team who wrote songs for commercials in the Chicago area. The three friends got a recording contract with Capitol Records and called themselves the Salty Peppers. They had a moderate hit in the Midwest area with their single “La La Time”, but their second single, “Uh Huh Yeah”, was not as successful. White then moved from Chicago to Los Angeles, and altered the name of the band to Earth, Wind & Fire, the band’s new name reflecting the elements in his astrological chart and thus he became the founder of Earth, Wind & Fire.
White got the concept of EWF from a drum and bugle corps band from his hometown. He formed the band after having touring stints with Santana, Weather Report, and Uriah Heep. One night after an EWF concert in Denver, Colorado, White briefly met singer Philip Bailey. It was an encounter that was to prove vital to Bailey’s future and to the history of American pop music. Bailey left college a year later and decided to pursue a musical career in Los Angeles. Once he arrived on the West Coast, he hooked up again with Earth, Wind & Fire. Maurice White had arrived in L.A. only the year before with visions of creating a truly universal music group, one that was spiritually charged and ambitious in scope, defying boundaries of color, culture, and categorization. Those ideas appealed to Bailey as well and he joined the group in 1972. Bailey’s shimmering falsetto blended perfectly with White’s charismatic tenor. White served as the band’s main songwriter and record producer, and was co-lead singer along with Philip Bailey. EWF combined high-caliber musicianship, a wide-ranging musical genre eclecticism, and ’70s multicultural spiritualism that included Biblical references.
It took until 1973 for Earth, Wind & Fire to find a mass audience: that year, the group’s fourth album, Head to the Sky, with its danceable, groove-heavy songs featuring horns and White’s kalimba, or African thumb piano, was the first of a series of huge-selling records.
Open Our Eyes (1974) and That’s the Way of the World (1975) consolidated this position, embedding the group’s recipe of soul, funk, R&B and disco in the American public’s affections. Boogie Wonderland, on which the band collaborated with the singing sister-act the Emotions, sold more than a million copies and was in the British singles charts for three months. Their 1978 cover of the Beatles’ Got to Get You Into My Life, injected with the band’s distinctive and inventive strident brass and guitar riffs, won a Grammy.
With Maurice as the bandleader and producer of most of the band’s albums, EWF earned legendary status winning seven Grammy Awards out of a staggering 20 nominations, a star on the Hollywood Boulevard Walk of Fame, and four American Music Awards. The group’s albums have sold over 90 million copies worldwide. Other honors bestowed upon Maurice as a member of the band included inductions into the Rock and Roll Hall of Fame, the Vocal Group Hall of Fame, individually in The Songwriters Hall of Fame and The NAACP Image Awards Hall of Fame.
Also known by his nickname “Reece”, he worked with several famous recording artists, including Deniece Williams, the Emotions, Barbra Streisand and Neil Diamond.
In 1976, White, with Charles Stepney co-produced Deniece Williams‘ – a former backup vocalist for Stevie Wonder – debut album, This Is Niecy, which was released on Columbia Records. The album was the first project for the newly formed production company Kalimba Productions which was formed by Maurice White and Charles Stepney in the same year. This Is Niecy rose to number 3 on the R&B charts and contained the single Free which reached number 25 on the pop charts, number 5 on the R&B charts and number 1 on the UK singles charts. This is Niecy has been certified gold in the United States by the RIAA. With the death of Charles Stepney a few months after the release of This Is Niecy White solely produced Williams second album Song Bird, released in 1977. The single “Baby, Baby My Love’s All For You” reached number 13 and number 32 on the black and UK singles chart respectively. Williams later released four more albums on Columbia Records for Kalimba Productions which were 1978’s That’s What Friends Are For, 1979’s When Love Comes Calling, My Melody released in 1981 and 1982’s Niecy respectively. In a 2007 interview Deniece says: “I loved working with Maurice White … he taught me the business of music, and planning and executing a plan and executing a show.”
After Stax Records became embroiled in financial problems, the girl group the Emotions looked for a new contract and found one with Columbia Records which released their album Flowers in 1976. With Charles Stepney co-producing their album with White, Flowers was their first charting album since 1969. It rose to number 5 on the R&B and number 45 on the Pop charts, and has been certified gold in the US. The singles “Flowers” and “I Don’t Wanna Lose Your Love” from this album reached, respectively, number 16 and number 13 on the R&B charts (number 87 and number 51 on the Pop charts). Following Charles Stepney’s death, White took over producing the Emotions as well.
