Category Archives: obit

R.I.P. Dept.: DA! Post-Punk Singer/Bassist Lorna Donley Dead at 53

Lorna Donley, once the intense singer for the post-punk band DA! but more recently a librarian, died on December 1, 2013, She was 53.

DA! was a Chicago band that formed in 1977, recorded two EPs, and broke up in 1982. As is particularly evident from the black and white video made for their song, “Next To Nothing” (check it out below), DA! never got had either the exposure or the success they deserved. Donley, who stars in the video, is has downbeat charisma.

As the Chicago Sun-Times noted in their obit, “In his ‘Secret History of Chicago Music’ comic strip in the Chicago Reader, Steve Krakow compared the band to ‘Patti Smith fronting Joy Division.'”

Lorna Donley with husband, Scott Taves, on their wedding day, just a few months before her death.

In early December Donley “had chest pain while having coffee with her husband of less than three months, Scott Taves, at their home near Peterson and Western,” the Sun Times reported. “They went to Swedish Covenant hospital, where she died Dec. 1 of a ruptured aorta.”

For an in-depth obit, head to the Chicago Sun-Times.

Next to Nothing (1982) starring Lorna Donley.

Dark Rooms (1981) — first single

White Castles (1981)

This final clip includes the Dark Rooms/ White Castles EP (1981)

1. Dark Rooms 0:00
2. White Castles 4:53

and the

Time Will Be Kind LP (1982)

3. Next to Nothing 8:32
2. Strangers 11:29
3. Silent Snow 14:11
4. Three Shadows 17:06
5. This Doubt 21:03

-– A Days of the Crazy-Wild blog post: sounds, visuals and/or news –-

Country Great Ray Price is Still With Us

Despite earlier reports, Ray Price is still alive, though he is very ill with pancreatic cancer. His son mistakenly posted on Facebook that his father was dead.

Price’s wife, Janie Price, told The Tennessean he is alive.

Price’s wife Janie posted on Facebook: “At this time our loveable Ray Price is still with. us. When it is the time there will be a official statement.”

Bill Mack, who works with Ray Price, posted this: I just completed a telephone call with Janie Price at 10:15PM, Central. She said Ray’s condition is still in a “coma” mode, is not expected to improve. However, I will have my phone next to the bed constantly … if I decide to “crash-out”. She, or someone at the house, will call if there are any changes that need to be posted. I have spoken with so many of Ray’s peers, all so concerned about the “Chief”. That, and the hundreds of responses from you people, has made me realize the true value of friends. Yes, it’s been a day filled with hurt, but for a purpose: Love, concern … and prayers for Ray’s family. God bless you, thanks.

Below the obit I posted earlier, which is premature. However you still might want to check out the some of Price’s hits, which I’ve posted.

Country singer Ray Price, who scored #1 country hits including “Crazy Arms,” “My Shoes Keep Walking Back to You,” and “The Same Old Me,” died today at age 87 at his home in Mt. Pleasant, Texas. Price had been suffering complications from pancreatic cancer since late last year.

In addition to charting in the country top 10 (beginning with “Talk To Your Heart” in 1952), for over 30 years, Price is known for his baritone voice and for pioneering the honky-tonk sound still heard in some country music.

For an in-depth look at Ray Price’s career, check out this article in The Tennessean.

Ray Price performs his first #1 hit, “Crazy Arms,” in 1956 at the Ryman Auditorium.

“My Shoes Keep Walking Back to You,” 1957:

“Heartaches By the Numbers,” 1959:

-– A Days of the Crazy-Wild blog post: sounds, visuals and/or news –-

Velvet Underground’s Moe Tucker on Lou Reed

Moe Tucker of the Velvet Underground wrote a piece about Lou Reed, which ran yesterday in The Observer.

Tucker wrote:

I first met Lou when he came by one day to see my brother. They were friends from college and he came by to pick up my brother around Thanksgiving or maybe Christmas. That was in the early 60s. A long time ago. A different time. A different world. I think we said hello, and I knew from my brother that he was into music, but he didn’t make that big an impression.

