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Jack Jones — the velvet-voiced crooner who had such hits as “Wives and Lovers” and “The Impossible Dream (The Quest),” but may be best-known today for singing TV’s The Love Boat theme — died on Wednesday at Eisenhower Medical in Rancho Mirage, Calif. He was 86. His wife, Eleonara Jones, said the cause of his death was leukemia, which he had battled for two years.Jones’ death comes just seven months after Steve Lawrence, another singer of similar quality and style, died at 88. They were two of the finest singers of what was then known as easy listening music – music that fell out of favor as rock boomed in the late 1960s and 1970s. That music has seen a rebirth in recent decades under a new branding — traditional pop — with such new stars as Michael Bublé.Jones had three No. 1 hits on Billboard’s Easy Listening chart (now known as Adult Contemporary): “The Race Is On” (1965), “The Impossible Dream (The Quest)” (1966) and “Lady” (1967). Jones received a Grammy nod for best vocal performance, male for “The Impossible Dream,” the standout ballad from the Broadway musical Man of La Mancha. The song also received a Grammy nod for song of the year.Earlier in the 1960s, Jones won two Grammys for best vocal performance, male for Tony Velona’s “Lollipops and Roses” and Burt Bacharach and Hal David’s “Wives and Lovers.”The latter song, which reached No. 14 on the Billboard Hot 100 in January 1964, was also nominated for Grammys for record and song of the year. The lyrics — which warn women “Don’t think because there’s a ring on your finger/ You needn’t try anymore” — are now seen as hopelessly sexist. But if you can get past that, it’s one of Bacharach and David’s best-sounding hits, with a jazzy arrangement and Jones’ suave vocal.Jones addressed the criticism the song received by altering the lyrics to poke fun at men. But he never dropped the song from his set.“Since it’s a politically incorrect song, I start it out with a disclaimer,” he once said. “I hear that women still call up radio stations, angry that such a sexist song is being played. It’s now part of history, it won a Grammy, and I meant no harm when I did it. It made my career, and I’m grateful for that.”
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Jones had three top 20 albums on the Billboard 200: Wives and Lovers, Dear Heart and The Impossible Dream. The latter album remained on the chart for more than a year.Jones, Lawrence and such other singers as Frank Sinatra, Dean Martin, Tony Bennett and Andy Williams were among the last singers of old-guard easy listening music in the 1960s, as rock increasingly came to dominate the charts.As Chris Koseluk noted in The Hollywood Reporter’s obituary of Jones, “When filmmakers wanted to create that easy-listening ’60s vibe, Jones was one of their go-to guys. He can be heard on the soundtracks for Good Morning, Vietnam (1987), Goodfellas (1990), Reckless (1995), Duplex (2003), Bobby (2006) and American Hustle (2013), in which he had a cameo. ‘Lollipops and Roses’ accompanied the end credits on a 2008 episode of Mad Men.”Jones sang the title songs of several films, including A Ticklish Affair (1963), Love With the Proper Stranger (1963) and Where Love Has Gone (1964). On the 1965 Oscar telecast he sang the last-named song, which was nominated for best original song. He opened the 1970 The Best on Record program, the final pre-recorded Grammy-branded show before the live telecast commenced the following year, by singing Joe South’s “Games People Play,” that year’s song of the year winner.Jones sang The Love Boat theme, written by Paul Williams and Charles Fox, during that show’s first eight seasons (1977-85). (Dionne Warwick recorded it for season 9.) The song has elements of kitsch, and certainly the show was TV at its most mindless, but Jones’ dynamic vocal and Williams’ fine lyric (“Love/life’s sweetest reward)” were both work they could be proud of.