He played the drums on Minnie Riperton’s debut 1970 album, Come to My Garden, and contributed vocals to Weather Report’s 1978 album Mr. Gone. White also produced Ramsey Lewis’ albums: Sun Goddess (1974), Salongo (1976), and Sky Islands (1993), Jennifer Holliday on her 1983 release Feel My Soul, Barbra Streisand on her 1984 platinum album Emotion, Atlantic Starr on their platinum 1986 album All in the Name of Love and Neil Diamond on his 1986 gold album Headed for the Future. He also co-wrote the song “Only In Chicago” with Barry Manilow which was included on his 1980 platinum album Barry, the track “Tip of My Tongue” for the rock band the Tubes which appeared on their album Outside Inside, and contributed vocals to Cher’s 1987 self-titled platinum album.
White wrote songs for the movies Coming to America and Undercover Brother. He composed music for the television series Life Is Wild and worked in 2006 with Gregory Hines’ brother, Maurice, on the Broadway play Hot Feet for which White and Allee Willis wrote several new songs.
White was diagnosed with Parkinson’s disease in 1987, which led him eventually to stop touring with Earth, Wind & Fire in 1994. He retained executive control of the band, and remained active in the music business, producing and recording with the band and other artists.
Messages of encouragement from celebrities including: Steven Tyler of Aerosmith, Boyz II Men, Smokey Robinson, Isaac Hayes, Michael Jackson, Eric Clapton and Tom Morello of Rage Against the Machine were published for White.
From time to time, after his retirement, he appeared on stage with Earth, Wind & Fire at events such as the 2004 Grammy Awards Tribute to Funk, and alongside Alicia Keys at Clive Davis’ 2004 pre-Grammy awards party where they performed the band’s 1978 hit “September”.
White died in his sleep from the effects of Parkinson’s disease at his home in Los Angeles, California, on the morning of February 4, 2016, at the age of 74.
His brother Verdine posted the following on Facebook:
My brother, hero and best friend Maurice White passed away peacefully last night in his sleep. While the world has lost another great musician and legend, our family asks that our privacy is respected as we start what will be a very difficult and life-changing transition in our lives. Thank you for your prayers and well-wishes. Yours Truly, Verdine White
All in all the Chicago-born, LA based band had 46 charting R&B singles and 33 charting pop singles, including eight gold singles.At their peak, Earth, Wind & Fire bestrode the popular music scene like a troupe of magnificently attired angels of funk, upbeat and apparently perpetually partying. Their slick blend of panache and optimism owed much to the songwriting, producing and vocals of Maurice White.
January 28, 2016 – Signe Toly Anderson-Jefferson Airplane – was born Signe Toly on September 15, 1941 in Seattle on September 15, 1941. She was raised in Portland, Oregon after her parents divorced
In 1965s she was living in San Francisco and gaining recognition as an accomplished jazz/folk singer, when the vocalist Marty Balin heard her sing at a popular folk club, the Drinking Gourd and asked her to join a folk-rock group he was forming.
The band, soon christened Jefferson Airplane, signed with RCA Victor Records and released its first album, “Jefferson Airplane Takes Off,” in 1966.
Soon after joining the Airplane, she married one of the Merry Pranksters, Jerry Anderson, a marriage that lasted from 1965 to 1974. She sang on the first Jefferson Airplane album, Jefferson Airplane Takes Off, most notably on the song “Chauffeur Blues”. Just as Jefferson Airplane was ascending, Anderson gave birth to her first child. Realizing that life on the road with a newborn was unfeasible, Anderson opted to part ways with Jefferson Airplane in 1966. Anderson remained with the group while they searched for a replacement, eventually choosing the Great Society singer Grace Slick, who brought that band’s “Someone to Love” (retitled “Somebody to Love”) and her “White Rabbit” to Jefferson Airplane.Anderson distrusted the Airplane’s original manager, Matthew Katz, and refused to sign a contract with him until he inserted a special escape clause freeing her from him if she left the band for any reason.
In July 1966, Anderson informed Bill Graham that she was quitting the band after a series of shows they were playing in Chicago, realizing that bringing her newborn child, with then-husband Jerry Anderson, on the road was not feasible. Graham, however, asked her to stay with the band through the October shows at the Winterland Ballroom in San Francisco, to which she agreed. This gave the band time to search for her replacement, eventually choosing Grace Slick after Sherry Snow declined their offer. Allegedly there were other factors, such as the hostility of other band members towards her husband.
