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Posted on 9/7/25 at 8:10 pm to Kafka
I've always thought Howard Kaylan deserved life in front of the firing squad for the"etc" lyric. But he now claims it was a joke:
Posted on 9/7/25 at 8:46 pm to Kafka
Rick Davies, one of the two co-founders, frontmen and chief songwriters of the British band Supertramp, which evolved from a progressive-rock group into an unexpected chart-topping ensemble with the album “Breakfast in America,” has died after a long battle with cancer, the band confirmed in a statement. He was 81
Davies, who wrote and sang such Supertramp hits as “Goodbye Stranger” and “Bloody Well Right,” had a deeper and less-distinctive voice than his erstwhile partner, Roger Hodgson, who wrote and sang the band’s biggest hit, “The Logical Song.” Yet it was he who continued the band after Hodgson split in 1983 over a variety of disputes, which began with creative differences but grew to include songwriting royalties and other matters, that carried on in court as recently as last month.
Davies, who wrote and sang such Supertramp hits as “Goodbye Stranger” and “Bloody Well Right,” had a deeper and less-distinctive voice than his erstwhile partner, Roger Hodgson, who wrote and sang the band’s biggest hit, “The Logical Song.” Yet it was he who continued the band after Hodgson split in 1983 over a variety of disputes, which began with creative differences but grew to include songwriting royalties and other matters, that carried on in court as recently as last month.
This post was edited on 9/8/25 at 4:36 pm
Posted on 9/7/25 at 9:01 pm to Kafka
Joke or not, "Elanore" is still my favorite Turtles song and one I try to play with pals often.
Posted on 9/12/25 at 7:38 pm to Mizz-SEC
Tom Shipley, half of the musical duo Brewer & Shipley, has passed away at the age of 84 from unspecified causes, with the New York Times reporting that Shipley passed on Aug. 24 at a hospital in Missouri.
Alongside Michael Brewer, Shipley achieved a Top 10 hit in 1971 with “One Toke Over the Line,” a counterculture anthem that was a chart smash and a controversial song, released in an atmosphere of anti-war demonstrations and crackdowns on drug users.
The song would become Brewer and Shipley’s biggest hit; so big that it caught the attention of Vice President Spiro Agnew, who termed the song – along with the Byrds’ Eight Miles High and Jefferson Airplane’s White Rabbit — “blatant drug-culture propaganda” that “threatens to sap our national strength.”
Despite its marijuana references, the song somehow was performed on that bastion of wholesome American music, The Lawrence Welk Show, and would go on to carve its unique spot in music and pop culture history.
Brewer passed away at age 80 in 2024 from “multiple illnesses,” per reports at the time.
Alongside Michael Brewer, Shipley achieved a Top 10 hit in 1971 with “One Toke Over the Line,” a counterculture anthem that was a chart smash and a controversial song, released in an atmosphere of anti-war demonstrations and crackdowns on drug users.
The song would become Brewer and Shipley’s biggest hit; so big that it caught the attention of Vice President Spiro Agnew, who termed the song – along with the Byrds’ Eight Miles High and Jefferson Airplane’s White Rabbit — “blatant drug-culture propaganda” that “threatens to sap our national strength.”
Despite its marijuana references, the song somehow was performed on that bastion of wholesome American music, The Lawrence Welk Show, and would go on to carve its unique spot in music and pop culture history.
Brewer passed away at age 80 in 2024 from “multiple illnesses,” per reports at the time.
Posted on 9/13/25 at 9:09 am to bleeng
Posted on 9/14/25 at 12:44 am to Kafka
I have belatedly learned of this death in Feb
LINK
LINK
quote:
Bill Fay, the cult British singer-songwriter who experienced a late-in-life career revival, has died, according to a statement from his label, Dead Oceans.
quote:
Born in North London, in 1943, Fay attended college in Wales to study electronics, where he began writing songs on the piano and harmonium. Former Van Morrison drummer Terry Noon soon came across his demos, and helped Fay sign to Decca Records subsidiary Deram, where he put out two albums: 1970’s Bill Fay and 1971’s more fragmentary, experimental follow-up Time of the Last Persecution. Due to the latter record’s lackluster sales, Fay was dropped from his label. “I didn’t leave the music business—the music business left me,” he said in a Guardian profile last year.
quote:
Over the course of the next four decades, Fay got married, raised a family, and worked at various points as a groundskeeper, fishmonger, and fruit picker. “As far as I was concerned, I was gone, deleted. No one was listening,” he described to Spin in 2012. Following a reissue by a small British label in 1998, however, producer Jim O’Rourke discovered Fay’s first two LPs, which he would later play for Jeff Tweedy during the sessions for Wilco’s Yankee Hotel Foxtrot. Tweedy ended up adding a cover of Fay’s “Be Not So Fearful” to the band’s live sets, and after much cajoling, the singer joined them to perform it twice—once in 2007, and once in 2010.
