obituary
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Thomas H. Lee, a billionaire private equity investor and part of the group that acquired Warner Music from Time Warner in 2004, died Thursday (Feb. 24) in New York at age 78, his family said in a statement.
A pioneer in the private equity world, Lee was the chairman of Lee Equity and formerly the chief executive of Thomas H. Lee Partners, the namesake firm he founded in 1974. Over nearly five decades in finance, Lee invested $15 billion in hundreds of companies and transactions, including the acquisition and sale of household brands like Snapple.
The Wall Street Journal, citing a New York Police Department source, said Lee was found dead in a bathroom at his Fifth Avenue office from what first responders believe to be a self-inflicted gunshot wound to the head. They were responding to an emergency call placed Thursday morning by Lee’s office assistant, the WSJ reported.
“The family is extremely saddened by Tom’s death,” Lee’s family said. “Our hearts are broken. We ask that our privacy be respected and that we be allowed to grieve.”
Lee’s Thomas H. Lee Partners, Bain Capital, Providence Equity Partners and Edgar Bronfman Jr. bought Warner Music from Time Warner Inc. for $2.6 billion in 2004. The group took the company public the following year, and Lee’s firm, Bain Capital Partners and Bronfman controlled 56% of Warner’s outstanding shares when it was sold to Len Blavatnik‘s Access Industries in 2011 in a deal valued at $3.3 billion.
Lee sat on WMG’s board as a director from 2004 to 2021, when he became a director emeritus.
“We are deeply saddened by the passing of our friend and colleague Tom Lee,” Warner Music Group CEO Robert Kyncl said in an emailed statement. “Tom made valuable contributions to WMG’s trajectory for almost two decades. Tom’s experience, wisdom, and enthusiastic support helped guide WMG through periods of major transformation, both within our company and in the music industry at large. Our condolences go out to his family and many friends.”
When Lee announced he would retire from the role of WMG board director in 2021, he described the company as having “undergone an extraordinary evolution,” and said he was gratified to have helped it transform and grow.
Lee was worth an estimated $2 billion, according to Forbes, and he was an active philanthropist involved in several New York City cultural institutions, including Lincoln Center for the Performing Arts and the Museum of Modern Art.
Huey “Piano” Smith, a beloved New Orleans session man who backed Little Richard, Lloyd Price and other early rock stars and with his own group made the party favorites “Don’t You Just Know It” and “Rockin’ Pneumonia and Boogie Woogie Flu,” has died. He was 89.
His daughter, Acquelyn Donsereaux, told The Associated Press that he died in his sleep Feb. 13 at his home in Baton Rouge. She did not cite a specific cause.
A New Orleans native who performed nationwide but always returned to Louisiana, Smith was one of the last survivors of an extraordinary scene of musicians and songwriters who helped make New Orleans a fundamental influence on rock ‘n’ roll. He was just 15 when he began playing professionally and in his 20s helped out on numerous ’50s hits, including Price’s “Where You At?”, Earl King’s “Those Lonely Lonely Nights” and Smiley Lewis’ “I Hear You Knocking.” Little Richard, Fats Domino and David Bartholomew were among the many other artists he worked with.
In 1957, he formed Huey “Piano” Smith and the Clowns and reached the top 10 with “Rockin’ Pneumonia,” a mid-tempo stomp which featured the vocals of John Marchin and Smith’s buoyant keyboard playing, and the equally rowdy and good-natured “Don’t You Just Know It.” The Clowns also were known for “We Like Birdland”, “Well I’ll Be John Brown” and “High Blood Pressure.”
One Smith production became a major hit and rock standard, for another performer. Smith and his group wrote, arranged and recorded “Sea Cruise,” but Ace Records thought the song would have more success with a white singer — as Smith learned bluntly from local record distributor Joe Caronna — and replaced the Clowns’ vocals with those of Frankie Ford, whose version became a million seller.
“I was crying as he (Caronna) said that,” Smith told biographer John Wirt, whose Huey ‘Piano’ Smith and the Rocking Pneumonia Blues came out in 2014. “I had been drinking a little bit. It hurt me to my heart when he told me he was taking that.”
Artists covering “Sea Cruise” and other Smith songs included John Fogerty, the Beach Boys, Aerosmith and Jerry Garcia. In 2005, Ford would deny “stealing” the song, alleging that he had written the words. “Huey sorta went through a period and ‘forgot’ a lot of things,” Ford told Offbeat Magazine.