Anderson’s last live performances with the Jefferson Airplane were two sets on October 15, 1966 at The Fillmore. Both performances were recorded (as were most Fillmore shows) and have surfaced on some bootleg albums. In August 2010, Collector’s Choice music in cooperation with Sony finally released the second show on a legitimate CD issue. At what seemed to be the end of the second set, Marty Balin returned to announce that Anderson was leaving the group. Her goodbye to the fans, recorded for posterity, was as follows: “I want you all to wear smiles and daisies and box balloons. I love you all. Thank you and goodbye.” At several fans’ request, Anderson and the band performed her signature number, “Chauffeur Blues”.
They finished the night with “High Flying Bird,” and thus ended Anderson’s tenure with the Airplane. The band returned to play two more shows the following night with Grace Slick on board for the first time. This entire performance was officially released in 2010 as Jefferson Airplane: Live at The Fillmore Auditorium 10/15/66 Signe’s Farewell.
After leaving the Airplane she returned to Oregon where she sang for nine years with a ten-piece band, Carl Smith and the Natural Gas Company. In the mid 1970s she recovered from cancer. In 1977 she married local building contractor Michael Alois Ettlin, and continued to sing with Carl Smith. Anderson also worked in a department store.
Anderson credited the Airplane’s success with its members’ musical educations. “We all were very knowledgeable music-wise,” she told KGON radio in 2011. “We could all read music. We all knew the classics, we knew blues, we knew folk music — we had a lot of groundwork first.”
In the mid 1990s, Anderson suffered further serious health problems, including a broken neck and bypass surgery, which led to serious financial problems for her family. She made guest appearances with the KBC Band, Jefferson Starship and Airplane spinoff Hot Tuna. Anderson’s husband, Michael Alois Ettlin, died at the age of 62, on February 21, 2011.
Anderson died at her home in Beaverton, Oregon at the age of 74 on January 28, 2016, from the effects of chronic obstructive pulmonary disease (COPD). She died on the same day as Airplane co-founder Paul Kantner and both were 74.
Airplane lead guitarist Jorma Kaukonen wrote on his blog: “Signe was one of the strongest people I have ever met. “She was our den mother in the early days of the Airplane… a voice of reason on more occasions than one… an important member of our dysfunctional little family. I always looked forward to seeing her when we played the Aladdin in Portland. She never complained and was always a joy. Flights of angels sing thee to thy rest sister. You will always live in my heart…”
Airplane bassist Jack Casady wrote on Facebook that he’d been in touch with Anderson the week prior to her death, when she moved from her home to a hospice. “She was a real sweetheart with a terrific contralto voice coming from a solid folk background,” he recalled. “Listen to how she made the three part harmonies of ‘JA Takes Off’ (first album) sound so thick. Her wonderful tone between Paul’s and Marty’s.” Casady added “A sad day… for those of us still here.”
Anderson had stayed in touch with Paul Kantner, Marty Balin and other former bandmates and performed with them on occasion. Mr. Balin, writing on Facebook, imagined that she and Mr. Kantner “woke up in heaven and said: “Hey what are you doing here? Let’s start a band.”
January 28, 2016 – Paul Kantner (Jefferson Airplane founding guitarist) was born on March 17, 1941, in San Francisco, California. Kantner had a half-brother and a half-sister by his father’s first marriage, both much older than he. His father was of German descent, and his mother was of French and German ancestry. His mother died when he was eight years old, and Kantner remembered that he was not allowed to attend her funeral. His father sent him to the circus instead. After his mother’s death, his father, who was a traveling salesman, sent young Kantner to Catholic military boarding school. At age eight or nine, in the school’s library, he read his first science fiction book, finding an escape by immersing himself in science fiction and music from then on. As a teenager he went into total revolt against all forms of authority, and he decided to become a protest folk singer in the manner of his musical hero, Pete Seeger. He attended Saint Mary’s College High School, Santa Clara University and San Jose State College, completing a total of three years of college before he dropped out to enter the music scene.