Posted on 9/14/25 at 8:08 am to Kafka
Great song Kafka.
How you know about all of these artists is amazing. Thanks.
How you know about all of these artists is amazing. Thanks.
Posted on 9/14/25 at 9:58 pm to Mizz-SEC
Bobby Hart, Who Co-Wrote Monkees Smashes, the ‘Days of Our Lives’ Theme and His Own Hit as a Member of Boyce and Hart, Dies at 86
By Chris Willman
Bobby Hart, a songwriter who co-wrote some of the greatest hits of the Monkees, and a performer in his own right who made the top 10 as a member of the duo Boyce and Hart, died Wednesday at age 86. His wife MaryAnn said that her husband’s death came after a long illness.
Hart was associated throughout his career with co-writer Tommy Boyce, his official partner at Screen Gems/Columbia. Together, they wrote a series of huge hits for the Monkees, including the theme song for the TV series that spawned the group, “(Theme From) The Monkees,” as well as the 1966 No. 1 “Last Train to Clarksville” and follow-up singles such as “Valleri” ( a No. 3 Hot 100 hit), “I Wanna Be Free,” “(I’m Not Your) Steppin’ Stone” and “Words.”
Mickey Dolenz issued a statement of sympathy Sunday morning: “Another great is gone. Bobby Hart, who along with Tommy Boyce, penned and produced some of the Monkees’ greatest hits not only made a vital contribution to the popular success of the Monkees, but even more importantly to the essence, the very spirit of the entire venture. His talent, charisma, good humor and calmness in the face of what at times was nothing less than a maniacal roller coaster ride often brought a sense of peace that heartened everyone around him. He was the stillness that is the eye of the hurricane.”
The “Monkees” theme was not their only indelible TV song; the duo also wrote the theme for the long-running soap “Days of Our Lives.”
Another song that became a standard, “Hurt So Bad,” was first a No. 10 pop hit for Little Anthony and the Imperials, before being covered by acts from the Lettermen to Linda Ronstadt (whose cover reached No. 8 in 1980). The duo’s other songs included “Come a Little Bit Closer” for Jay and the Americans, a No. 3 Billboard hit in 1964.
Hart was also an Oscar nominee, with “Over You,” a song from “Tender Mercies,” in which Robert Duvall portrayed a country singer, being put up for an Academy Award in 1983; his co-writer for that was Austin Roberts.
Although Boyce and Hart remained best known for helping establish the Monkees as actual charttoppers as well as TV stars, they found success on their own as a duo, releasing three albums and finding success with one big hit, amid a series of lesser-charting singles. Their gold-selling single “I Wonder What She’s Doing Tonight” reached No. 8 on the Billboard Hot 100 in 1967.
Boyce and Hart also made a series of television appearances during their brief heyday as a duo in the 1960s, appearing on “Bewitched,” “The Flying Nun” and “I Dream of Jeannie.” (In a clip taken from their “Bewitched” episode, seen below, the dialogue centers around coverage of the duo’s career in Variety.)
As a duo, they were done by the end of the 1960s, but in the mid-1970s they came back together in the studio alongside ex-Monkees members Micky Dolenz and Davy Jones for what was widely seen as an attempt to form a new version of the Monkees, dubbed Dolenz, Jones, Boyce & Hart. The supergroup did not have any super success on the charts and the collaboration only lasted for one 1976 studio album; they had a somewhat greater impact as a touring act.
Hart played on some of the hits he co-wrote with Boyce as well, such as playing the Vox continental organ on the Monkees’ version of “(I’m Not Your) Steppin’ Stone.” That song was actually first recorded by the Liverpool Five and then Paul Revere & the Raiders before the Monkees took it to No. 20 on the Hot 100.
Boyce and Hart were also part of a campaign in the 1960s to lower the voting age to 18, releasing a single titled “L.U.V.,” which stood for Let Us Vote.
Tommy Boyce died by suicide in 1994 at age 55.
Bobby Hart was born Robert Luke Harshman on Feb. 18, 1939, in Phoenix, Arizona. He changed his name at the behest of a manager when he started a brief career as a solo artist with the 1960 single “Girl in the Window.”