Smith’s popularity faded after the Beatles arrived and by 1980 he had quit the business, settled in Baton Rouge with his wife, Margrette, and become a Jehovah’s Witness. Like many rock musicians from the ’50s, he fought to be paid and credited for “Sea Cruise” and other hits and spent decades in legal battles and financial trouble. Local musicians, meanwhile, continued to cite him as an inspiration.
“To me he was the man who got more out of simplicity than anybody in New Orleans,” drummer Earl Palmer told Wirt.
In 2000, Smith received a Pioneer Award from the Rhythm and Blues Foundation and he was honored a year later by the Louisiana Blues Hall of Fame. Admirers would cite him as one of the most vital performers not to be inducted into the Rock and Roll Hall of Fame.
He is survived by his wife, 10 children, 18 grandchildren and 47 great grandchildren, his daughter told the AP.
Smith grew up in the Uptown section New Orleans, his father a roofer, his mother a laundry worker. As a boy, Smith took up piano, learning by watching his uncle play, and he soon mastered the eight-bar progression that anchored countless blues songs. He played obsessively, sometimes to the annoyance of his neighbors, and in high school he helped start the band the Joy Jumpers.
He was still in his teens when he met another young New Orleans musician, Eddie Lee Jones, who as “Guitar Slim” influenced countless musicians and gave Smith his “Piano” nickname. Lewis’ own work initially drew upon the blues-boogie woogie of Professor Longhair. But he would eventually absorb a wide range of styles, whether the jazz of Jelly Roll Martin or the rock-rhythm and blues of Fats Domino.
“I took up to tryin’ a variety of music other than just one individual style,” he told Wirt. “I like my own style, but my own style is completely different than rhythm-and-blues, or calypso or any of that. It’s just deep down funk.”
Gerald Fried, the Oscar-nominated, oboe-playing composer who created iconic gladiatorial fight music for the original Star Trek series and collaborated with Quincy Jones to win an Emmy for their theme to the landmark miniseries Roots, has died. He was 95.
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Fried died Friday (Feb. 17) of pneumonia at St. Vincent’s Hospital in Bridgeport, Connecticut, his wife, Anita Hall, told The Hollywood Reporter.
After meeting Stanley Kubrick on a baseball field in the Bronx in the early 1950s, Fried wound up scoring the filmmaker’s first four features: Fear and Desire (1953), Killer’s Kiss (1955), The Killing (1956) and Paths of Glory (1957).
Fried also supplied the music for such cult Roger Corman classics as Machine-Gun Kelly (1958), The Cry Baby Killer (1958) and I Mobster (1959). He also worked with directors Larry Peerce on One Potato Two Potato (1964) and The Bell Jar (1979), as well as with Robert Aldrich on The Killing of Sister George (1968), What Ever Happened to Aunt Alice? (1969), Too Late the Hero (1970) and The Grissom Gang (1971).
And chances are if you are a fan of Gilligan’s Island, Lost in Space, Mission: Impossible, The Man From U.N.C.L.E., Emergency!, Flamingo Road or Dynasty, you have heard his music.
Fried first worked on NBC’s Star Trek midway through the first season on the December 1966 episode “Shore Leave,” but he really made his mark on the second-season opener, “Amok Time.” His relentless “The Ritual/Ancient Battle/2nd Kroykah” score dramatizes a memorable “fight to the death” on the planet Vulcan between Kirk (William Shatner) and Spock (Leonard Nimoy).
In the 1999 book The Music of Star Trek, author Jeff Bond describes the music as “a model of action-scene bombast, wildly percussive and bursting with exclamatory trumpet, flute and woodwind trills to accentuate the hammering of the brass-performed fanfare.”
Passages were reused for 18 other Star Trek episodes and popped up in The Cable Guy (1996) and installments of Futurama and another animated series.
“I started to get royalty checks from The Simpsons,” Fried noted in a 2003 conversation with Karen Herman for the TV Academy Foundation website The Interviews. “I didn’t write any music for The Simpsons. What they did was when Bart Simpson would get angry and cross the living room or something like that, they quoted the music for ‘Amok Time.’”
A year after Fried received an Oscar nomination for Birds Do It, Bees Do It (1976), a documentary about the mating rituals of animals and insects, he won his Emmy for his work on the first episode of ABC’s Roots.
Jones had been hired to write the music for the miniseries, but as the January 1977 premiere date loomed, he was missing deadlines. So producer Stan Margulies called Fried.
