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The Originals: 1980s Vol. 2

August 25th, 2020 5 comments

In this instalment of The Originals, we return to the 1980s with a second volume. As always, the mix is timed to fit on a standard CD-R, plus a handful of bonus tracks, coming to a playlist of 32 lesser-known originals of 1980s hits.

 

Holding Back The Years
Simply Red’s Holding Back The Years sounds like a cover version of an obscure 1960s soul number, and the versions by Randy Crawford and Angie Stone show just how good a soul song it is. But it is, in fact, a Mick Hucknall composition.

Before Hucknall became Simply Red (would you recognise any of the other interchangeable members in the street?), he was the lead singer of the Frantic Elevators, a punk group whose formation was inspired by the Sex Pistols’ 1976 Manchester gig. They stayed together for seven years of very limited success, releasing four non-charting singles and recording a Peel session at the BBC.

The last of their four singles, released in 1982, was Holding Back The Years, a song Hucknall had mostly written as a 17-year-old about his mother’s desertion when he was three (he added the chorus later). Their version is understated and almost morose, in a Joy Division sort of way. Although released independently, as the cut-and-paste artwork on the slightly disturbing sleeve suggests, they had high hopes for the single. Ineffective distribution dashed those hopes.

In 1983, Hucknall left the Frantic Elevators and went on to found Simply Red (who before arriving at that name were called World Service, Red and the Dancing Dead, and Just Red). The first single, Money’s Too Tight To Mention — a cover version of The Valentine Brothers song (featured on Any Major Originals Vol. 1) — was an instant hit. The follow-up single but one was a remake of Holding Back The Years, now rendered as a soul number. On its first release in late 1985 it flopped. Re-released in 1986, it became a worldwide smash, even topping the Billboard charts.

Talk Talk
Another act covering (part of) itself was Talk Talk who recorded their 1993 hit Talk Talk from an original titled Talk Talk Talk Talk. The song was written by the late Mark Hollis, and originally recorded by his previous band, Reaction. It appeared on the Beggars Banquet punk compilation Streets, which was released in late 1977.

I’ve Never Been To Me
The song that has invited much ridicule, especially regarding what exactly a woman isn’t supposed to see, has been widely covered. Among those who’d never been to themselves were Nancy Wilson, Walter Jackson, The Temptations, and Howard Keel. But the first to lament her lifetime of non-hedonism was Randy Crawford, who released it in October 1976 on her debut album, Everything Must Change. Soon after it was recorded by Charlene, a Motown singer.

I’ve Never Been To Me was co-written by Motown songwriter Ron Miller, whose hits included Stevie Wonder’s For Once In My Life, A Place in the Sun, Yester-Me Yester-You Yesterday, and Heaven Help Us All, and Diana Ross’ Touch Me in the Morning.

Charlene was a singer for Motown who also wrote songs and produced. Part of her job was to record demos of songs. In 1976 she teamed up with Miller to release her debut album. Released in December that year, it included three singles which just about reached the 90s in the US Top 100 each. The third of these was I’ve Never Been To Me.

While the song was a minor hit by singer Marti Caine in Canada in 1978, and was recorded by Nancy Wilson and Walter Jackson, both in 1977, for Charlene commercial failure meant the end of the dream of hedonistic stardom. She quit her job and emigrated to England. Then in 1982, a DJ in Florida played I’ve Never Been To Me on the radio, and listeners loved it. Motown re-released the single, and it became a worldwide hit. For Charlene, it would be the only big hit. She scored a minor hit with a duet with Stevie Wonder in 1982.

 

Pass The Dutchie
A drug anthem sung by children, Pass The Dutchie was a huge hit on both sides of the Atlantic, which was unusual for a reggae number.

Pass The Dutchie was a cover of Pass the Kouchie by the Mighty Diamonds (a trio of adults singing about sharing a marijuana pipe), also from 1982. And both can be said to have borrowed their hook from 1969’s instrumental Full Up by the Sound Dimension.