“It was a time when there were songwriters who did nothing more than write songs for artists who didn’t write songs for themselves,” Hart explained in an interview with Gary James for Classic Bands. “Tommy and I had our first success in New York. I came from Phoenix to Los Angeles at 18, but I met Tommy when we were the same age and we became friends out here (California), but then we had a chance to go to New York and had our first success back there with ‘Come A Little Bit Closer’ by Jay and the Americans, and a Chubby Checker record and Little Anthony and the Imperials. We got signed to Screen Gems Columbia Music and came back to the West Coast in 1965. We were just set up with all these projects and basically at that point were seeing ourselves as short order cooks, if you will — whatever was needed and whenever it was needed. If Paul Revere and the Raiders were coming up to record in three days and they needed a record, we would do something that we thought would sound like a Paul Revere and the Raiders record and demo it and get it to them in three days. That was our life in 1965.”
He discussed playing with as well as writing for the Monkees. “The songs we produced for the Monkees, we used my band, the Candy Store Prophets, and augmented it with a couple of guitar players named Louie Shelton and Wayne Erwin, and Tommy and I also played and sang background on ’em. It was a different sound than we would’ve gotten if we had used the Wrecking Crew guys, the regular studio guys that played on almost everything else. We loved those guys and we did use them on other sessions for other artists, but the Monkees, it really was a garage band, and one that Tommy and I played with in one form or another for four or five years.”
By Chris Willman
Bobby Hart, a songwriter who co-wrote some of the greatest hits of the Monkees, and a performer in his own right who made the top 10 as a member of the duo Boyce and Hart, died Wednesday at age 86. His wife MaryAnn said that her husband’s death came after a long illness.
Hart was associated throughout his career with co-writer Tommy Boyce, his official partner at Screen Gems/Columbia. Together, they wrote a series of huge hits for the Monkees, including the theme song for the TV series that spawned the group, “(Theme From) The Monkees,” as well as the 1966 No. 1 “Last Train to Clarksville” and follow-up singles such as “Valleri” ( a No. 3 Hot 100 hit), “I Wanna Be Free,” “(I’m Not Your) Steppin’ Stone” and “Words.”
Mickey Dolenz issued a statement of sympathy Sunday morning: “Another great is gone. Bobby Hart, who along with Tommy Boyce, penned and produced some of the Monkees’ greatest hits not only made a vital contribution to the popular success of the Monkees, but even more importantly to the essence, the very spirit of the entire venture. His talent, charisma, good humor and calmness in the face of what at times was nothing less than a maniacal roller coaster ride often brought a sense of peace that heartened everyone around him. He was the stillness that is the eye of the hurricane.”
The “Monkees” theme was not their only indelible TV song; the duo also wrote the theme for the long-running soap “Days of Our Lives.”
Another song that became a standard, “Hurt So Bad,” was first a No. 10 pop hit for Little Anthony and the Imperials, before being covered by acts from the Lettermen to Linda Ronstadt (whose cover reached No. 8 in 1980). The duo’s other songs included “Come a Little Bit Closer” for Jay and the Americans, a No. 3 Billboard hit in 1964.
Hart was also an Oscar nominee, with “Over You,” a song from “Tender Mercies,” in which Robert Duvall portrayed a country singer, being put up for an Academy Award in 1983; his co-writer for that was Austin Roberts.
Although Boyce and Hart remained best known for helping establish the Monkees as actual charttoppers as well as TV stars, they found success on their own as a duo, releasing three albums and finding success with one big hit, amid a series of lesser-charting singles. Their gold-selling single “I Wonder What She’s Doing Tonight” reached No. 8 on the Billboard Hot 100 in 1967.
Boyce and Hart also made a series of television appearances during their brief heyday as a duo in the 1960s, appearing on “Bewitched,” “The Flying Nun” and “I Dream of Jeannie.” (In a clip taken from their “Bewitched” episode, seen below, the dialogue centers around coverage of the duo’s career in Variety.)
As a duo, they were done by the end of the 1960s, but in the mid-1970s they came back together in the studio alongside ex-Monkees members Micky Dolenz and Davy Jones for what was widely seen as an attempt to form a new version of the Monkees, dubbed Dolenz, Jones, Boyce & Hart. The supergroup did not have any super success on the charts and the collaboration only lasted for one 1976 studio album; they had a somewhat greater impact as a touring act.