“Quincy, for whatever reason, went into some kind of writer’s block and did not come up with a main theme,” Fried said. “And they needed a main theme for advertising. It was three weeks before airtime. So they called me in. I wrote the main theme. I finished episode number one. The first show, Quincy did 56 percent of that, and I had to finish that. And I’m very happy I was on Roots. It was quite an honor.”
Fried also was nominated on his own for his underscore on the eighth and final episode.
“There were two shows that I did in television that had reverberations far beyond what you’d expect from the venue and the possibilities,” Fried said during a 2013 Q&A with StarTrek.com. “One was Star Trek, and the other was Roots. There was an atmosphere, doing both shows, that these were a little special and certainly more important than most shows. So I’m not totally surprised, but the enormity of Star Trek is a little bit startling and wonderful.”
Born in Manhattan on Feb. 13, 1928, Fried was raised in the Bronx by his father, Samuel, a dentist, and his mother, Selma. He credited his mom’s side of the family for his musical talents. Her father, a trombonist, earned passage for the family to America as a traveling musician in Eastern Europe. And Fried’s aunt was a pianist who provided live music for silent movies.
“She was one of these perfect-pitch types of people who could hear and reproduce anything,” he said. “I studied with her, and because they forced me to take piano lessons, I got my revenge by being the world’s worst pianist.”
His love of music grew after Fried entered New York’s High School of Music & Art and was assigned the oboe. He took to that instrument and the tenor sax, then enrolled at Juilliard as an oboe major.
In 1948, Fried began a three-year stint as the English hornist for the Dallas Symphony Orchestra. Following gigs with the Pittsburgh Symphony Orchestra and a return to Dallas, he returned to New York to perform with The Little Orchestra Society.
Fried was playing baseball in the Bronx for a club team called The Barracudas when he met a kid who “wasn’t a very good athlete” but still wanted to play. Fried encouraged his teammates to let the guy join in, and they became friends.
“This turned out to be Stanley Kubrick,” Fried said. “He found out that I was a musician. He saved his pennies. He made a short [film] that was actually quite good. And I think I was the only musician he knew. He said, ‘Hey, Gerry, you know how to write and conduct movie music?’ ‘Sure,’ I said, ‘I do it all the time.’ I spent the next three or four months going to about 20 movies a day to learn what to do.”
Fried’s crash course resulted in the music for Day of the Fight (1951), about middleweight Walter Cartier preparing for a bout. Bought by RKO-Pathe, the 16-minute film would help launch their show business careers.
Fried came to Los Angeles and worked on Terror in a Texas Town (1958), starring Sterling Hayden of The Killing and written under a pseudonym by Dalton Trumbo; filled out the scores for episodes of such shows as M Squad, Wagon Train and Riverboat; and often collaborated with Corman.
Fried went on to work on other series like Gunsmoke, Ben Casey, My Three Sons, Mannix, The Flying Nun, It’s About Time and Police Woman and other films like Dino (1957), I Bury the Living (1958), Cast a Long Shadow (1959) and Soylent Green (1973).
He received three more Emmy noms, for his compositions for the telefilms The Silent Lovers in 1980 and The Mystic Warrior in 1984 and for the miniseries Napoleon and Josephine: A Love Story in 1987.
More recently, Fried taught at UCLA and played the oboe with the Santa Fe Great Big Jazz Band and Santa Fe Community Orchestra. The oboe is “the instrument of passion. It somehow gets into people’s guts,” he said.
In addition to his wife, survivors include his children, Daniel, Debbie, Jonathan and Josh; six grandchildren; and two great-grandchildren. His son Zach died from AIDS in 1987 at age 5 as the result of a blood transfusion.
This article originally appeared on The Hollywood Reporter.
De La Soul‘s Trugoy the Dove, who also went by the name Dave, has died, a representative for the legendary New York hip-hop trio confirms to Billboard. His death was first reported on Sunday (Feb. 12).
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The death of Trugoy the Dove, born David Jolicoeur, comes just weeks before De La Soul’s classic catalog is set to finally arrive on streaming and digital platforms on March 3, following a 2021 deal with Reservoir Media.
Dave’s cause of death had not been made known as of press time.
“This one hurts,” Erick Sermon, former EPMD member and renowned producer, wrote on Instagram on Sunday. “From Long Island from one of the best rap groups in Hiphop #Delasoul #plug2 Dave has passed away you will be missed… RIP.”