Tom Hark
A staple these days on English football grounds, the impossibly catchy Tom Hark had its origins in South Africa. There was no Tom Hark: the song’s title was either a pun or more likely a sloppy mis-heard rendering of the word tomahawk, the axes gangs in Johannesburg’s Alexandra township used to carry.

Composer “Big Voice” Jack Lerole and his mates used to record in the pennywhistle-based kwela genre, though it was not yet known by that name — the contemporary term was marabi or pennywhistle jive. The word kwela is Zulu for “Get up”, and as kwela-kwela it was also a township term for a police van (after the cops” command “Kwela! Kwela!”, meaning “get in”), the unwelcome approach of which often was signalled by a lookout blowing his tin flute.

Lerole, commonly known as Jake, learnt to play the pennywhistle as a little boy, observing the flautists from Scottish regiments that often played near Alexandra and which influenced a generation of pennywhistlers who adapted the complex techniques of flute-playing to the simple pennywhistle, thereby enhancing its versatility.

Lerole and his bandmembers recorded under several names, mostly as Alexandra Black Mambazo (mambazo is Zulu for axe — or tomahawk), but were signed by EMI in 1956 as Elias and His Zig Zag Jive Flutes; the Elias of the moniker being Lerole”s brother.

Having recorded Tomahawk, or Tom Hark, EMI sold the rights to the song to British TV to serve as the theme for a series called The Killing Stone. On the back of that, the song became a British hit, reaching #2 in 1958 (a concurrent version by bandleader Ted Heath reached #24). Lerole and his band received £6 for recording the song and not a red cent in royalties, even when the song became an international hit again in 1980 with an affectionate cover by the British ska band The Piranhas, whose frontman Bob Grover put lyrics to the song (“The whole things daft, I don’t know why, you have to laugh or else you cry”). On the single cover The Piranhas paid tribute to the original by emblazoning it with the word “kwela”.

After the Alexandra Black Mambazo split in 1963, Lerole enjoyed a fair career, though more as a gravelly baritone singer and saxophonist than as a pennywhistler, having followed the lead of pennywhistle king Spokes Mashiyane into the new mbaqanga style of music. He made a comeback in the 1980s as a member of the multiracial group Mango Groove (which recorded Tom Hark with their own lyrics), on whose first hit, Dance Sum More (https://www.youtube.com/watch?v=Nlom0-Z0RBE), Lerole provided his distinctive growling vocals. Before Mango Groove became famous in South Africa, he left the group.

In 1998 he and the reformed Alex Black Mambazo were invited by South African-born Dave Matthews to perform with his group in the US. The band performed to international acclaim and total indifference in their home country. Leralo died in 2003 at the age of 63.

In The Army Now
Also from South Africa, though from a very different cultural context, were the Bolland brothers, Rob and Ferdi. The year 1986 was lucrative for the brothers. First their song Rock Me Amadeus, performed by the Austrian cult singer Falco, topped the UK charts (having been a huge hit in Europe the previous year), and then Status Quo hit the UK Top 10 with their cover of the brothers’ 1981 song In The Army Now.

Born in Port Elizabeth, the Bolland brothers had emigrated to the Netherlands, and started their recording career in 1972 as a folk-rock duo. When that genre became passé they hooked into the electronic sounds of the late 1970s. In The Army Now was a big hit in South Africa, where conscription applied to only white men, many of whom were sent to fight in the war with Angola, apartheid’s Vietnam. The single did only moderately well elsewhere, and the Bolland brothers became record producers, counting among their clients Falco, Amii Stewart, Samantha Fox, Suzi Quatro and Dana International.

Meanwhile, Status Quo’s Francis Rossi had heard In The Army Now on the radio while driving in Germany, and proposed it to his band, which by now had lost bassist Alan Lancaster and drummer John Coughlan. The song took the Quo to #2 in the UK.