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Jones’ recording of “Theme From Love Boat” cracked Billboard’s adult contemporary chart in 1980. His later AC-charting hits also included “Let Me Be the One,” a cover of a superb Williams-Roger Nichols song that was featured on the Carpenters’ 1971 album Carpenters; “What I Did for Love,” the instant-standard from 1975’s Broadway smash A Chorus Line; and “With One More Look at You” from the Barbra Streisand-starring 1976 remake of A Star Is Born.Jones landed his fifth and final Grammy nomination in 1998, best traditional pop vocal performance, for his album Jack Jones Paints a Tribute to Tony Bennett. Bennett, of course, was one of the few old-school traditional pop performers who thrived in recent decades. (Fun Fact: Bennett’s “I Wanna Be Around” and Jones’ “Wives and Lovers” were both nominated for record of the year at the 1964 Grammys. Both lost to Henry Mancini’s “The Days of Wine and Roses.”)Jones continued to appear at casinos, performing arts centers and cabarets until shortly before his death. Jones was married to actress Jill St. John from 1967-69. They were one of the top celebrity couples of their era, each with a highly successful career. (They weren’t bad looking, either.)John Allan Jones was born in Los Angeles on Jan. 14, 1938. His father, tenor Allen Jones, acted in The Marx Brothers’ A Night at the Opera (1935) and A Day at the Races (1937). Jones also acted in Show Boat (1936) and had a hit record in 1938 with “The Donkey Serenade” from the movie The Firefly. The elder Jones had performed the latter song on horseback for Jeanette MacDonald in the 1937 MGM musical. Jack Jones’ mother, Irene Hervey, was a film and TV actress who received a Primetime Emmy nomination in 1969 for an appearance on the long-running sitcom My Three Sons.Jones, who lived in Indian Wells, Calif., was married six times. He was married to Katie Lee Nuckols (also known as the model Lee Larance) from 1960 to 1966; Jill St. John from 1967 to 1969; Gretchen Roberts from 1970 to 1971; Kathryn Simmons, from 1977 to 1982; and Kim Ely from 1982 to 2005. He married Eleonora Donata Peters in 2009.In addition to his wife, he is survived by a daughter, Crystal Thomas, from his marriage to Ms. Nuckols; another daughter, Nicole Ramasco, from his marriage to Ms. Ely; two stepdaughters, Nicole Whitty and Colette Peters, from his marriage to Ms. Peters; and three grandchildren.
As the last rays of sunlight illuminated the facade of CasaSur Palermo Hotel on Wednesday night, the first fans began to arrive. News spread like wildfire on social media: Liam Payne, former member of the boy band One Direction, had died after falling from a third-floor hotel room. The shock was immediate, and within hours, dozens of followers gathered at the makeshift shrine in front of the place where the 31-year-old British singer met his tragic end. Buenos Aires, the city that embraced him in life, was now bidding him farewell in death.
Payne, one of the voices that defined a generation of pop music, had arrived in Argentina to attend former bandmate Niall Horan‘s concert at the Movistar Arena, amid a resurgence of fame following his recent solo musical projects. However, no one could have imagined that this trip would become his final goodbye. The fateful fall from his hotel room left his followers engulfed in collective grief, which most are trying to process from the sidewalk on Costa Rica Street, where candles, flowers and letters have filled the scene.
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A vigil that never ends
“I can’t process it; I’m still in shock. He was a fundamental part of my childhood, he meant everything to me,” says 22-year-old Martina, one of the first fans to arrive at the makeshift shrine. With a trembling voice, she recalls the moment she first heard the British band: “I was in the car with my dad when I heard ‘What Makes You Beautiful’ for the first time, and from that day, I never let them go. From that moment on, their music became an essential part of my life. Every song accompanied me through different stages, from happy moments to the hardest times. It was as if they always had the exact words for what I was experiencing,” she continued. “One Direction was much more than a band for me; they were my refuge.”
The area in front of the hotel transformed into a space of catharsis for Payne’s followers. The pain is palpable, but so is the sense of camaraderie. Twenty-five-year-old Felicitas, wearing a Harry Styles shirt, arrived with flowers to pay tribute: “When I found out, I couldn’t process it. I felt like the world stopped for a moment. Everything he had meant to me crumbled in seconds. The idea that someone so present in my life was no longer here was devastating,” she says, tears streaming down her face. Like her, dozens of young fans gathered to remember the singer’s life, singing his songs and sharing anecdotes that connect them to the British artist.
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The Impact of His Death
Payne’s sudden death shook the entertainment world, especially among One Direction fans who had grown up listening to their songs. The group, formed on The X Factor in the U.K. in 2010, quickly became a global phenomenon. Their music became the soundtrack to the adolescence of millions of young people worldwide. According to Spotify, One Direction has more than 40 million monthly listeners on the platform, even years after their breakup. Songs like “What Makes You Beautiful” and “Story of My Life” continue to be anthems defining a generation.
Twenty-three-year-old Ludmilla explains it succinctly: “Every song was part of our story, a reflection of what we were living. They helped us feel understood, find comfort, and above all, connect with each other. They were not just a band; they were the thread that united us and accompanied us as we grew and discovered the world.”