With a career spanning more than three decades, De La Soul is known as one of hip-hop’s most innovative and eclectic groups. Formed in 1988 in the Amityville area of Long Island, Dave (Trugoy the Dove) and members Posdnuos and Maseo met in high school and went on to impress local producer Prince Paul, who circulated their demo tape. They landed a deal with Tommy Boy Records.
Their 1989 debut — the album 3 Feet High and Rising, peaking at No. 1 on the Top R&B/Hip-Hop Albums chart and No. 24 on the Billboard 200 — featured the breakthrough single “Me Myself and I,” which topped the Hot R&B/Hip-Hop Songs chart, reached No. 34 on the Hot 100 and was nominated for a best rap performance Grammy. 3 Feet High and Rising is often cited as the start of what’s referred to as “alternative hip-hop.”
But music industry red tape and sample clearances prevented their back catalog from becoming available on digital marketplaces and streaming services, until the rights to Tommy Boy were acquired by the music rights firm Reservoir Media in 2021.
De La Soul secured a deal to retrieve their masters, allowing their first six albums to become available via their label AOI, distributed by Chrysalis Records. The trio’s first six albums are scheduled to arrive in full on streaming on March 3.
In an interview with Billboard published in January, Dave reflected on De La Soul’s debut. “I think 3 Feet High and Rising, as much as people might claim it to be a hip-hop masterpiece – it’s a hip-hop masterpiece for the era in which it was released,” he said.
“I think the element of that time of what was taking place in music, hip-hop, and our culture, I think it welcomed that and opened up minds and spirits to see and try new different things,” Dave noted in the conversation with Billboard. “I think releasing 3 Feet High and Rising right now, even to maybe the age group that was listening back then, I think hip-hop as a whole just wouldn’t get it. I think hip-hop would possibly look at it as obnoxious, soft, that kind of thing. But I think it’s also because where we’re at in hip-hop right now, hip-hop is about what you got on, who you’re impressing, what can you do, how much you got, how much you’re spending, and how much is in that bag that you got around you? I don’t think the impact of what 3 Feet High and Rising and what it meant back then would mean anything now. I feel like there are people who will get it, but I don’t know if there’s that acclaim to it in this day and age if it was something we’d never heard before.”
Dave added, “I think the innocence that we had back then was brave, but we were in a time where innocence was so cool. Not sampling James Brown, but sampling Liberace; I think it was shocking [when] we came out [that] we sampled Liberace. I don’t know if it’d impact the same way [now].”
“But the magic happens with us three on the phone, in the same conversation, in the room together, in the studio, and hanging out on the tour bus,” said Dave. “That’s where the magic happens, so that’s why we’re still here. We don’t want to interrupt that magic.”
South African rapper AKA was shot and killed outside of a restaurant in Durban on Friday night (Feb. 10). He was 35.
The parents of AKA, whose legal name Kiernan Forbes, confirmed the passing of their son on Saturday (Feb. 11) in an emotional statement on social media.
“It is with extreme sadness that we acknowledge the passing of our beloved son, and confirm his untimely and tragic passing on the evening or February 10, 2023. We are awaiting further details from Durban police,” Tony and Lynn Forbes wrote in the statement, which was shared on AKA’s Twitter official account.
“To us, Kiernan Jarryd Forbes was a son, brother, grandson, nephew, cousin and friend, most importantly father to his beloved daughter Kairo,” his parents added. “To many, he was AKA, Supa Mega, Bhova and the many other names of affection his legion of fans called him by. Our son was loved and gave love in return.”
Police say that AKA, who was scheduled to perform at a nightclub on Friday, had been walking to his car in a popular nightlife area of the coastal city shortly after 10 p.m. when two armed individuals fired several gunshots at close range before fleeing, The New York Times reports. A second man died at the scene, believed to be AKA’s friend Tebello “Tibz” Motsoane, a chef and entrepreneur.
Authorities were still searching for the suspects at press time, according to the Times.
Hours before his death on Friday, AKA shared a post on Instagram promoting his upcoming album, Mass Country, which is scheduled for release in late February. Following news of his death, the post was flooded with comments from music stars like Diplo and Swizz Beatz. “Damn bro,” Diplo wrote. Swizz added numerous crying face emojis.
One of South Africa’s leading hip-hop artists, AKA had worked as a producer for numerous artists before releasing his 2010 debut album, Altar Ego, which featured the popular track “Victory Lap.” He later become known for songs like “All Eyes on Me,” “Fela in Versace” and “Lemons (Lemonade).”