Lou and Sterling [Morrison] met through my brother. They were all at Syracuse together, and that’s when the two of them started to play together. I got involved in their group almost by accident because the original drummer left just before a gig in New York in 1965 and they needed a new drummer real fast. Sterling said, “Oh, Tucker’s sister plays drums.” I lived way out on Long Island and they came out there from the city to see if I could keep a beat. That’s how it happened.

I was working as a data puncher for IBM and playing drums at night in a band that a brother of one of my girlfriends had formed. I was a pop fan, the Beatles and the Stones and all that 60s stuff, and suddenly I was playing this really avant-garde stuff in a group called the Velvet Underground. I had no grounding in the experimental stuff that John [Cale] loved, so it was quite a leap.

“There She Goes Again”:

The first gig I played was the first gig as the Velvet Underground. [Summit high school New Jersey, 11 December 1965] We played three songs [There She Goes Again, Venus in Furs and Heroin]. A lot of people were bewildered. A lot of people left. I think Lou kind of liked that. Then we played Cafe Bizarre in New York and the guy who owned it didn’t want the drums as they were too loud, so I played tambourine. I like the sound of the tambourine so that was fine. That’s where Barbara Rubin introduced us to Andy (Warhol).

“Heroin”:

It was a whole different world to the one I knew, especially at the Factory with the Warhol crowd, but it was really exciting and a lot of fun. I wasn’t scared or overwhelmed, I was just excited. Sterling was a kind of comforting presence. I’d known him since I was 11. John and Lou were just so full of ideas. I was super-impressed – the drones, the lyrics, the noise, the whole way they approached music was just new and exciting, and there was a pop imagination in there, too.

“Venus In Furs”:

To read the rest, head to The Observer.

-– A Days of the Crazy-Wild blog post: sounds, visuals and/or news –-

R.I.P. Dept.: Freedom Fighter Nelson Mandela Dead at 95

Nelson Mandela, who fought to free South Africa from apartheid and became a symbol of freedom throughout the world, died Thursday, He was 95.

“He no longer belongs to us,” President Obama said at the White House. “He belongs to the ages.”

Transcript of Obama’s comments on Mandela:

At his trial in 1964, Nelson Mandela closed his statement from the dock saying, “I have fought against white domination, and I have fought against black domination. I have cherished the ideal of a democratic and free society in which all persons live together in harmony and with equal opportunities. It is an ideal which I hope to live for and to achieve. But if needs be, it is an ideal for which I am prepared to die.”

And Nelson Mandela lived for that ideal, and he made it real. He achieved more than could be expected of any man. Today, he has gone home. And we have lost one of the most influential, courageous, and profoundly good human beings that any of us will share time with on this Earth. He no longer belongs to us — he belongs to the ages.

Through his fierce dignity and unbending will to sacrifice his own freedom for the freedom of others, Madiba transformed South Africa — and moved all of us. His journey from a prisoner to a President embodied the promise that human beings — and countries — can change for the better. His commitment to transfer power and reconcile with those who jailed him set an example that all humanity should aspire to, whether in the lives of nations or our own personal lives. And the fact that he did it all with grace and good humor, and an ability to acknowledge his own imperfections, only makes the man that much more remarkable. As he once said, “I am not a saint, unless you think of a saint as a sinner who keeps on trying.”

I am one of the countless millions who drew inspiration from Nelson Mandela’s life. My very first political action, the first thing I ever did that involved an issue or a policy or politics, was a protest against apartheid. I studied his words and his writings. The day that he was released from prison gave me a sense of what human beings can do when they’re guided by their hopes and not by their fears. And like so many around the globe, I cannot fully imagine my own life without the example that Nelson Mandela set, and so long as I live I will do what I can to learn from him.

To Graça Machel and his family, Michelle and I extend our deepest sympathy and gratitude for sharing this extraordinary man with us. His life’s work meant long days away from those who loved him the most. And I only hope that the time spent with him these last few weeks brought peace and comfort to his family.

To the people of South Africa, we draw strength from the example of renewal, and reconciliation, and resilience that you made real. A free South Africa at peace with itself — that’s an example to the world, and that’s Madiba’s legacy to the nation he loved.

We will not likely see the likes of Nelson Mandela again. So it falls to us as best we can to forward the example that he set: to make decisions guided not by hate, but by love; to never discount the difference that one person can make; to strive for a future that is worthy of his sacrifice.