 

That’s What Friends Are For
Two songs here appeared on the soundtrack of the 1982 comedy Nightshift. That’s What Friends Are For was written by Burt Bacharach and Carole Bayer-Sager, and first appeared on the movie’s soundtrack as a filler in a version by Rod Stewart.

Three years later it was revived by Dionne Warwick, with her friends Gladys Knight, Elton John and Stevie Wonder, as a fundraiser for AIDS research. It was a huge hit and won a Grammy for Best Pop Performance by a Duo or Group, as well as Song of the Year. The notion of supporting AIDS research in the 1980s was laudable, but musically I prefer Rod’s version.

Harden My Heart
One song from the Nightshift soundtrack that did trouble the charts was Harden My Heart by Quarterflash. By then it already had been a huge hit for the band. Written by its guitarist Marv Ross, the song was first recorded in a sparser arrangement by Seafood Mama, which was a predecessor band for Quarterflash.

Both bands featured Ross on guitar, and his wife, Rindy Ross on vocals and — hello, the 1980s — saxophone. Rindy can be seen holding a saxophone on the single cover of the original Harden My Heart.

Self Control
In Italy one might argue that the original is better known than the internationally more famous cover. The original by Italian singer Raf (or Raffaele Riefoli, as his mom knew him), who also co-wrote it, topped his country’s charts as well as that of Switzerland in the summer of 1984. US singer Laura Branigan’s version was a hit in Europe at the same time, competing with Raf’s version. Her take, for which arranger Harold Faltermeyer traded Raf’s keyboard hook with a guitar riff, became a huge US hit.

Branigan had enjoyed previous success with Italian pop music: her big 1982 hit Gloria was originally recorded in 1979 by Umberto Tozzi, whose 1977 hit Ti Amo she also recorded.  All three songs were co-written by Giancarlo Bigazzi, which explains how Branigan got to record it in time to compete with the original.

 

I Wanna Be Loved
For a prolific songwriter, Elvis Costello has covered other people’s songs widely. His best-known cover perhaps is George Jones’ A Good Year For The Roses, itself a country classic. Others were I Can’t Stand Up For Falling Down was first done by Sam & Dave (featured on Any Major Originals – 1980s Vol. 1), and (What’s So Funny ‘bout) Peace, Love and Understanding, covered from the Brinsley Schwarz original.

I Wanna Be Loved, a Costello single in 1984 which appeared on the otherwise underwhelming Goodbye Cruel World album (and features Scritti Politti’s Green Gartside on backing vocals), was plucked from obscurity. That’s what Costello said, and he was not exaggerating.

There is very little information about the song’s original artists, Teacher’s Edition, or about Farnell Jenkins, who wrote the song. I Wanna Be Loved was released in on the Memphis-based Hi Records (which counted Al Green, Ann Peebles and O.V. Wright among its roster) in 1973 as a Willie Mitchell-produced b-side to a song titled It Helps To Make You Strong. For the Teacher’s Edition, that second single was the end of the road.

Jenkins had been around for a while already. Previously his band had been called The Conservatives, but that name was changed after Richard Nixon’s election. Jenkins brought out a gospel album in 1977, and continued to be a Chicago-based writer of Gospel songs.

The Only Way Is Up
Another soul singer who tried to make his way at Hi Records at the same time as Jenkins was Otis Clay. Recording since 1967, Clay had a run of well-received but modestly successful records on Hi. The best-performing of these was Tryin’ To Live My Life Without You, which hit #24 on the R&B charts in 1973. In 1981, Bob Seger scored a big hit with a cover of the song, which is added here as a bonus track.

By then, Clay had changed record labels a couple of times. In 1980 he released his records on his own label, Echo Records. Among these was the single The Only Way Is Up, co-written by soul singer-songwriter George Jackson, whose previous credits included the Osmonds hit One Bad Apple and Bob Seger’s Old Time Rock and Roll. The Only Way Is Up wasn’t a hit, but was popular enough to prompt Clay to name his 1982 album after it.