Hart played on some of the hits he co-wrote with Boyce as well, such as playing the Vox continental organ on the Monkees’ version of “(I’m Not Your) Steppin’ Stone.” That song was actually first recorded by the Liverpool Five and then Paul Revere & the Raiders before the Monkees took it to No. 20 on the Hot 100.
Boyce and Hart were also part of a campaign in the 1960s to lower the voting age to 18, releasing a single titled “L.U.V.,” which stood for Let Us Vote.
Tommy Boyce died by suicide in 1994 at age 55.
Bobby Hart was born Robert Luke Harshman on Feb. 18, 1939, in Phoenix, Arizona. He changed his name at the behest of a manager when he started a brief career as a solo artist with the 1960 single “Girl in the Window.”
“It was a time when there were songwriters who did nothing more than write songs for artists who didn’t write songs for themselves,” Hart explained in an interview with Gary James for Classic Bands. “Tommy and I had our first success in New York. I came from Phoenix to Los Angeles at 18, but I met Tommy when we were the same age and we became friends out here (California), but then we had a chance to go to New York and had our first success back there with ‘Come A Little Bit Closer’ by Jay and the Americans, and a Chubby Checker record and Little Anthony and the Imperials. We got signed to Screen Gems Columbia Music and came back to the West Coast in 1965. We were just set up with all these projects and basically at that point were seeing ourselves as short order cooks, if you will — whatever was needed and whenever it was needed. If Paul Revere and the Raiders were coming up to record in three days and they needed a record, we would do something that we thought would sound like a Paul Revere and the Raiders record and demo it and get it to them in three days. That was our life in 1965.”
He discussed playing with as well as writing for the Monkees. “The songs we produced for the Monkees, we used my band, the Candy Store Prophets, and augmented it with a couple of guitar players named Louie Shelton and Wayne Erwin, and Tommy and I also played and sang background on ’em. It was a different sound than we would’ve gotten if we had used the Wrecking Crew guys, the regular studio guys that played on almost everything else. We loved those guys and we did use them on other sessions for other artists, but the Monkees, it really was a garage band, and one that Tommy and I played with in one form or another for four or five years.”
Posted on 9/14/25 at 10:00 pm to Mizz-SEC
Hart told Sunshine Factory about the initial assignment to write for the “Monkees” television show, before the roles had even been cast.
“One day, our boss at Screen Gems, Lester Sill, said, ‘I want you to go over and meet with these guys on the lot, Columbia Pictures lot. They have an idea to do a pilot for a television show.’ So Tommy and I went over and had a meeting with Bert Schneider of Raybert Productions. Of course, his partner was Bob Rafelson. And he explained what they wanted to do, a show called ‘The Monkees,’ which was basically ‘A Hard Day’s Night,’ Beatles on American television, a lot of madcap visuals, and we got it right away, and we convinced him right in that first meeting that we knew exactly what the counterpart musically should be. So he gave us the job of coming up with the theme song and two other songs that they needed for the pilot of ‘The Monkees.’
“We didn’t see a script,” he said, but knew “it should be something that might sound a little Beatle-esque but was not a complete ripoff of the Beatles, something that encompassed the new wave of mod music that was coming from England. And so, of course, they needed the theme song first, and we actually wrote that by walking down the street from our house on Woodrow Wilson down to a little park in the Cahuenga Pass. And while walking, we started snapping our fingers and kinda got that that would be a good groove for the piece. So by the time we got there, we basically had it in our minds that it would be ‘Here we come, walking down the street.’ And then we envisioned the drumroll from the Dave Clark Five record (“Catch Us If You Can”). That would take us into the chorus, ‘Hey, hey, we’re the Monkees.'”
Hart continued, “Tommy was a great collaborator, and we worked really well together. He was a mile-a-minute, throwing out ideas, and I was more the structural guy who was saying, ‘Hey, wait a minute, those five that just went by, forget about, but that one there, that one sticks. Let’s see what we can do with that.’ And that’s the way we generally wrote. We both had a background of writing complete songs, so we both did lyrics, and we both did melodies. … And then they needed a song where, in the pilot show, Davy Jones would be walking on the beach, kind of reminiscing about a failed romance that he had. And so we had a song that we’d already written called ‘I Wanna Be Free,’ and we envisioned that that could be something that could be kind of haunting and appropriate for that scene.”