Read the full statement from AKA’s parents on Twitter below.
The music industry has lost one of its best — and brightest — pop composers. Burt Bacharach died on Wednesday (Feb. 8) at his Los Angeles home from natural causes, the Associated Press reported. Many of Bacharach’s peers have flocked to social media to give their condolences to the composer and recognize his talents and career, which extends across several decades.
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Beach Boys co-founder Brian Wilson tweeted to share his feelings. “I’m so sad to hear about Burt Bacharach. Burt was a hero of mine and very influential on my work,” he captioned a tweet that features a photo of the late composer. “He was a giant in the music business. His songs will live forever. Love & Mercy to Burt’s family.”
Charlatans lead singer Tim Burgess also highlighted Bacharach’s legacy, sharing a video of Aretha Franklin singing the composer’s hit “I Say a Little Prayer.” “One of the greatest songwriting legacies in the history of ever. Farewell Burt Bacharach, you were a king,” Burgess shared.
Susanna Hoffs of The Bangles, Liam Gallagher and Shaun Cassidy were among the artists who also paid tribute to the composer.
Bacharach’s storied catalogue includes a whopping 52 top 40 hits, including “Alfie,” “Walk on By,” “Promises, Promises,” “Raindrops Keep Fallin’ on My Head,” “What the World Needs Now is Love” and “Do You Know the Way to San Jose?” He worked closely alongside Hal David in the 1960s and together made songs that would be covered by the aforementioned Franklin and Dionne Warwrick, while Bacharach’s solo material would later be sung by Dusty Springfield, Gene Pitney, Tom Jones, the Carpenters and B.J. Thomas and more.
See the artists paying tribute to Burt Bacharach below.
I’m so sad to hear about Burt Bacharach. Burt was a hero of mine and very influential on my work. He was a giant in the music business. His songs will live forever. Love & Mercy to Burt’s family. pic.twitter.com/yYGY3bGNSw— Brian Wilson (@BrianWilsonLive) February 9, 2023
How sad that Burt Bacharach has passed away, I loved his music more than any other composer. R.I.P. and thanks for the hours of pleasure listening and playing your very special music pic.twitter.com/co5Ey2RdIl— Tony Blackburn (@tonyblackburn) February 9, 2023
One of the most accomplished pop music composers of the 20th century, Burt Bacharach, has died at age 94. The musical maestro behind 52 top 40 hits including “Alfie,” “Walk on By,” “Promises, Promises,” “Raindrops Keep Fallin’ on My Head,” “What the World Needs Now is Love” and “Do You Know the Way to San Jose?,” Bacharach had an untouchable run in the 1960s and 1970s with a wide range of pop, R&B and soul artists. According to the Associated Press, Bacharach died on Wednesday (Feb. 9) at his home in Los Angeles of natural causes.
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Working with lyricist partner Hal David, Bacharach and David were dubbed the “Rodgers & Hart” of the ’60s, with a unique style featuring instantly hummable melodies and atypical arrangements that folded in everything from jazz and pop to Brazilian grooves and rock.
Many of their songs were popularized by Dionne Warwick, whose singing style inspired Bacharach to experiment with new rhythms and harmonies, composing such innovative melodies as “Anyone Who Had a Heart” and “I Say a Little Prayer.”
Bacharach’s music cut across age lines, appealing to teens as well as an older generation who could appreciate the Tin Pan Alley feel of some of David’s lyrics. His fresh style could keep the listener offbalance but was intensely moving, defying convention with uplifting melodies that contrasted the often bittersweet lyrics.
His songs were sung by such major artists as Dusty Springfield, Gene Pitney, Tom Jones, the Carpenters and B.J. Thomas, as well as hundreds of others. His first No. 1 on a Billboard chart came in a genre not typically associated with the dextrous composer: country. Bacharach/David’s “The Story of My Life,” recorded by Marty Robbins, topped the Hot Country Songs chart in 1958. That same year, Perry Como took the duo’s “Magic Moments” to No. 4 on Billboard‘s Most Played by Disk Jockeys chart, a pre-cursor to the Hot 100.
Bacharach ventured into motion picture songwriting, creating indelible soundtrack songs such as “The Look of Love” and the Hot 100 No. 1 hit “Raindrops Keep Fallin’ On My Head” during this fertile period (he also scored a pre-acclaim Hot 100 entry with the titular theme song to the Steve McQueen horror flick The Blob in 1958, with The Five Blobs’ “The Blob” hitting No. 33). The Butch Cassidy and the Sundance Kid theme song “Raindrops” earned Bacharach two Oscars (best score and best theme song) as well as a Grammy for best score.