Eight years after Otis Clay recorded the song, it was picked up by English house outfit Coldcut which turned it into a pumping dance number for Yazz and the Plastic Population. It became a mega hit in the UK and in Europe, though it didn’t do much business in the US.

As for Otis Clay, he continued to record and earned himself a reputation as one of the finest blues singers, culminating in a Grammy nomination in 2007 for his album Walk a Mile in My Shoes. Clay died in 2016 at 73.

Wind Beneath My Wings
Between the first recording by whistling apartheid fan Roger Whitaker in 1982 and Bette Midler’s huge hit with it in 1988 on the back of the film Beaches, Wind Beneath My Wings had been recorded by many artists, including Sheena Easton, Gladys Knight and The Pips (as Hero), Lou Rawls, B.J. Thomas, Willie Nelson, Patty LaBelle, and Ray Price. Rawls and Knight, as well as country singer Gary Morris, saw some chart action with their versions.

For Midler, the song was a critically-acclaimed worldwide hit, and US #1. It won the Grammy for Record of the Year and Song of the Year.

 

1. Otis Clay – The Only Way Is Up (1980)
The Usurper: Yazz and the Plastic Population (1988)

2. Rod Stewart – That’s What Friends Are For (1982)
The Usurper: Dionne Warwick & Friends (1985)

3. Seafood Mama – Harden My Heart (1980)
The Usurper: Quarterflash (1981)

4. Raf – Self Control (1984)
The Usurper: Laura Branigan (1984)

5. Charlie Dore – You Should Hear (How She Talks About You) (1981)
The Usurper: Melissa Manchester (1982)

6. The Textones – Vacation (1980)
The Usurpers: The Go-Go’s (1982)

7. The Mighty Diamonds – Pass The Kouchie (1982)
The Usurper: Musical Youth (1982, as Pass The Dutchie)

8. Elias & His Zigzag Jive Flutes – Tom Hark (1956)
The Usurper: Ted Heath (1956), The Piranhas (1980)

9. Kirsty MacColl – They Don’t Know (1979)
The Usurper: Tracy Ullman (1983)

10. Bolland & Bolland – You’re In The Army Now (1981)
The Usurper: Status Quo (1986)

11. Reaction – Talk Talk Talk Talk (1977)
The Usurper: Talk Talk (1982, as Talk Talk)

12. Frantic Elevators – Holding Back The Years (1982)
The Usurper: Simply Red (1985)

13. Cherrelle – I Didn’t Mean To Turn You On (1984)
The Usurper: Robert Palmer (1986)

14. Randy Crawford – I’ve Never Been To Me (1976)
The Usurper: Charlene (1976)

15. Teacher’s Edition – I Wanna Be Loved (1973)
The Usurper: Elvis Costello & The Attractions (1984)

16. The Applejacks – I Go To Sleep (1965)
The Usurper: Pretenders (1981)

17. Four Preps – Love Of The Common People (1966)
The Usurpers: Nicky Thomas (1970), Paul Young (1983)

18. The Crickets – More Than I Can Say (1960)
The Usurpers: Bobby Vee (1961), Leo Sayer (1980)

19. Barry Mann – Don’t Know Much (1980)
The Usurper: Linda Ronstadt & Aaron Neville (1989)

20. Albert Hammond – To All The Girls I’ve Loved Before (1975)
The Usurper: Julio Iglesias & Willie Nelson (1984)

21. Roger Whittaker – Wind Beneath My Wings (1982)
The Usurper: Bette Midler (1988)

22. George Benson – Nothing’s Gonna Change My Love For You (1985)
The Usurper: Glen Medeiros (1987)

23. Bonnie Tyler – The Best (1988)
The Usurper: Tina Turner (1989)

Bonus:
Otis Clay – Trying To Live My Life Without You (1973)
The Usurper: Bob Seger (1981)