The latest police report revealed disturbing details about the state of the room where Payne died. According to sources, pills, a nearly empty whiskey bottle, and other substances suggesting possible drug abuse were found. Investigations are ongoing, but these details have added another layer of tragedy to an already painful loss. The exact circumstances of his fall remain a subject of debate, but for the fans gathered at the shrine, the details matter less than the void he left behind.
The vigil on Costa Rica Street continues. Television channels broadcast live, but for the young women who remain there, the focus is on remembering the good times and bidding farewell to their idol with the music that united them. “I don’t know how I’m going to get through this,” says 25-year-old Candela, a Chilean fan living in Buenos Aires. With a notebook in hand, she wrote a letter now resting at the makeshift altar alongside flowers and photos. As the candles burn low and the noise of the city begins to envelop the scene once again, the words of one fan resonate in the air: “With his absence, he took a part of our existence.”
Billboard Argentina
Liam Payne’s voice opens the debut One Direction single, his face the first to receive a close-up in its music video. After five teenage boys are shown horsing around on a Malibu beach for a few seconds, the shot dissolves into Liam’s perfect coif, his unbuttoned shirt, his disarming smile. He turns to the side in the middle of the opening line — partially to re-establish his smolder, but also to cast aside any doubts. “You’re insecure,” Liam sings, waves crashing behind the 17-year-old singer, his eyes readjusting to meet the world. “Don’t know what for.”
“What Makes You Beautiful” helped One Direction, a boy band from the U.K. that formed on The X Factor, start off a smash upon its 2011 release, as a brilliant pop debut with pinpoint melodies, power-pop production and immediate flashes of personality from its five members. Yet while Harry Styles stuck the landing on the stripped-down bridge, Zayn Malik oozed emotion in the second verse, and Niall Horan and Louis Tomlinson showcased their respective charms in slow-motion music video shots, Liam’s opening verse adopted an ultra-confident stance that was crucial to the song’s tone.
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His voice was sturdy, and deep beyond his years — “Being the way that you are is enou-u-ugh,” he sang with utmost certainty, as the final syllable quietly echoes upward to set up his 1D bandmates with higher registers. The opening verse is not the flashiest part of the song, but its subtle delivery helped unlock what was to follow. It’s what made Liam indispensable; it’s what he would do in One Direction for years to come.
Payne died on Wednesday (Oct. 16) at the age of 31, a tragic loss for anyone who felt connected to the rocket ship of One Direction’s global stardom and invested in Liam as an integral part of that whirlwind of success. Over the course of the group’s five studio albums, One Direction’s sound congealed to create some of the most satisfying popular music of the 2010s — from the plucky pop of debut album Up All Night to the arena-rock riffs of Midnight Memories to the sun-kissed sing-alongs of Made in the A.M. — as their international popularity exploded. And within that sonic evolution, Liam turned himself into the group’s jack of all trades, a gracious utility player who could sing high when needed, complement his bandmates, and uncork a lead vocal full of verve and power.
There are plenty of instances of Liam commanding the spotlight in a One Direction hit, from “Best Song Ever” to “Steal My Girl” to “History,” and as the group graduated to the biggest venues on the planet, he demonstrated an ability to perform to enormous crowds while maintaining an assuredness and affability that made every stadium show seem downright intimate. The culture that 1D created over their run prioritized inclusion, and never talked down to their younger fans; Liam was a key part of reimagining the longstanding boy band model as a more global, social media-savvy and ultimately more accessible pop phenomenon.
And as the group’s members started gearing up for solo careers beyond One Direction, Liam became a more prolific co-writer, and contributed to some of the group’s strongest late-period material. After co-writing songs like “Story of My Life,” “Diana,” “Little Black Dress” and “Right Now” on 2013’s Midnight Memories, Liam helped mold One Direction’s most complete album, 2014’s Four, with credits on top-notch songs like “Fireproof,” “Clouds,” “Fool’s Gold” and “No Control,” among others. After co-writing six songs on 2015’s Made in the A.M., Liam had established himself as a creative presence in the studio — which would help guide him as he ventured into post-1D work in the late 2010s, on his own for the first time since entering The X Factor and then being grouped with four other teen boys.
“To be honest with you, I wasn’t going to do a solo venture,” Liam told Billboard in 2017, ahead of the release of his debut solo single, the rhythmic pop song “Strip That Down” with Quavo. “I was just going to go into songwriting and carry on and do that. But then I was like, ‘You’ve been trying to do this since you were 14 years old. You would be ridiculously stupid to turn down the option to have a deal.’” And Liam delivered on that deal: “Strip That Down” reached the top 10 of the Hot 100 and became a top 40 radio staple for months on end.