He also won an Oscar for Best Song for “Arthur’s Theme (Best That You Can Do),” which he shared with Carole Bayer Sager, Peter Allen and singer Christopher Cross. Bacharach’s compositions received three other Oscar nominations: for “What’s New Pussycat?,” (from the movie of the same name in 1965) “Alfie,” (movie of the same name 1966) and “The Look of Love” (from Casino Royale, 1967)
Bacharach and David team scored films as well in the ’70s, doing the music for “Lost Horizon” and “Howard the Duck,” after which they separated for a short duration.
Handsome and suave, Bacharach was somewhat of a matinee idol. Sammy Cahn dubbed him the only composer who didn’t look like a dentist. His longtime marriage to actress Angie Dickinson fueled that “hip” image. He was also known for his ownership and breeding of thoroughbred race horses for more than 30 years and his frequent attendance at the Kentucky Derby. One of his horses, Burt’s Heartlight No. One (named for a top 5 1982 hit collaboration with Neil Diamond), was a champion in 1983 and another, Soul of the Matter, was a Breeder’s cup starter in 1994 and 1995.
Mike Myers spoofed Bacharach’s ladies man/raconteur reputation in the first Austin Powers movie, in which the composer had a cameo. He collaborated with Elvis Costello on a version of “I’ll Never Fall in Love Again” on the soundtrack to the 1999 Powers sequel, The Spy Who Shagged Me (also appearing in the film) and, in 2002, he was featured in the credit roll of the third Powers film, which also had a remake of “Alfie” as “Austin,” sung by the Bangles‘ Susanna Hoffs.
Burt Freeman Bacharach was born in Kansas City, MO on May 12, 1928. His father was on the staff of Colliers magazine, where he was a nationally syndicated columnist. Dreaming of becoming a football player, Bacharach acquiesced to his mother’s wishes that he take piano lessons and playing piano in a high school band.
After discovering bop music, Bacharach attended Montreal’s McGill University, where he earned a B.A. in music in 1948. He was drafted into the Army during the Korean War and was shipped off to Germany, where he met singer Vic Damone and toured the First Army area as a “concert pianist.”
After the service, he moved to New York and played in clubs. He met David while both were working in the legendary songwriting mecca the Brill Building.
In the ’60s, he stretched pop music compositions beyond the norm with more sophisticated chord progressions and melodies that alighted in non-standard time signatures: instead of the typical 4/4, they often bounded in 5/4 or 7/8. He broke the rules but remained steadfast to one principle: the melody must be acceptable to the average listener. His musical heroes included Harry James and Dizzy Gillespie, who he used a fake ID to see at a 52nd Street nightclub as a teen. Later, he would headline in Las Vegas at Harrah’s Club and the Riviera Hotel and co-host TV variety shows including The Hollywood Palace with Angie Dickinson.
During his early years, A&R people would criticize his work as not being danceable. Bacharach became a producer and arranger out of self defense, he admitted. “His songs are a lot more musical than the stuff we write and a lot more technical,” Paul McCartney told Newsweek in 1965.
His work has been reissued in a number of sets, including What the World Needs Now: Burt Bacharach Classics, as well as a three-disc box set of his songs entitled The Look of Love: The Burt Bacharach Collection and 2013’s 6-disc collection Anyone Who Had a Heart — The Art of the Songwriter.
Bacharach wrote and produced a string of hit songs with his third wife, songwriter Carole Bayer Sager, including: “Making Love,” as well as “Romantic Song,” which was a hit for Roberta Flack and Peabo Bryson. They also wrote and produced “They Don’t Make Them like They Used To,” recorded by Kenny Rogers for Tough Guys, and the theme from the film Baby Boom.
Bacharach and Sager won a Grammy Award for song of the year for Dionne Warwick and Friends’ 1985 AIDS research charity smash “That’s What Friends Are For,” and were nominated for the R&B song “On My Own,” recorded by Patti LaBelle and Michael McDonald. They made record history by having two songs top three of pop music’s yearend record lists. More recently, he collaborated on a 1999 Grammy-winning collaborative album with Elvis Costello entitled Painted From Memory. In 2002, a musical based on the Bacharach/David canon entitled What the World Needs Now opened in Sydney, Australia.