Jon & Vangelis – State of Independence (1981)
The Usurper: Donna Summer (1982)

Neil Diamond – Red Red Wine (1968)
The Usurper: UB 40 (1983)

Priscilla Bowman & Spaniels – A Rockin’ Good Way (1958)
The Usurper: Shakin’ Stevens & Bonnie Tyler (1983)

Jack Lee – Come Back And Stay (1981)
The Usurper: Paul Young (1983)

Hall & Oates – Everytime You Go Away (1980)
The Usurper: Paul Young (1985)

Dionne Warwick – Never Gonna Let You Go (1982)
The Usurper: Sérgio Mendes (1983)

Floy Joy – Weak In The Presence Of Beauty (1986)
The Usurper: Alison Moyet (1987)

O’Chi Brown – Whenever You Need Somebody (1985)
The Usurper: Rick Astley (1987)

GET IT! or HERE!

More Originals:
The Originals: The Classics
The Originals: Soul
The Originals: Motown
The Originals: Country
The Originals: The Rock & Roll Years
The Originals: 1960s Vol. 1
The Originals: 1960s Vol. 2
The Originals: 1970s Vol. 1
The Originals: 1970s Vol. 2
The Originals: 1980s Vol. 1
The Originals: 1990s & 2000s
The Originals: Beatles edition
The Originals: Elvis Presley Edition Vol. 1
The Originals:  Elvis Presley Edition Vol. 2
The Originals: Carpenters Edition
The Originals: Burt Bacharach Edition
The Originals: Rat Pack Edition
The Originals: Schlager Edition
The Originals: Christmas Edition

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Any Major Falsetto Vol. 1

August 13th, 2020 9 comments

 

The heyday of the falsetto was the in 1970s, when every vocal soul group worth its name had at least one guy who’d hit the high register, much a relic of doo wop. For some groups, such as The Stylistics or Blue Magic, it was a selling point. Giants in falsetto singing like Eddie Kendrick or Philip Bailey raised the already mighty output of their respective groups — The Temptations and Earth, Wind & Fire — with their falsetto.

Erotic though the growls of Barry White might have been, the sex was on when Bailey would hit the high notes on Reasons or I Write A Song For You. According to a recent podcast by insider.com, we are “hardwired to have a strong response to falsetto in music because of the way our brains process pitch and because of the unique relationship between falsetto and emotion”. It is, apparently, in our DNA.

“According to the music cognitive psychologist David Huron, when you hear high-pitched, loud singing your brain releases excitatory hormones that increase your arousal state and make you more attentive. So falsetto gets your attention. But that’s not the only way it affects you. It also ignites your emotion.”

So with this mix, get those excitatory hormones ready for some arousal — and hopefully you are with the one you love when those emotions get ignited.

On the mix, I included the studio version of EWF’s Reasons, for purposes of keeping the mix down to CD-R length. But also hear the live version from the Gratitude album. Being blessed with a pretty good vocal range, I can sing the studio version alright, but the live one in some parts shreds my vocal chords.

Philip Bailey recently appeared on the Grammy Tribute to Prince, where he sang the late singer’s Adore. It was as marvellous performance. I was thinking of including Adore here, but went for The Most Beautiful Girl In The World instead, on strength of Prince suddenly dropping down to the lowest baritone (or is it bass by then?). A superb vocal performance.

I have tried to be purist in this collection and include only songs that feature falsetto, rather than head voice. Experts in the field of singing may confirm that I succeeded in my endeavour, or point out where I didn’t (I think the Buckley track might feature head voice). Here’s a teaching opportunity for y’all vocal coaches.

But that doesn’t really matter. Just enjoy the music and, if you are blessed with a decent falsetto, happy crooning along!

As mentioned, CD-R length. Home-eunuched covers (featuring renowened 1980s soul singer Prince Rahotep). PW in comments.