Liam kept collaborating with other pop personalities (Zedd, J Balvin, Rita Ora) while exploring hip-hop, R&B and dance music; his 2019 debut, LP1, was supposed to receive a follow-up in the near future, following the release of the single “Teardrops” earlier this year. As we remember Liam following his tragic death, we must also reflect on a musical journey that was cut far too short, with questions about what he would have continued pursuing as a solo artist, as well as any further collaboration with his One Direction mates, now left unanswered.
Yet in the same way those opening six words of “What Makes You Beautiful” still echo in our brains more than a decade after they rolled off of Liam’s tongue, One Direction’s impact on modern popular music cannot be forgotten — and Liam’s role in creating that seismic shift was indispensable. In ways large and small, he helped chart the course of a quintet that took over the world, a team player who was instrumental to the group’s foundation. One Direction’s music was always going to live on and reach future generations, but upon this sad occasion, Liam’s place within that music should be celebrated.
After a 14-year career in music that began with the formation of One Direction in 2010 and continued with a successful solo run, Liam Payne has died at age 31. The pop singer/songwriter died after falling from a third-floor hotel room in Buenos Aires, Argentina, local police confirmed to CNN. Before his untimely death, the star […]
Bass guitarist Herbie Flowers, who played with David Bowie, Elton John, Lou Reed and other music legends in a decades-long career, has died at 86.
The musician’s family confirmed his death on Facebook Saturday (Sept. 7).
“While we knew and loved him as Uncle Herbie, his musical contributions have likely touched your lives as well,” the husband of Flowers’ niece wrote. “He played bass on many of the songs from the golden age of rock,” the post reads.
A cause of death was not provided.
Flowers was a founding member of the pop group Blue Mink, who later joined the rock band T Rex. He won acclaim for his work with many of the biggest names in U.K. music in the 1970s, giving Reed’s “Walk on the Wild Side,” from the 1972 Transformer album, its recognizable twinned bassline.
He also played bass for Bowie’s “Space Oddity,” Bryan Ferry’s “The Bride Stripped Bare,” and Paul McCartney’s “Give My Regards to Broad Street,” and featured in two of John’s early ’70s albums, among many others.
In a tribute, Bowie’s estate wrote on the social media platform X (formerly Twitter), “his work with Bowie and associates over the years is too long to list here.”
“Aside from his incredible musicianship over many decades, he was a beautiful soul and a very funny man. He will be sorely missed,” it said. “Our thoughts are with his family and friends.”
Tim Burgess, lead singer for The Charlatans singer, wrote X that Flowers “made the greats sound greater.”
Flowers also founded the instrumental rock band Sky in the late 1970s, releasing seven albums.
Screamin’ Scott Simon, who spent 52 years as the pianist of the energetic rock ’n’ roll and doo-wop group Sha Na Na, died Thursday in Ojai after a long battle with sinus cancer, his daughter Nina Simon announced. He was 75.
A member of Sha Na Na from 1970 until they quit touring in 2022, Simon sometimes played the piano with his feet as he belted out such hits as Jerry Lee Lewis’ “Whole Lotta Shakin’ Goin’ On” and Danny & the Juniors’ “At the Hop.”
Simon and Sha Na Na performed in the 1978 film adaptation of Grease as “Johnny Casino and the Gamblers,” playing six doo-wop numbers in the high school dance scenes.
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Meanwhile, Simon partnered with Louis St. Louis to write “Sandy,” sung by John Travolta. The film’s soundtrack went on to become one of the top albums of all time, with sales of more than 30 million copies.
With the 1977 premiere of The Sha Na Na Show, Simon moved to Los Angeles and appeared on all 97 episodes of the 30-minute syndicated variety program over four seasons. The band welcomed such guest stars as Chuck Berry, Bo Diddley, James Brown and the Ramones.
And on tour, Sha Na Na performed with acts including John Lennon & Yoko Ono, Steve Martin, Bruce Springsteen and Billy Joel.
Born on Dec. 9, 1948, in Kansas City, Missouri, Simon was a multisport athlete and active in United Synagogue Youth, a national community of Conservative Jewish teenagers. He played in jug bands, founded a jazz quartet, tried his hand at composing and did song parodies, like turning Van Morrison’s “Gloria” into “Toriah.”