The 2000s opened with collaborations on hit songs for British Pop Idol winner Will Young (2002’s “What’s in Goodbye”), a 2003 joint album with R&B icon Ronald Isley, Isley Meets Bacharach: Here I Am and the 2005 solo album, At This Time, which featured guests including Costello and Rufus Wainwright; the album, the first under his solo name in 26 years and the first to feature lyrics written by Bacharach, won a Grammy for best pop instrumental. Just six months before his death at age 91, David was on hand to receive the 2012 Gershwin Prize for Popular Song, marking the first time a songwriting team had been honored with the prize.
He published his autobiography, Anyone Who Had a Heart, in 2013.
Far from retiring, the eight-time Grammy winner performed at the 2015 Glastonbury Festival in the UK, played with the Nashville Symphony Orchestra in March 2016 and was slated to perform for an intimate audience at the June 2016 Caudwell Children Butterfly Ball fundraiser in London. His 2016 tour schedule included a variety of other high-profile gigs, including stops at Vienna’s Jazz Fest Wien, the Monte Carlo Sporting Summer Festival, Copenhagen Jazz Festival and the Curacao North Sea Jazz Festival in the Dutch Antilles in September.
Bacharach made a rare foray into political commentary in 2018 with “Live to See Another Day,” a song dedicated to the survivors of school gun violence, whose proceeds were earmarked for the Sandy Hook Promise charity. His final released musical composition was a joint 2020 EP with songwriter and performer Daniel Tashian, Blue Umbrella, which earned the pair a Grammy nomination for best traditional pop vocal album.
Bacharach is survived by his adopted son, Christopher, as well as two children with his fourth wife, Jane Hansen, Oliver and daughter Raleigh.
Charlie Thomas, singer for The Drifters, died at age 85 on Jan. 31, his friend Peter Lemongello Jr. confirmed to The New York Times on Monday (Feb. 6).
According to Lemongello, Thomas died as a result of liver cancer, but regularly kept up with his physical activities until his condition started deteriorating.
“He was aging, but he was active almost every weekend,” Lemongello, former singer for The Crests, told the newspaper. “Unfortunately, he went from being active to being at home and he started going downhill.”
Thomas became a member of The Drifters after a chance encounter. In 1958, the tenor was singing as part of the Five Crowns at New York’s Apollo Theatre when The Drifters’ original manager, George Treadwell, fired all members of the group for getting drunk and cursing show promoter and Apollo owner Mary Goldberg. Treadwell replaced all members of The Drifters with Five Crowns.
Led by Ben E. King, The Drifters experienced success from several singles. “There Goes My Baby,” “Under The Boardwalk,” and “Up on the Roof” became beloved R&B classics, though The Drifters wouldn’t top the Billboard charts until 1960 with “Save the Last Dance For Me,” which topped the Billboard Hot 100. The song has since been covered by Dolly Parton, Michael Bublé and more. “Sweets for My Sweet” peaked at No. 16 on the Hot 100 in 1961, and “When My Little Girl Is Smiling” cracked the top 30 of the chart at No. 28 in 1962.
Thomas — alongside band members King, Clyde McPhatter, Bill Pinkney, Gerhart Thrasher, Johnny Moore and Rudy Lewis — was inducted into the Rock and Roll Hall of Fame in 1988. Despite the group’s many iterations throughout the years, Thomas continued performing with The Drifters throughout to the pandemic.
Thomas is survived by his wife, Rita Thomas; his two daughters, Crystal Thomas Wilson and Victoria Green; and his three sons, Charlie “Happy” Thomas Jr., Michael Sidbury and Brian Godfrey.
Three bodies found in a vacant Detroit-area apartment building have been identified as those of three aspiring rappers who went missing nearly two weeks ago, police said Friday (Feb. 3).
Michigan State Police said Friday afternoon on Twitter that investigators identified the bodies as those of Armani Kelly, 27, of Oscoda, Mich.; Montoya Givens, 31, of Detroit; and Dante Wicker, 31, of Melvindale, Mich.
“We offer our condolences to their family and friends,” police said.
The Michigan men were supposed to perform at a party at Lounge 31 in Detroit on Jan. 21, but they vanished after that appearance was canceled. Their bodies were found Thursday in the basement of an abandoned, rat-infested apartment building in Highland Park, near Detroit.
Earlier Friday, state police said the Wayne County Medical Examiners Office would conduct autopsies on the bodies. Lt. Mike Shaw said it could take up to 48 hours for autopsy results to be released because the bodies were found in “extreme cold” conditions.