More recently, he published another book co-penned by Ballantyne, this time focusing on his spiritual practice and not his career. “Yoga and Your Hidden Soul Power: A New Path to Love, Happiness, and Abundance Using Yoga’s Ancient Niyama Wisdom,” released in 2024, expounded on his advocacy for Kriya Yoga and the teachings of Paramahansa Yogananda, founder of the Self-Realization Fellowship and author of “Autobiography of a Yogi.”
Hart married MaryAnn in 1980 and they shared a strong interest in meditation retreats. “Bobby’s songwriting work accurately articulated youthful energy, and emotions to the world,” his wife said in a statement, “but his soul work brought happiness, contentment, and peace into our home.”
Along with MaryAnn, Hart is survived by sons Bret and Bobby Jr., from a former marriage to Becky; several grandchildren and great-grandchildren; and his sisters Deborah and Rebecca.
A rep says Hart’s memorial service will be private, to be followed by a public celebration in spring 2026 in Los Angeles. In lieu of flowers, the family suggests donations be directed to the Self-Realization Fellowship.
“One day, our boss at Screen Gems, Lester Sill, said, ‘I want you to go over and meet with these guys on the lot, Columbia Pictures lot. They have an idea to do a pilot for a television show.’ So Tommy and I went over and had a meeting with Bert Schneider of Raybert Productions. Of course, his partner was Bob Rafelson. And he explained what they wanted to do, a show called ‘The Monkees,’ which was basically ‘A Hard Day’s Night,’ Beatles on American television, a lot of madcap visuals, and we got it right away, and we convinced him right in that first meeting that we knew exactly what the counterpart musically should be. So he gave us the job of coming up with the theme song and two other songs that they needed for the pilot of ‘The Monkees.’
“We didn’t see a script,” he said, but knew “it should be something that might sound a little Beatle-esque but was not a complete ripoff of the Beatles, something that encompassed the new wave of mod music that was coming from England. And so, of course, they needed the theme song first, and we actually wrote that by walking down the street from our house on Woodrow Wilson down to a little park in the Cahuenga Pass. And while walking, we started snapping our fingers and kinda got that that would be a good groove for the piece. So by the time we got there, we basically had it in our minds that it would be ‘Here we come, walking down the street.’ And then we envisioned the drumroll from the Dave Clark Five record (“Catch Us If You Can”). That would take us into the chorus, ‘Hey, hey, we’re the Monkees.'”
Hart continued, “Tommy was a great collaborator, and we worked really well together. He was a mile-a-minute, throwing out ideas, and I was more the structural guy who was saying, ‘Hey, wait a minute, those five that just went by, forget about, but that one there, that one sticks. Let’s see what we can do with that.’ And that’s the way we generally wrote. We both had a background of writing complete songs, so we both did lyrics, and we both did melodies. … And then they needed a song where, in the pilot show, Davy Jones would be walking on the beach, kind of reminiscing about a failed romance that he had. And so we had a song that we’d already written called ‘I Wanna Be Free,’ and we envisioned that that could be something that could be kind of haunting and appropriate for that scene.”
More recently, he published another book co-penned by Ballantyne, this time focusing on his spiritual practice and not his career. “Yoga and Your Hidden Soul Power: A New Path to Love, Happiness, and Abundance Using Yoga’s Ancient Niyama Wisdom,” released in 2024, expounded on his advocacy for Kriya Yoga and the teachings of Paramahansa Yogananda, founder of the Self-Realization Fellowship and author of “Autobiography of a Yogi.”
Hart married MaryAnn in 1980 and they shared a strong interest in meditation retreats. “Bobby’s songwriting work accurately articulated youthful energy, and emotions to the world,” his wife said in a statement, “but his soul work brought happiness, contentment, and peace into our home.”
Along with MaryAnn, Hart is survived by sons Bret and Bobby Jr., from a former marriage to Becky; several grandchildren and great-grandchildren; and his sisters Deborah and Rebecca.
A rep says Hart’s memorial service will be private, to be followed by a public celebration in spring 2026 in Los Angeles. In lieu of flowers, the family suggests donations be directed to the Self-Realization Fellowship.
Posted on 9/14/25 at 10:40 pm to Mizz-SEC
My favorite B&H track:
Posted on 9/14/25 at 11:00 pm to Mizz-SEC
Posted on 9/20/25 at 6:31 pm to Kafka
LINK
quote:
Sonny Curtis, the singer and guitarist who played with Buddy Holly, fronted The Crickets and wrote and performed “Love Is All Around,” the indelible theme song for The Mary Tyler Moore Show, has died. He was 88.