He moved to New York City to attend Columbia University — where a classmate nicknamed him “Screamin’ Scott” — in 1966 and fronted a blues band called The Royal Pythons.
In 1970, he answered an ad in the Columbia newspaper about an opening for a piano player and guitarist in a campus doo-wop group. Sha Na Na had immediately preceded Jimi Hendrix onstage at Woodstock in 1969 yet was still relatively unknown. After Simon graduated, he came aboard as its keyboardist and eventual managing partner.
While Sha Na Na primarily played classic ’50s and ’60s songs, Simon composed multiple songs and solo albums performed by the band and by himself on records and on TV.
In addition to his daughter, survivors include his wife, Deborah; another daughter, Morgan; stepson Nick; and granddaughters Rocket and Naomi.
This article was originally published by The Hollywood Reporter.
James Darren, the former teen idol and pop singer who played the dreamy surfer Moondoggie in three Gidget movies before starring on television on The Time Tunnel and T.J. Hooker, died Monday. He was 88.
Darren died in his sleep at Cedars-Sinai Medical Center in Los Angeles, his son Jim Moret, a correspondent for Inside Edition, told The Hollywood Reporter. He had entered the hospital for an aortic valve replacement but was deemed too weak to have the surgery; he went home but had to return.
“I always thought he would pull through,” Moret said, “because he was so cool. He was always cool.”
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Early in his career, the dark-haired Darren received excellent notices for starring in Let No Man Write My Epitaph (1960) — portraying the son of a hoodlum defended by Humphrey Bogart’s character in 1949’s Knock on Any Door — and for playing the Greek soldier Spyros Pappadimos in The Guns of Navarone (1961).
Even though he could not surf, the Philadelphia native got the role of Moondoggie (real name: Jerry Matthews) opposite three actresses as the precocious Malibu teen: Sandra Dee in Gidget (1959), Deborah Walley in Gidget Goes Hawaiian (1961) and Cindy Carol in Gidget Goes to Rome (1963).
Darren revived his singing career in the late ’90s when he appeared on several episodes of the syndicated series Star Trek: Deep Space Nine as the holographic lounge singer Vic Fontaine, a role he called “one of the most enjoyable” he ever played.
Several of his Frank Sinatra-styled performances were recorded for the 1999 album This One’s From the Heart.
After many years out of the limelight, Darren made an impression as the husband of a bar owner in Harry Dean Stanton‘s final film, Lucky (2017).
James William Ercolani was born on June 8, 1936. Growing up on South 10th Street in South Philadelphia, he was inspired by another Philly native, Eddie Fisher, to become a singer and actor, and he commuted to New York to study acting with Stella Adler.
While in the city, the owner of a photography shop connected him to Columbia Pictures talent scout Joyce Selznick (David O. Selznick’s niece), and he went on to sign a contract with the studio.
Darren made his film debut as a high school senior and gang member opposite Robert Blake in the crime drama Rumble on the Docks (1956), then followed with roles in Operation Mad Ball, The Brothers Rico and The Tijuana Story in 1957 and Gunman’s Walk in ’58.
The Gidget movies made him extremely popular with young ladies.
“The defining moment was when I was at a studio in San Francisco and word got out that I was there,” he recalled in a 2015 interview with Los Angeles magazine. “Thousands of girls were screaming out front. When I had to leave the building, they tackled me to the ground and pulled pieces of my hair out. The police had to rescue me and took me to the roof until things settled down.”
To land the Gidget gig, Darren had to convince the producers that he could carry a tune. “They were going to use somebody else’s voice, but I told them I could sing,” he said. “We went into one of the soundstages with a piano player and I sang the song and they said, ‘He can do it.’ Then they put me on their label, Colpix.”
Darren also was heard performing in All the Young Men (1960), Diamond Head (1962), Under the Yum Yum Tree (1963) and For Those Who Think Young (1964).
He sang “Almost in Your Arms” at the 1959 Academy Awards and “It’s a Mad Mad Mad Mad World” on the 1964 Oscar telecast; performed as Yogi Bear in a 1964 animated film; and did a number on a 1965 episode of The Flintstones.
He also played the best friend opposite Sal Mineo in The Gene Krupa Story (1959), starred as a car mechanic in The Lively Set (1964) and ventured to Italy to topline Venus in Furs (1969) with Barbara McNair.
Darren was married to childhood sweetheart Gloria Terlitsky from 1955 until their 1958 divorce and to Evy Norlund, a former Miss Denmark, from 1960 until his death. He lived for decades in a home on Kimridge Road in Beverly Ridge Estates that had been owned by Audrey Hepburn.