During the summer of 1965, singer Marty Balin saw Kantner perform at the Drinking Gourd, a San Francisco folk club, and invited him to co-found a new band, Jefferson Airplane. When the group needed a lead guitarist, Kantner recommended Jorma Kaukonen, whom he knew from his San Jose days. As rhythm guitarist and one of the band’s singers, Kantner was the only musician to appear on all albums recorded by Jefferson Airplane as well as Jefferson Starship. Kantner’s songwriting often featured whimsical or political lyrics with a science-fiction or fantasy theme, usually set to music that had a hard rock, almost martial sound. Kantner wrote many of the Airplane’s early songs, including the chart hits “The Ballad of You and Me and Pooneil”, “Watch Her Ride”, “Crown of Creation”, and the controversial “We Can Be Together”; and, with Balin, co-wrote “Today” and “Volunteers”. He also wrote, with David Crosby and Stephen Stills, the song “Wooden Ships”, (one of my absolutely favorite songs ever!) though for contractual reasons he was not credited initially.Continue reading Paul Kantner 1/2016
January 18, 2016 – Glenn Frey was born on Nov. 6, 1948 in Detroit and was raised in nearby Royal Oak. He grew up on both the Motown sounds and harder-edged rock of his hometown. He played in a succession of local bands in the city and first connected with Bob Seger when Frey’s band, the Mushrooms, convinced Seger to write a song for them. Frey can also be heard singing extremely loud backing vocals (particularly on the first chorus) on Seger’s first hit and Frey’s first recorded appearance, 1968’s “Ramblin’ Gamblin’ Man.”
But it wasn’t long before warmer climes called and Frey followed then-girlfriend Joan Silwin to Los Angeles. Her sister Alexandra was a member of Honey Ltd., a girl group associated with Nancy Sinatra producer Lee Hazelwood, and she introduced Frey to her friend John David Souther.
It was a portentous introduction. Before long the two were living as roommates in East L.A. with another aspiring songwriter named Jackson Browne. All three quickly became deeply involved in the burgeoning L.A. country-rock scene centered around the Troubadour nightclub that started with the Byrds, proliferated with Gram Parsons and the Flying Burrito Brothers and would, in softer form, dominate American airwaves for the bulk of the 1970s. But first. Frey and Souther would pay their dues as an unsuccessful duo, Longbranch Pennywhistle. The pair released a self-titled album on the short-lived indie Amos Records in 1969, but soon split up.
In 1971, fellow future country-rock superstar Linda Ronstadt was seeking a backing band and, on the advice of Souther, her boyfriend, hired Frey along with his friend, drummer Don Henley. On the night of their first show with Ronstadt, the ambitious and driven pair decided to form their own band and later recruited ex-Poco bassist Randy Meisner and former Burritos guitarist Bernie Leadon. The Eagles became one of the first artists signed to David Geffen’s then-new label, Asylum. The group was an instant success, riding on the back of its first single, “Take It Easy” — a song written almost entirely by Jackson Browne, with some lyrics added by Frey.
Via a long string of mid ’70s hits like “Peaceful Easy Feeling,” “Desperado,” “Tequila Sunrise,” “Best of My Love” (No. 1 March 1975) “Witchy Woman” the funkier “One of These Nights” (No. 1 August 1975) and the harder-edged “Already Gone” (many written by bandmembers in collaboration with Souther), the Eagles became the standard-bearers — and Asylum Records became the epicenter — of the California soft-rock explosion. (Barney Hoskyns’ 2006 book Hotel California is an excellent history of that scene and the Eagles’ role in it.) Guitarist Don Felder filled out the band’s sound in 1974, and after Leadon left the following year, guitarist Joe Walsh joined – beefing up the band’s sound and lofting them to even greater heights with the 1976 “Hotel California” album, which spawned No. 1 singles with the title track and Frey’s “New Kid in Town,” possibly his defining song. Along with Fleetwood Mac’s Rumors, those albums defined the denim, drugs and decadence of the jet-setting late ’70s California rock scene.
But drugs, egos and success soon took their toll, and it was some three years before the Eagles released a follow-up album with The Long Run. Spurred by the Hot 100 No. 1 single “Heartache Tonight,” the album was a commercial success — and helped bring the music industry out of a post-disco sales tailspin — but the band succumbed to infighting and split in 1980.
Frey embarked on a successful solo career, enjoying a series of ’80s hits, the biggest of which were tied to soundtracks like Beverly Hills Cop (“The Heat Is On”) and Miami Vice (“You Belong to the City”). He was even a regular character on the latter show, portraying a guitar-playing smuggler named Jimmy Cole.