Curtis died Friday after a “sudden illness,” his daughter, Sarah, announced on Facebook.
Curtis also wrote the rebellious “I Fought the Law” in 1958 and recorded it with The Crickets following the death of Holly, Ritchie Valens, J.P. Richardson (“The Big Bopper”) and pilot Roger Peterson in a plane crash on Feb. 3, 1959.
The Bobby Fuller Four took the song to No. 9 on the Billboard Hot 100 in 1966, and it also was memorably covered by The Clash, Roy Orbison, Hank Williams Jr., Green Day, the Dead Kennedys and dozens of other acts over the years.
His songwriting credits also included “Walk Right Back” and “More Than I Can Say,” top 10 hits on the Billboard Hot 100 for The Everly Brothers and Leo Sayer in 1961 and 1980, respectively.
quote:
In 1970, Curtis wrote and performed “Love Is All Around” — known for such lyrics as “Who can turn the world on with her smile?” — which accompanied footage of Moore tossing her hat into the air in the middle of a busy Minneapolis intersection for her fabled CBS sitcom that ran from 1970-77.
He had been given a four-page treatment of the show “about a young girl who gets jilted in this small community in the Midwest and moves to the big city in Minneapolis and gets a job at a news station and rents an apartment she has a hard time affording,” he told Mo Rocca on CBS Sunday Morning in 2022.
“I homed in on the part that she rented an apartment she had a hard time affording and wrote, ‘How will you make it on your own? … this world is awfully big, and this time you’re on your own.’”
quote:
Curtis was 15 when he first met Holly, and they formed a band with Holly’s high school friend Bob Montgomery. They performed on bills with Carl Perkins, Johnny Cash and Elvis Presley, and he played lead guitar on Holly’s 1956 song “Blue Days, Black Nights” and on his own composition, “Rock Around With Ollie Vee.”
After high school, Curtis left Holly to tour with Slim Whitman, then joined Buddy Holly & The Crickets in late 1958. He became the frontman after Holly’s death.
The Crickets recorded “I Fought the Law” for their first post-Holly album, 1960’s In Style With the Crickets, but it was not a hit for them. The LP also included “More Than I Can Say”; written by Curtis and Allison, it was a hit for Bobby Vee in 1961 and for Sayer, who took it to No. 2 in 1980.
Posted on 10/2/25 at 11:27 pm to Kafka
Christopher Walenty Dreja (November 11, 1945 – September 25, 2025) was an English musician and photographer, best known as the rhythm guitarist and bassist for rock band the Yardbirds for which he was inducted into the Rock and Roll Hall of Fame in 1992,
Dreja was a co-founder of the Yardbirds, which formed in London in 1963. In addition to Page, Eric Clapton and Jeff Beck were early members of the group, although they both eventually left. Other members included vocalist/harmonica player Keith Relf, drummer Jim McCarty and bassist Paul Samwell-Smith.
For Your Love, the band’s debut album in the U.S., was released in 1965. The title track became a top-10 hit. Other hit songs by the band include “Heart Full of Soul,” “Shapes of Things” and “Over Under Sideways Down.”
Dreja, who co-authored several of the band’s songs, was inducted into the Rock & Roll Hall of Fame as a member of the Yardbirds in 1992. He was part of the reformation of the group in 1992 and continued to perform with them until 2012, when he suffered a series of strokes that left him unable to perform.
Outside of music, Dreja had a career as a photographer. He is responsible for the photo on the back cover of Led Zeppelin’s debut album. He also worked with Andy Warhol, and photographed such artists as Bob Dylan, the Righteous Brothers, and Ike and Tina Turner.
Dreja was originally the band’s rhythm guitarist and shifted over to bass after Page joined in 1966. He was invited to join Led Zeppelin but declined, opting to pursue a career as a photographer instead. He shot the band photo on the back cover of Led Zeppelin’s first album.
Dreja was a co-founder of the Yardbirds, which formed in London in 1963. In addition to Page, Eric Clapton and Jeff Beck were early members of the group, although they both eventually left. Other members included vocalist/harmonica player Keith Relf, drummer Jim McCarty and bassist Paul Samwell-Smith.
For Your Love, the band’s debut album in the U.S., was released in 1965. The title track became a top-10 hit. Other hit songs by the band include “Heart Full of Soul,” “Shapes of Things” and “Over Under Sideways Down.”
Dreja, who co-authored several of the band’s songs, was inducted into the Rock & Roll Hall of Fame as a member of the Yardbirds in 1992. He was part of the reformation of the group in 1992 and continued to perform with them until 2012, when he suffered a series of strokes that left him unable to perform.