In addition to his wife and Moret, survivors include his other sons, Christian and Anthony; grandchildren Amanda, Carly, Matthew, Natalie and Nicholas; and goddaughter A.J. Lambert, daughter of Nancy Sinatra.
Over the years, Darren encountered many fans of his music, some of them unexpected.
“I was in a pizza shop one day with a friend of mine. I heard this motorcycle pull up, and in walked Bruce Springsteen in his little motorcycle cap, like Brando wore in The Wild One — I guess he left his helmet outside,” he recalled in his chat with Weaver. “I said, ‘Oh, I gotta go say hi to him.’
“I walked up to him and said, ‘Hi, I don’t want to interrupt you, but my name is James Darren. I just want to tell you I’m a big fan. I love all your stuff.’ And he said, ‘James Darren? I bought “Goodbye Cruel World” in Freehold, New Jersey.’ Isn’t that sweet?”
–Duane Byrge contributed to this report
This article was originally published by The Hollywood Reporter.
Jack Russell, the former frontman of 1980s and ’90s glam rockers Great White, has died at age 63.
The news comes from the Instagram page for Jack Russell’s Great White, which is the band name the frontman toured under after the group disbanded in 2001.
“With tremendous sadness, we announce the loss of our beloved Jack Patrick Russell — father, husband, cousin, uncle, and friend,” the statement begins, adding that the singer “passed peacefully” surrounded by his wife Heather Ann, son Matthew Hucko and other family and friends. “Jack is loved and remembered for his sense of humor, exceptional zest for life, and unshakeable contribution to rock and roll where his legacy will forever live and thrive.”
The family is asking for privacy and shared that details of a public memorial would be announced at a later date.
On the Instagram page for Great White, Russell’s original bandmates shared their “deepest condolences to the family of Jack Russell. We hope they take comfort in knowing Jack’s incredible voice will live on forever.” The ended the statement: “Rest In Peace, to one of rock’s biggest champions.”
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Great White landed six songs on the Billboard Hot 100 in the late ’80s and early ’90s, including the top five smash “Once Bitten Twice Shy,” which peaked at No. 5 in 1989 and whose music video was in heavy rotation on MTV. The song’s album, 1989’s …Twice Shy, was a top 10 hit on the Billboard 200 chart, peaking at No. 9.
Following the group’s end in 2001, the lead singer hit the road as Jack Russell’s Great White — most infamously headlining Rhode Island’s The Station nightclub in 2003, when pyrotechnics started a fire that killed 100 people, including bandmate Ty Longley, and injuring 230. Russell’s tour manager, Daniel Biechele, pleaded guilty to 100 counts of involuntary manslaughter in 2006 and served two years in prison of a 15-year sentence. The owners of The Station, Jeffrey and Michael Derderian, pleaded no contest, with Michael serving almost three years in prison and Jeffrey being sentenced to community service. The band also reached settlements with victims in several lawsuits.
Last month, Russell’s Instagram page had announced his retirement from touring after diagnoses of Lewy Body Dementia and Multiple System Atrophy. “Words cannot express my gratitude for the many years of memories, love, and support,” the retirement announcement read. “Thank you for letting me live my dreams.”
Find the family and band statements below.
John Mayall, the British blues musician whose influential band the Bluesbreakers was a training ground for Eric Clapton, Mick Fleetwood and many other superstars, has died. He was 90.
A statement on Mayall’s Instagram page announced his death Tuesday (July 23), saying the musician died Monday at his home in California. “Health issues that forced John to end his epic touring career have finally led to peace for one of this world’s greatest road warriors,” the post said.
He is credited with helping develop the English take on urban, Chicago-style rhythm and blues that played an important role in the blues revival of the late 1960s. At various times, the Bluesbreakers included Eric Clapton and Jack Bruce, later of Cream; Mick Fleetwood, John McVie and Peter Green of Fleetwood Mac; Mick Taylor, who played five years with the Rolling Stones; Harvey Mandel and Larry Taylor of Canned Heat; and Jon Mark and John Almond, who went on to form the Mark-Almond Band.
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Mayall protested in interviews that he was not a talent scout, but played for the love of the music he had first heard on his father’s 78-rpm records.
“I’m a band leader and I know what I want to play in my band — who can be good friends of mine,” Mayall said in an interview with the Southern Vermont Review. “It’s definitely a family. It’s a small kind of thing really.”