But the Eagles’ solo hits began to dry up in the 1990s, and before long a reunion tour was masterminded by Irving Azoff, the group’s longtime manager. The tour’s title mocked the acrimony with which the group split up: “Hell Freezes Over.” The group continued to tour periodically — and lucratively — over the past two decades, releasing just scattered new material and focusing on solo works. In 2012, Frey released his first solo album since the 1990s, a collection of pop standards called After Hours.
While the Eagles were reviled as much as they were revered during their heyday — a situation hilariously rendered in a scene in The Big Lebowski, when the title character is physically ejected from a taxi for asking the driver to turn off the radio when “Peaceful Easy Feeling” comes on — there’s no questioning the enduring quality of their hits or the freshness of their sound, particularly the keening harmonies of Henley, Frey and Meisner. But more lasting may be its success: For years the group’s 1976 collection Their Greatest Hits 1971-75 regularly swapped places with Michael Jackson’s Thriller as the top-selling album of all time — and has been certified a whopping 29 times platinum by the RIAA. Hotel California is certified 16 times platinum.
Frey and Henley were the Eagles’ leaders and only two constant members, and it’s difficult to imagine the group continuing without him.
Discussing the superb 2013 History of the Eagles, Part 1 documentary with Billboard, Frey said: “You couldn’t have asked for a better script for a bunch of guys in their 20s trying to make it into the music business. We were young, we made mistakes, we still make mistakes. It’s the story of an American band, but it’s also the story of the songs we wrote and what those songs did to people. We’re here because everybody likes the songs.”
Glenn Frey, a founding member and guitarist of the Eagles, one of the most popular and commercially successful artists of all time died January 18, 2016 in New York City after a courageous battle with Rheumatoid Arthritis, Acute Ulcerative Colitis and Pneumonia. ”
He had been battling intestinal issues that caused the band to postpone its Kennedy Center Honors in October 2015. A statement from the band said then the recurring problem would require “major surgery and a lengthy recovery period.”
Eagles drummer/songwriter and vocalist Don Henley issued the following statement:
“He was like a brother to me; we were family, and like most families, there was some dysfunction. But, the bond we forged 45 years ago was never broken, even during the 14 years that the Eagles were dissolved. We were two young men who made the pilgrimage to Los Angeles with the same dream: to make our mark in the music industry — and with perseverance, a deep love of music, our alliance with other great musicians and our manager, Irving Azoff, we built something that has lasted longer than anyone could have dreamed. But, Glenn was the one who started it all. He was the spark plug, the man with the plan. He had an encyclopedic knowledge of popular music and a work ethic that wouldn’t quit. He was funny, bullheaded, mercurial, generous, deeply talented and driven. He loved is wife and kids more than anything. We are all in a state of shock, disbelief and profound sorrow. We brought our two-year ‘History of the Eagles Tour’ to a triumphant close at the end of July and now he is gone. I’m not sure I believe in fate, but I know that crossing paths with Glenn Lewis Frey in 1970 changed my life forever, and it eventually had an impact on the lives of millions of other people all over the planet. It will be very strange going forward in a world without him in it. But, I will be grateful, every day, that he was in my life. Rest in peace, my brother. You did what you set out to do, and then some.”
As a member of the Eagles, Frey won six Grammy Awards, and five American Music Awards. The Eagles were inducted into the Rock and Roll Hall of Fame in 1998, the first year they were nominated. Consolidating his solo recordings and those with the Eagles, Frey released 24 Top 40 singles on the Billboard Hot 100.
2016 – David Bowie was born David Robert Jones on January 8, 1947 in South London, England.
Bowie developed an early interest in music although his attempts to succeed as a pop star during much of the 1960s were frustrated. Bowie’s first hit song, “Space Oddity”, reached the top five of the UK Singles Chart after its release in July 1969. After a three-year period of experimentation, he re-emerged in 1972 during the glam rock era with the flamboyant, androgynous alter ego Ziggy Stardust, spearheaded by the hit single “Starman” and the album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. Bowie’s impact at that time, as described by biographer David Buckley, “challenged the core belief of the rock music of its day” and “created perhaps the biggest cult in popular culture”. The relatively short-lived Ziggy persona proved to be one facet of a career marked by reinvention, musical innovation and visual presentation.