Outside of music, Dreja had a career as a photographer. He is responsible for the photo on the back cover of Led Zeppelin’s debut album. He also worked with Andy Warhol, and photographed such artists as Bob Dylan, the Righteous Brothers, and Ike and Tina Turner.
Dreja was originally the band’s rhythm guitarist and shifted over to bass after Page joined in 1966. He was invited to join Led Zeppelin but declined, opting to pursue a career as a photographer instead. He shot the band photo on the back cover of Led Zeppelin’s first album.
This post was edited on 10/10/25 at 10:53 am
Posted on 10/2/25 at 11:55 pm to bleeng
That clip is live, vocal and instruments
ETA: Beck on guitar
ETA: Beck on guitar
This post was edited on 10/2/25 at 11:57 pm
Posted on 10/10/25 at 10:08 am to Kafka
John Charles Lodge ( July 20, 1943 – October 10, 2025) was an English musician, best known as bass guitarist, co-lead vocalist and songwriter of the longstanding rock band the Moody Blues. He also worked as a record producer and collaborated with other musicians outside the band.
In 1966, John Lodge joined the Moody Blues as bassist and vocalist after their original bassist Clint Warwick had left the band, rejoining Ray Thomas during the same period as the band recruited guitarist/vocalist Justin Hayward to replace Denny Laine.
Lodge was one of the primary songwriters of the Moody Blues, writing many songs such as "Isn't Life Strange" and "I'm Just a Singer (In a Rock and Roll Band)," both songs for which he won an ASCAP songwriting award. He also wrote "Gemini Dream" alongside Justin Hayward which reached no. 12 on the Billboard Hot 100 charts and also won an ASCAP songwriting award.
In 1966, John Lodge joined the Moody Blues as bassist and vocalist after their original bassist Clint Warwick had left the band, rejoining Ray Thomas during the same period as the band recruited guitarist/vocalist Justin Hayward to replace Denny Laine.
Lodge was one of the primary songwriters of the Moody Blues, writing many songs such as "Isn't Life Strange" and "I'm Just a Singer (In a Rock and Roll Band)," both songs for which he won an ASCAP songwriting award. He also wrote "Gemini Dream" alongside Justin Hayward which reached no. 12 on the Billboard Hot 100 charts and also won an ASCAP songwriting award.
This post was edited on 10/10/25 at 10:37 am
Posted on 10/16/25 at 8:34 pm to Kafka
LINK
quote:
Richard Addrisi, the singer-songwriter best known for teaming with his older brother, Don, to pen the mega-selling pop standard “Never My Love,” died Tuesday at his home in Miami, a family spokesperson announced. He was 84.
While writing songs for other acts a nd recording at Valiant Records in the 1960s, the Addrisi Brothers also were given the responsibility for discovering new talent, and that led to a partnership with The Association, who already had No. 1 hits on the Billboard Hot 100 with “Cherish” in September 1966 and “Windy” in July 1967.
The brothers wrote “Never My Love” for the pop group, and they would take it to No. 2 on the Hot 100 in October 1967.
The enduring “Never My Love” would go on to enter the Top 15 with versions by The 5th Dimension in 1971 and by the Swedish rock band Blue Swede in 1974. In 1978, Vern Gosdin & Janie Fricke released a duet that made it to No. 9 on Billboard’s Hot Country chart.
In 1977, the Addrisi Brothers’ version peaked at No. 20 on the Adult Contemporary chart.
Over the years, “Never My Love” has been recorded by more than 300 notable artists, among them Norah Jones & Jacob Dylan, Bryan Adams, Belinda Carlisle, Rita Wilson, Nina Simone, Etta James, Barry Manilow, Donny Hathaway, Kathy Troccoli, Nancy Wilson, Johnny Mathis, Andy Williams, Vicky Carr, Petula Clark, Engelbert Humperdinck, Chill Factor, Henry Mancini, The Temptations, The Lettermen, the Four Tops, The Sandpipers, The Impressions, The Flirtations and Audra Mae & the Forest Rangers, featuring Billy Valentine.
In 1999, BMI noted that “Never My Love” was the No. 2 most-played song of all time in U.S. radio/television history, trailing only “You’ve Lost That Lovin’ Feeling,” made famous by The Righteous Brothers.