For now, let us pause and give thanks for the fact that Nelson Mandela lived — a man who took history in his hands, and bent the arc of the moral universe toward justice. May God Bless his memory and keep him in peace.

Bono wrote about Mandela for Time magazine:

As an activist I have pretty much been doing what Nelson Mandela tells me since I was a teenager. He has been a forceful presence in my life going back to 1979, when U2 made its first anti-apartheid effort. And he’s been a big part of the Irish consciousness even longer than that. Irish people related all too easily to the subjugation of ethnic majorities. From our point of view, the question as to how bloody South Africa would have to get on its long road to freedom was not abstract.

Over the years we became friends. I, like everyone else, was mesmerized by his deft maneuvering as leader of South Africa. His cabinet appointments of Trevor Manuel and Kadar Asmal were intuitive and ballsy. His partnership with Sowetan neighbor Desmond Tutu brought me untold joy. This double act—and before long a triple act that included Mandela’s wife, the bold and beautiful Graca Machel—took the success of the anti-apartheid fight in South Africa and widened the scope to include the battle against AIDS and the broader reach for dignity by the poorest peoples on the planet.

Read the rest of Bobo’s Mandela obit at Time.

For more on Mandela’s life here’s a Chicago Tribune story.

— A Days of the Crazy-Wild blog post: sounds, visuals and/or news —

RIP Dept.: Reggae Great Junior Murvin of “Police and Thieves” Fame Is Dead

Junior Murvin, the Jamaican singer with the distinctive falsetto, whose hit “Police and Thieves” became well known in the punk community when The Clash covered it on their 1977 debut album, died at Port Antonio Hospital in Jamaica today, according to his son Keith Smith. Various reports have put his age at either 64 or 67.

Murvin had been hospitalized recently for diabetes and high blood pressure but the cause of death has yet to be determined.

According to The Independent, “Police and Thieves” was recorded in 1976 to reflect turf war and police violence in Jamaica but became closely associated with London’s Notting Hill Carnival, which ended in rioting that year.” The song eventually became a British hit For Marvin in 1980.

Murvin never again achieved the success of “Police and Thieves,” which was produced by the legendary Lee “Scratch” Perry at Perry’s Black Ark studio in Washington Gardens, St Andrew.

Reggae-vibes.com has this about “Police and Thieves”: “He [Junior Murvin] had met Perry years before when Scratch auditioned singers who wanted to record at Coxsone Dodd’s Studio One. Scratch introduced Junior Murvin to Coxsone Dodd as a singer with potential. Coxsone heard the song and told Junior to learn another verse to his song. Junior never returned and never recorded at Studio One. “I never had the patience to wait at that point”. He had come to Kingston to look for a producer for his song and this is how it happened: “It was a vibes y’know – of the producers at that time, only he could manage that heavy hardcore – cause I just get a vision to go to him and that was it. Lee Perry is the greatest producer I ever work with”. Together he and Scratch developed “Police And Thieves” and by its popularity was to prove the cry of the Jamaican people in the strife torn mid-seventies and early eighties. “He (Perry) always said to me ‘bwoy with the tune that you make you nah go dead’. True I was young I never realise what him a tell me – true he was older than me – but now me start get bigger me understand”. Junior and Scratch developed a relationship where they counteracted each other: “Me give Lee Perry nuff idea too y’know nuff idea. Him like work with me too… we have same idea, some time me have the idea before him – him say ‘When you have it ?’. He is a man who when you have voicing – him can talk through the mic and tell you three bars before the bridge comes – he just phrase in your ears – remind you say ‘Junior phrase away now remember the bar a come, phrase away now the bar a come now-hit it!’. (Laughs) When you’re voicing he’s talking through the mic in your ears – coming down with the music y’know and dancing too – give you a vibes. …..Him a dance and a mix, people who play instrument them always dance, but he’s the only man who I see mix and dance….”

The Clash’s version:

— A Days of the Crazy-Wild blog post —

RIP: Jazz Great Chico Hamilton Dead at 92

The drummer and bandleader Chico Hamilton, a cornerstone of the modern West Coast jazz scene of the 1950s, died yesterday (Monday, November 25, 2013) in Manhattan.