In 1975, Bowie achieved his first major American crossover success with the number-one single “Fame” and the hit album Young Americans, which the singer characterised as “plastic soul”. The sound constituted a radical shift in style that initially alienated many of his UK devotees. He then confounded the expectations of both his record label and his American audiences by recording the electronic-inflected album Low, the first of three collaborations with Brian Eno. Low (1977), “Heroes” (1977), and Lodger (1979)—the so-called “Berlin Trilogy” albums—all reached the UK top five and received lasting critical praise.
After uneven commercial success in the late 1970s, Bowie had UK number ones with the 1980 single “Ashes to Ashes”, its parent album Scary Monsters (And Super Creeps), and “Under Pressure”, a 1981 collaboration with Queen. He then reached a new commercial peak in 1983 with Let’s Dance, which yielded several hit singles.
Throughout the 1990s and 2000s, Bowie continued to experiment with musical styles, including blue-eyed soul, industrial, adult contemporary, and jungle. He stopped touring after his 2003–04 Reality Tour, and last performed live at a charity event in 2006. Bowie released the studio album Blackstar on 8 January 2016, his 69th birthday, just two days before his death from liver cancer.
Bowie also had a successful, but sporadic film career. His acting roles include the eponymous character in The Man Who Fell to Earth (1976) Jareth, the Goblin King in Labyrinth (1986), Pontius Pilate in Martin Scorsese’s The Last Temptation of Christ (1988), and Nikola Tesla in The Prestige (2006), among other film and television appearances and cameos.
David Buckley said of Bowie: “His influence has been unique in popular culture—he has permeated and altered more lives than any comparable figure.” In the BBC’s 2002 poll of the 100 Greatest Britons, Bowie was placed at number 29. Throughout his career, he has sold an estimated 140 million records worldwide. In the UK, he has been awarded nine Platinum album certifications, eleven Gold and eight Silver, and in the US, five Platinum and seven Gold certifications. He was inducted into the Rock and Roll Hall of Fame in 1996.
In 1992 Bowie married international super model Iman and in the decade that followed the once flamboyant Ziggy Stardust learned that privacy and focus on art beats marketing anytime. Bowie had always been protective of his private life, but often toyed with his fans in search of surprise and shock. He claimed to be gay in 1972 just to get attention for his Space Oddity. Later he turned that statement into bi-sexual, but inside the circle, everyone knew it was just a marketing ploy.
His life of putting art before celebrity is a masterclass for today’s musicians who search for their their best camera angle or hashtag before seeking out their unique contribution.
Before Bowie disappeared from public view, he made the rounds in 2002-03 promoting his album Heathen. His various interviews – and a few choice moves in the years since — provide the syllabus for the class. Here are four key takeaways from Bowie’s transformation:
You Don’t Need to Show Up for Everything
Bowie’s take on the hypocrisy of awards and the hunger for attention are perfectly summed up in this 2002 Late Night interview with Conan O’Brien. “I only want [the ones] that you really mean.”
Keep Your Private Life Private
Over the years, Bowie famously professed bisexuality and played the eligible bachelor (he also had an unsuccessful tumultuous first marriage). In 1992, however, he married supermodel Iman, and together they have become the prototypical married couple. Aside from Paul and Linda McCartney, there isn’t another rock couple that keeps their balance and priorities more in check. Iman shared their secret in this 2012 interview.
Remember the Element of Surprise
Bowie released his first album in 10 years, The Next Day, in March 2013 without advance warning or publicity. It’s the move of a confident artist who not only knows the work speaks for itself, but also has no need to speak about anything else. Beyoncé imitated the move later that same year.
Above all else, David Bowie’s public life has been a lesson in the importance of placing one’s own creative journey above all else. Look at any of his videos; listen to any of recordings. You’ll see and hear a man who is first and foremost chasing his own muse and searching for his own truths. The commercial consequences of that search are the byproduct, not the motivation.
Sadly the Master passed away on January 11, 2016 from cancer at age 69. A true legend moved to that big gig in the sky.
2016 Was a Tough Year for Rock and Roll Superstars. We lost at least a handful of Superstars, such as David Bowie, Glenn Frey and Prince early in the year and Leonard Cohen, Leon Russell and George Michael in the last two months of the year. Throughout the rest of the year we had to say goodbye to a list of high profiled musicians and singers such as Jefferson Airplane’s founder/guitarist Paul Kantner who died on the same day and at the same age as the band’s original female singer Signe Toly !