1. The Four Seasons – Sherry (1962)
2. Eddie Holman – Hey There Lonely Girl (1970)
3. The Dells – Oh What A Night (1969)
4. The Chi-Lites – Stoned Out Of My Mind (1973)
5. Eddie Kendricks – Keep On Truckin’ (Part 1) (1973)
6. Marvin Gaye – Got To Give It Up (Part 1) (1977)
7. The Bee Gees – Love You Inside And Out (1979)
8. Earth, Wind & Fire – Reasons (1975)
9. Heatwave – Always And Forever (1977)
10. Prince – The Most Beautiful Girl In The World (1994)
11. Lenny Kravitz – It Ain’t Over Till It’s Over (1991)
12. Jeff Buckley – Everybody Here Wants You (1998)
13. The Rolling Stones – Fool To Cry (1976)
14. Darondo – True (c.1973)
15. Curtis Mayfield – No Thing On Me (1972)
16. Jimmy Helms – Gonna Make You An Offer You Can’t Refuse (1972)
17. The Delfonics – Think It Over (1973)
18. Blue Magic – Sideshow (1974)
19. The Stylistics – I’m Stone In Love With You (1972)

GET IT! or HERE!

More CD-R Mixes

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In Memoriam – July 2020

August 4th, 2020 5 comments

The month started off quite brutally, with July 6 being particularly harsh. Things eased as the month neared its end. I’m still noting where people died of complications from Covid-19, since there are still idiots who think that protecting others from catching this virus is unimportant or incompatible with their screwed ideologies. Not masking up kills people. Be decent. Wear those masks.

The Maestro
You know a musician’s lifework is universally beloved when it is hailed by music fans of every genre, a top football club and the Vatican. The AS Roma football team got it right when it wore on its sleeves the legend “Grazie, Maestro” below the outline of the face of film composer Ennio Morricone by way of tribute. Readers of this blog needn’t be instructed about the genius of Morricone, nor be subjected to a tortured list of my favourite pieces of Morricone compositions — such a list would never end. But should there be anybody left who is uncertain what the Morricone fuss is all about, let me refer them to the exquisite soundtrack of Once Upon A Time In America, a masterpiece which guides you through an emotional journey (one of the featured tacks is from that soundtrack).

The Big Mac
Readers of this corner of the Internet also needn’t be reminded that before Fleetwood Mac were coked-up million-sellers in sunny California, they were a blues-rock band in grimy England (possibly experimenting with a variety of drugs, but more of that in a bit). The first incarnation had at its centre guitarist and songwriter Peter Green, whose blues guitar chops moved BB King to issue highest praise. For Fleetwood Mac, Green wrote Black Magic Woman (later a hit for another gifted guitarist, featured on Any Major Originals – The Classics), the instrumental mega-hit Albatross, Oh Well, The Green Manalishi, and others.

Green wasn’t into the stardom or the money that came with it. His experimentations with LSD also had an effect on his mental state. He was eventually diagnosed with schizophrenia. Green left Fleetwood Mac in 1971. He continued to record here and there, but faded into obscurity (though his 1979 album In The Skies was very good). In 1979 his old pals from Fleetwood Mac included Green, uncredited, on the song Brown Eyes from Tusk.

The Devil’s Competitor
Will there be a rematch for a fiddle after the death of Charlie Daniels? The country-rocker became a sorry example of the hateful culture-warrior that brought the world the Disaster Express that is Donald Trump. But in his younger day, Daniels was a member of the counterculture and a supporter of Jimmy Carter’s presidential campaign. Let us remember that Charlie Daniels objected to the KKK’s use of his poorly-titled Southern Rock anthem The South’s Gonna Do It Again.

Before he broke through as a headliner, Daniels was a session musician, playing for the likes of Bob Dylan, Leonard Cohen, Al Kooper, Flatts & Scruggs, Ringo Starr and, especially, the Marshall Tucker Band.