“Hamilton had a subtle and melodic approach that made him ideally suited for the refined, understated style that came to be known as cool jazz, of which his hometown, Los Angeles, was the epicenter,” jazz expert Peter Keepnews wrote in the New York Times today.

“He was a charter member of the baritone saxophonist Gerry Mulligan’s quartet,” Keepnews wrote, “which helped lay the groundwork for the cool movement. His own quintet, which he formed shortly after leaving the Mulligan group, came to be regarded as the quintessence of cool. With its quiet intensity, its intricate arrangements and its uniquely pastel instrumentation of flute, guitar, cello, bass and drums — the flutist, Buddy Collette, also played alto saxophone — the Chico Hamilton Quintet became one of the most popular groups in jazz.”

Musicians who passed through Hamilton’s group included bassist Ron Carter, the saxophonists Eric Dolphy and Charles Lloyd and the guitarists Jim Hall, Gabor Szabo and Larry Coryell.

For more, check out the obits in the New York Times and the L.A. Times.

“The Wind,” 1956

Buddy Collette (alto sax)
Fred Katz (cello)
Jim Hall (guitar)
Carson Smith (bass)
Chico Hamilton (drums)

“Blue Sands,” 1955

Bass – Carson Smith
Cello – Fred Katz
Drums – Chico Hamilton
Guitar – Jim Hall
Reeds – Buddy Collette

“Lady Gabor, 1962

Chico Hamilton: drums
Charles Lloyd : tenor sax and flute
George Bohanon : trombone
Gabor Szabo : guitar
Albert Stinson : bass

“The Dealer,” 1966

Arnie Lawrence : alto saxophone
Larry Coryell : guitar
Richard Davis : bass
Chico Hamilton : drums , percussion
Jimmy Cheatham : arranger

— A Days of the Crazy-Wild blog post —

RIP Dept.: An Overview of Electronic Music Pioneer Bernard Parmegiani

Parmegiani at work.

Bernard Parmegiani passed away yesterday, and today the electronic music expert Simon Reynolds points us to a piece he wrote for The Wire about Parmegiani.

Here’s the opening graphs:

“I don’t think I had any real musical influences,” Bernard Parmegiani has declared. Certainly, it’s true that he started out lacking any academic training in composition. A sound engineer for French television, he caught the musique concrete bug through an experimental music radio show called Club d’Essai. In the late Fifties Parmegiani dabbled in the young form during TV studio down-time he sneaked on the sly. Then, having teamed up with composer Andre Almuro as the latter’s engineer, his promise came to the attention of Pierre Schaeffer. But it took the godfather of concrete two whole years to steal Parmegiani away from TV (and a burgeoning side-career as a mime artist!). Only then did Parmegiani undergo, as a bureaucratic formality, the obligatory two-year composition course required to join the Groupe de Recherche Musicales.

Parmegiani’s sideways trajectory through the French equivalent of the BBC makes for a wonderfully wonky career path: from humble tape operator to venerable composer with a grand oeuvre now neatly tied-up and boxed in this twelve-disc set. The parallel would be if Dick Mills, chief sound effects maker at the Radiophonic Workshop, had been encouraged by the Beeb to lay aside Goons Show gastric-rumbles and Dalek voices and dedicate his energies to hour-long concrete operas inspired by A.J. Ayer. By the mid-Sixties, that was exactly what Parmegiani was up to: composing long-form works sparked by the philosophical pensees of Gaston Bachelard. The imprint of the latter’s classic ruminations on human perception as related to space, time, and the “poetics” of the four elements is detectable in Parmegiani titles like “L’Instant mobile” and “Capture ephemere”; often he would embark on a composition armed with nothing but a title borrowed from or inspired by the philosopher.

For the rest of this piece, head to ReynoldsRetro.

Listen to two of Parmegiani’s recordings:

RIP Dept.: Bernard Parmegiani, French Avant-Garde Electronic Music Pioneer, Dead at 86

Photo, via Spin, by Roberto Serra.

The influential French electronic music pioneer Bernard Parmegiani died today. He was 86.

There’s a good overview of Parmegiani over at Spin.

Check out his music now:

More videos over at Simon Reynolds’ blissblog.