A small but enduring thing. Though Mayall never approached the fame of some of his illustrious alumni, he was still performing in his late 80s, pounding out his version of Chicago blues. The lack of recognition rankled a bit, and he wasn’t shy about saying so.
“I’ve never had a hit record, I never won a Grammy Award, and Rolling Stone has never done a piece about me,” he said in an interview with the Santa Barbara Independent in 2013. “I’m still an underground performer.”
Known for his blues harmonica and keyboard playing, Mayall had a Grammy nomination, for “Wake Up Call” which featured guest artists Buddy Guy, Mavis Staples, Mick Taylor and Albert Collins. He received a second nomination in 2022 for his album The Sun Is Shining Down. He also won official recognition in Britain with the award of an OBE (Officer of the Order of the British Empire) in 2005.
He was selected for the 2024 Rock & Roll Hall of Fame class and his 1966 album Blues Breakers With Eric Clapton is considered one of the best British blues albums.
Mayall once was asked if he kept playing to meet a demand, or simply to show he could still do it.
“Well, the demand is there, fortunately. But it’s really for neither of those two things, it’s just for the love of the music,” he said in an interview with Hawaii Public Radio. “I just get together with these guys and we have a workout.”
Mayall was born on Nov. 29, 1933 in Macclesfield, near Manchester in central England.
Sounding a note of the hard-luck bluesman, Mayall once said, “The only reason I was born in Macclesfield was because my father was a drinker, and that’s where his favorite pub was.”
His father also played guitar and banjo, and his records of boogie-woogie piano captivated his teenage son.
Mayall said he learned to play the piano one hand at a time — a year on the left hand, a year on the right, “so I wouldn’t get all tangled up.”
The piano was his main instrument, though he also performed on guitar and harmonica, as well as singing in a distinctive, strained-sounding voice. Aided only by drummer Keef Hartley, Mayall played all the other instruments for his 1967 album Blues Alone.
Mayall was often called the “father of British blues,” but when he moved to London in 1962 his aim was to soak up the nascent blues scene led by Alexis Korner and Cyril Davies. Mick Jagger, Keith Richards and Eric Burdon were among others drawn to the sound.
The Bluesbreakers drew on a fluid community of musicians who drifted in and out of various bands. Mayall’s biggest catch was Clapton, who had quit the Yardbirds and joined he Bluesbreakers in 1965 because he was unhappy with the Yardbirds’ commercial direction.
Mayall and Clapton shared a passion for Chicago blues, and the guitarist later remembered that Mayall had “the most incredible collection of records I had ever seen.”
Mayall tolerated Clapton’s waywardness: He disappeared a few months after joining the band, then reappeared later the same year, sidelining the newly arrived Peter Green, then left for good in 1966 with Bruce to form Cream, which rocketed to commercial success, leaving Mayall far behind.
Clapton, interviewed for a BBC documentary on Mayall in 2003, confessed that “to a certain extent I have used his hospitality, used his band and his reputation to launch my own career,”
“I think he is a great musician. I just admire and respect his steadfastness,” Clapton added.
Mayall encouraged Clapton to sing and urged Green to develop his song-writing abilities.
Mick Taylor, who succeeded Green as a Bluesbreaker in the late 1960s, valued the wide latitude which Mayall allowed his soloists.
“You’d have complete freedom to do whatever you wanted,” Taylor said in a 1979 interview with writer Jas Obrecht. “You could make as many mistakes as you wanted, too.”
Mayall’s 1968 album Blues From Laurel Canyon signaled a permanent move to the United States and a change in direction. He disbanded the Bluesbreakers and worked with two guitars and drums.
The following year he released The Turning Point, arguably his most successful release, with an atypical four-man acoustic lineup including Mark and Almond. “Room to Move,” a song from that album, was a frequent audience favorite in Mayall’s later career.
The 1970s found Mayall at low ebb personally, but still touring and doing more than 100 shows a year.
“Throughout the ’70s, I performed most of my shows drunk,” Mayall said in an interview with Dan Ouellette for Down Beat magazine in 1990. One consequence was an attempt to jump from a balcony into a swimming pool that missed — shattering one of Mayall’s heels and leaving him with a limp.
“That was one incident that got me to stop drinking,” Mayall said.
In 1982, he reformed the Bluesbreakers, recruiting Taylor and McVie, but after two years the personnel changed again. In 2008, Mayall announced that he was permanently retiring the Bluesbreaker name, and in 2013 he was leading the John Mayall Band.