The Jazz Singer
With the death of Annie Ross, all three of the pioneering jazz vocalese trio Lambert, Hendricks & Ross are gone, with Dave Lambert having died already in 1966, and Jon Hendricks in 2017. Ross left the trio in 1962, succeeded by Yolande Bavan, the sole survivor of either line-up. Born in London as Annabelle Short, Ross came to the US as a child. In 1943 she played Judy Garland’s sister in Presenting Lily Mars. A year later she won a songwriting contest, with Johnny Mercer recording her song, Let’s Fly. She joined Lambert and Hendricks in 1957, having earlier worked alongside Lambert. Initially they wanted to record with different female singers, but Ross so impressed them that she was invited to join the group.

While with the trio, she also recorded solo albums, and in 1962 left the group. She went on to found a high-class jazz club in London, and had a good career as a film actress.

The Synth Pioneer
Remember that strange keyboard solo on Del Shannon’s Runaway (a song with so many delightful touches)? That was played on a musitron by its inventor, Max Crook. The musitron was an early type of monophonic synthethiser which, according to Wikipedia, was “a clavioline heavily enhanced with additional resistors, television tubes, and parts from household appliances, old amplifiers, and reel-to-reel tape machines”. It influenced the likes of Berry Gordy, Joe Meek, Ennio Morricone, John Barry and Roy Wood.

Crook was operating his invention on stage as a member of Del Shannon’s backing group when he played a chord-change from A-minor to G. The singer and the keyboardist used that as the basis for Runaway, which turned out to be a million-seller.

The Toto Father
I imagine growing up in the Porcaro household must have been a blast, at least from a music point of view. Joe Porcaro, who has died at 90, was a session drummer and percussionist in the Wrecking Crew, and all three of his sons — Jeff, Steve and Mike (two of whom Joe outlived) — became sought-after session musicians themselves, and founders of the group Toto. Porcaro Sr did percussion work on all Toto albums in their heyday (including percussions and marimabas on their 1982 mega-hit Africa). Joe Porcaro also made it a point to teach budding musicians: he was a co-founder of the Los Angeles College of Music.

Porcaro also played on the scores of films such as Kelly’s Heroes, Enter The Dragon, The Color Purple, E.T., Romancing The Stone, The Right Stuff, Alien Resurrection, Independence Day, Taps, The Abyss, Empire Of The Sun, Die Hard, Joe Versus The Volcano, The Naked Gun, Edward Scissorhands, Dances With Wolves, and many more.

The Soul Singer
The news came too late for inclusion in last month’s In Memoriam, so we pay tribute to Tami Lynn here. The New Orleans soul singer didn’t have the long career her talent deserved. Her only hit, I’m Gonna Run Away From You, came in the UK six years after she first recorded it. Lynn did frequent backing vocals for Dr John as well as for The Rolling Stones.

The Glee Singer
Naya Rivera is the third main cast member of the TV series Glee to die young (a subject she sang about in Season 5 of the show). Preceding her tragic death in a drowning were those of Cory Monleith (of suicide) and Mark Salling (also of suicide, after being convicted of possessing child porn). Even before Rivera’s apparent death, there was talk of the “Curse of Glee”. Rivera died heroically, saving her four-year-old son from drowning in a lake, but not able to save herself. It seems a cruel irony that at the time of her death, Rivera was a star on a TV series titled Step Up: High Water.

The text above and the list below is included as a PDF file.