Kelly, Givens and Wicker met while in prison, and Kelly and Givens were on parole at the time of their disappearance, according to the state corrections department.
Update #3: The victims in this homicide investigation have been positively identified by investigators. They are: Armani Kelly, Male, OscodaMontoya Givens, Male, Detroit Dante Wicker, Male, MelvindaleWe offer our condolences to their family and friends. pic.twitter.com/MvvoxQ4ahr— MSP Second District (@mspmetrodet) February 3, 2023
Charles “Chip” Rachlin, the trailblazing agent for Billy Joel and the Beach Boys, died last Wednesday (Jan. 25) following a short illness. He was 73.
A rock pioneer, Rachlin, like so many others of his generation, had a life-changing experience when the Beatles performed on the Ed Sullivan Show back in February 1964. He started a band, the Gremlins. But it was in presenting and showcasing talent that he found his calling.
Born in Summit, New Jersey, Rachlin — a lifelong Yankees fan — learned the ropes as an agent working for Bill Graham at the Fillmore East, and later, as a junior agent with the Millard Agency.
Rachlin and his Fillmore friend Michael Klenfner showed their entrepreneurial chops when, in February 1971, they booked the Beach Boys to headline Carnegie Hall. It was a turning point for everyone involved, as Rachlin soon found himself representing the group, and its lead singer, the late Carl Wilson during his solo career.
Once Graham closed the Filllmore, “Millard went ‘uptown,’’” remembers Rachlin in a timeline on the Rachlin Entertainment website.
“We built an All Star Team with Danny Weiner, Tom Ross, Budd Carr and Shelly Schultz,” with a roster that swelled to include Aerosmith, Eric Clapton, America, Seals & Crofts, Loggins & Messina, James Taylor, Fleetwood Mac, Linda Ronstadt, CSN, and Eagles.
By the mid-‘70s, Rachlin was a major figure in ICM’s music department, where he repped the future Rock And Roll Hall of Famers the Beach Boys and a young Billy Joel.
“By the end of my run with ICM we were the top concert department among the major agencies,” he recounts. “It was an amazing eight years and the best training ground in the music business.”
He toured with the Rolling Stones, and rode the “fantastic rocket ship ride” that was the launch of MTV.
As styles and formats changed, Rachlin went out on his own. In the early 1990s, he launched Rachlin Entertainment, an enterprise that would become a “unique talent resource” for elite buyers such as Atlantis Paradise Island in the Bahamas and Cunard Cruise Lines.
Among the success stories for Atlantis Paradise Island are the late David Bowie, Taylor Swift, Justin Bieber, and Katy Perry. It was Rachlin who produced the All Star Tribute To Brian Wilson at Radio City Music Hall in March of 2001, headlined by Elton John, Billy Joel, Paul Simon and many more.
Tributes are pouring in for the legendary talent booker. “Thanks to Chip being my agent in the early days,” writes Billy Joel on social media, “the band and I were able to make a living as performing musicians before I became more widely known as a recording artist. I will always be grateful for his efforts on my behalf back in the day.”
Chip Rachlin has died.Chip was responsible for booking us into most of our U.S. concerts during the early and mid 1970s.Thanks to Chip being my agent in the early days, the band and I were able to make a living as performing musicians before I became more widely known as (1/2) pic.twitter.com/7D92tdUERY— Billy Joel (@billyjoel) January 29, 2023
Eagles manager Irving Azoff recounts Chip as “not only a pioneer in how the business operates today,” but, for over 40 years, “he remained somebody who I always wanted to hear from.” The veteran music executive adds: “He was an innovator. More importantly, on a one-to-one level, he displayed all the personal qualities that make this business great. He was not just passionate about the music and any artist he worked with but a great person. This one hurts very badly.”
We’re so saddened to learn of Chip Rachlin’s passing. Chip, seen here with Bill in 1982 on the Rolling Stones tour, went on to produce an amazing array of events. Along the way, he made many friends who now mourn his loss. Our deepest condolences to his family and loved ones. pic.twitter.com/jlMlICdCw1— Bill Graham Found. (@BillGrahamFound) January 26, 2023
“We’re so saddened to learn of Chip Rachlin’s passing,” reads a post from the Bill Graham Foundation. Chip “went on to produce an amazing array of events. Along the way, he made many friends who now mourn his loss. Our deepest condolences to his family and loved ones.”
Rachlin is survived by his wife Wendy, his sons Josh and Alex, and their extended family.