Posted on 10/16/25 at 8:45 pm to Kafka
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Terry Manning, the pioneering producer, musician, and photographer who was the first staff engineer at Ardent Studios and worked with many of their greatest artists, from Big Star to Led Zeppelin to ZZ Top and beyond, died yesterday, March 25th. Musician Robert Johnson, a friend of both Manning and ZZ Top’s Billy Gibbons, informed the Memphis Flyer that Gibbons had shared news from Manning’s wife that Manning suffered a sudden, fatal fall in the early hours of the morning at his home in El Paso, Texas. An official cause of death has not been made public at this time. He was 77.
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Over more than half a century, he worked with Booker T. & the MG’s, Shakira, Isaac Hayes, Otis Redding, Iron Maiden, Bryan Adams, the Tragically Hip, Johnny Winter, the Fabulous Thunderbirds, Jason and the Scorchers, the Staple Singers, Molly Hatchet, George Thorogood, Al Green, Widespread Panic, Shania Twain, Joe Cocker, Joe Walsh, Lenny Kravitz, and many others.
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Before long, Manning began working as the first staff engineer at the fledgling Ardent Studios, engineering sessions for Stax Records when their main studios were overbooked, and both working the board and playing when the studio supported local rock bands, including Chris Bell’s Icewater and Rock City, which went on to become Big Star after Alex Chilton joined them. Manning was also deeply involved in Chilton’s solo recordings just before the Big Star era, as the singer-songwriter sought to define his sound after leaving the Box Tops, ultimately released on the retrospective 1970 album. And Manning masterminded his own solo psychedelic album, Home Sweet Home, at the time — now widely celebrated.
quote:Terry Manning in the early days of Ardent Studios
Earlier, while playing with Lawson & Four More, Manning befriended Jimmy Page as he was touring with the Yardbirds, leading Page to work with Manning years later during the mixing of Led Zeppelin III.
Perhaps his greatest success was with the band ZZ Top, who recorded several albums at Ardent. “When ZZ Top started making ‘Gimme All Your Lovin” and those other Top 10 songs,” Johnson says, “those sounds were all Terry on the Oberheim keyboard and drum machine, programming drums and keys. He was MIDI-ing up the bass and coming up with those drum turnarounds. Of course, Billy Gibbons is a good drummer and probably did some of that programming down in in Texas, but then Terry came in and totally took it to the next level.”
Posted on 10/16/25 at 10:18 pm to Kafka
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Paul Daniel “Ace” Frehley, co-founder and lead guitarist of the legendary rock band Kiss and a member of the Rock and Roll Hall of Fame, has died following injuries suffered during a fall last month, according to a statement from his family. He was 74.
Posted on 10/18/25 at 3:22 pm to Kafka
Klaus Doldinger (May 12, 1936 – October 16, 2025) was a German saxophonist known for his work in jazz and as a film music composer. He received the 1997 Bavarian Film Award (Honorary Award). He was also a frequent collaborator of German filmmaker Wolfgang Petersen on many of his films as a score composer.
He was most famous as the founder of Passport. Passport was formed in 1971 as a jazz fusion group, similar to Weather Report. The ensemble's first recording was issued in 1971. The band's membership has had numerous changes over the years. The lineup that brought them to European and international prominence in the mid 1970s consisted of Doldinger, drummer Curt Cress, guitarist/bassist Wolfgang Schmid and keyboardist Kristian Schultze.
In 1960, Doldinger toured the USA for the first time and was awarded honorary citizenship in the jazz metropolis of New Orleans. The career of the Berlin-born musician had taken off internationally. In 1969, he started his new band "Motherhood", followed by "Passport" in 1971. The sources of Doldinger's music included jazz, rock, blues and soul as well as experimental electro sounds and Latin American rhythms.
He was most famous as the founder of Passport. Passport was formed in 1971 as a jazz fusion group, similar to Weather Report. The ensemble's first recording was issued in 1971. The band's membership has had numerous changes over the years. The lineup that brought them to European and international prominence in the mid 1970s consisted of Doldinger, drummer Curt Cress, guitarist/bassist Wolfgang Schmid and keyboardist Kristian Schultze.
In 1960, Doldinger toured the USA for the first time and was awarded honorary citizenship in the jazz metropolis of New Orleans. The career of the Berlin-born musician had taken off internationally. In 1969, he started his new band "Motherhood", followed by "Passport" in 1971. The sources of Doldinger's music included jazz, rock, blues and soul as well as experimental electro sounds and Latin American rhythms.
This post was edited on 10/18/25 at 4:39 pm
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