Mayall and his second wife, Maggie, divorced in 2011 after 30 years of marriage. They had two sons.
Abdul Kareem “Duke” Fakir, the last of the original Four Tops and a stalwart of Motown’s golden age, has died at age 88.
Fakir’s family announced the singer’s death on Monday afternoon (July 22), noting that “our hearts are heavy as we mourn the loss of a trailblazer, icon and music legend who, through his 70-year music career, touched the lives of so many.”
Fakir, who co-founded The Four Tops in 1953, had been in poor health, most recently fighting bladder cancer, and had retired from touring late last year. He was, according to the family, “surrounded by his loved ones” at his home in the Detroit area. An associate told Billboard that on Sunday he was “happy, talking and interacting, and when they turned to do something and turned back around, he had slipped away.”
With his glasses and angular frame, Fakir was arguably the most recognizable of The Tops and maintained his leadership in the group following the deaths of Levi Stubbs in 2008, Renaldo “Obie” Benson in 2005 and Lawrence Payton in 1997 (his son Lawrence Payton Jr. is part of the current lineup).
“I am probably as surprised as you are at the longevity,” Fakir said during 2022 while promoting his memoir I’ll Be There: My Life With The Four Tops. “It’s unbelievable. I never would’ve thought that while I was in my 80s I’d even be thinking about doing this, let alone still doing it. I feel nothing but blessed, man. Just blessed.”
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Fakir was born in Detroit on Dec. 26, 1935; his father was a factory worker who’d come over from what is now Bangladesh. He played football, basketball and ran track in high school, meeting Stubbs through neighborhood football games; the two began singing after separately attending a variety show, eventually recruiting Payton and Benson to form the group, first called The Aims but later changed to avoid confusion with the Ames Brothers.
The Four Tops recorded without success for several labels — including Chess, Red Top, Riverside and Columbia — and supported Billy Eckstine before signing with Motown in 1963. The group started out recording standards for the label’s Workshop Jazz Records imprint, but when the songwriting/production team of Holland-Dozier Holland gave The Tops “Baby I Need Your Loving” in mid-1964, it hit No. 11 on the Billboard Hot 100, which opened the floodgates for a string of hits that included “I Can’t Help Myself (Sugar Pie Honey Bunch),” “Reach Out I’ll Be There,” “Standing in the Shadows of Love” and “It’s the Same Old Song.”
“We were so fortunate in a lot of things we did,” explained Fakir, who was engaged to The Supremes’ Mary Wilson during the mid-’60s but called it off due to their individual career demands. “The love we shared between the four of us was kind of rare for four really kind of street guys from the north of Detroit, to come together with that kind of love. But music does a lot of things to you. It created a lot of love that we had, especially between ourselves.
“I didn’t know how much I would love the audience and the people. Just being on stage changed my whole life and my perspective. I look at the world a whole different way than I did when I was a young guy. It’s a beautiful world, and it just needs a little push towards love and togetherness.”
The Tops had several stints with Motown, and away from that company it also had hits with “Ain’t No Woman (Like the One I’ve Got),” “Are You Man Enough” and “When She Was My Girl.” The Tops were inducted into the Rock & Roll Hall of Fame in 1990, the Grammy Hall of Fame in 1998 and the Vocal Group Hall of Fame in 1999. Fakir accepted a Grammy Lifetime Achievement Award on behalf of the band in 2009. “Reach Out I’ll Be There” was added to the Library of Congress’ National Recording Registry in 2022.
“They’re just a tremendous group, one of the best,” Otis Williams of friendly “rivals” The Temptations said when the groups performed together a few years ago. “You look how long the original four stayed together like they did, and it’s so rare and special. I always marveled at it.” Like Fakir, Williams is the only remaining founding member of The Temptations, a role he said the two would speak about.
“These groups are our lives, you know?” Williams said. “I know Duke will be a Four Top until he can’t do it anymore. We both feel a responsibility to keep our [groups] going and keep the music out there for people to hear.”
In addition to the memoir, Fakir was also working on a stage musical based on The Four Tops’ story.
Fakir is survived by his wife, Piper; daughter Farrah Fakir Cook; sons Nazim Bashir Fakir, Abdul Kareem Fakir Jr., Myke Fakir, Anthony Fakir and Malik Robinson; 13 grandchildren; and nine great-grandchildren. Funeral arrangements for Fakir are currently pending.