Tami Lynn, 77, soul singer, on June 26
Tami Lynn – I’m Gonna Run Away From You (1965)
Dr John – Gris-Gris Gumbo Ya Ya (1968, on backing vocals)
Tami Lynn – Wings Upon Your Horn (1972)
The Rolling Stones – Let It Loose (1972, on backing vocals)

Max Crook, 83, American keyboardist and songwriter, on July 1
Del Shannon – Runaway (1961, as co-writer and on musitron)
Maximilian – The Snake (1961, as Maximilian)
Brian Hyland (1970, on keyboards)

Marvin Brown, 66, falsetto singer of soul group The Softones, on July 3
The Softones – Maybe Tomorrow (1977, on lead vocals)

Sebastián Athié, 24, Mexican actor and musician, on July 4

Silvano Silvi, 83, singer of Italian pop group Gli Erranti, on July 4
Silvano Silvi e gli Erranti – Tenendoti per mano (1963)

Cleveland Eaton, 80, jazz bassist, producer, composer, publisher, on July 5
Ramsey Lewis Trio – Wade In The Water (1966, on bass)
Cleveland Eaton – Bama Boogie Woogie (1978)

Tiloun, 53, Réunionese singer, on July 5
Tiloun – Regninay

Ennio Morricone, 91, Italian film composer, on July 6
Ennio Morricone – The Man With The Harmonica (1968)
Ennio Morricone – My Name Is Nobody (1973)
Ennio Morricone – Childhood Memories (1984)
Ennio Morricone – Cinema Paradiso (1988)

Joe Porcaro, 90, session drummer and percussionist, on July 6
Nancy Sinatra – Sugar Town (1966, on percussions)
Boz Scaggs – Lido Shuffle (on drums)
Cheryl Lynn – You’re The One (1978, on percussions)
Toto – Pamela (1988, on percussion)

Charlie Daniels, 83, country singer-songwriter and musician, on July 6
Bob Dylan – Lay Lady Lay (1969, on electric guitar)
Charlie Daniels Band – Long Haired Country Boy (1975)
Charlie Daniels Band – High Lonesome (1976)
Charlie Daniels Band – Drinkin’ My Baby Goodbye (1985)

Lane Tietgen, 74, musician and songwriter, on July 7
The Serfs – Evil Days (1969, on guitar and bass, as writer)

Naya Rivera, 33, actress (Glee), singer and author, drowned on July 8
Naya Rivera – Valerie (2010)
Naya Rivera – If I Die Young (2014)

Patricia Majalisa, 53, South African singer, on July 9

Eddie Gale, 78, jazz trumpeter, on July 10
Eddie Gale – The Rain (1968)
Sun Ra and His Arkestra – Flamingo (1979, on trumpet)

Gordon Stone, 70, bluegrass musician, on July 10
Gordon Stone – Alabama Banjo Dream (1981)

Phil Ashley, 65, session keyboardist, on July 10
Debbie Harry – French Kissin’ In The USA (1986, on keyboards)

Cosmas Magaya, 67, Zimbabwean mbira musician, of Covid-19 on July 10

Rich Priske, 52, Canadian bassist, on July 11
Matthew Good Band – Strange Days (2000, as member)

Lil Marlo, 30, rapper, shot dead on July 11

Benjamin Keough, 27, backup singer and Elvis Presley’s grandson, suicide on July 12

Rod Bernard, 79, swamp pop singer, on July 12
Rod Bernard – This Should Go On Forever (1959)

Jarno Sarkula, 47, member if Finnish avant garde group Alamaailman Vasarat, on July 12

Judy Dyble, 71, English folk singer-songwriter, on July 12
Fairport Convention – I Don’t Know Where I Stand (1968, as member on lead vocals)
The Conspirators with Judy Dyble – One Sure Thing (2008)

Raúl Pagano, Argentinian rock keyboard player, on July 14

J. Lionel, 72, Belgian singer, on July 14

Rudy Palacios, 74 member of Tejano group Sunny & the Sunliners, of Covid-19 on July 14

Jimmy Walker, drummer of 1960s pop group The Knickerbockers, on July 15
The Knickerbockers – Lies (1965)

Jamie Oldaker, 68, session drummer and percussionist (Eric Clapton), on July 16
Eric Clapton – Lay Down Sally (1978, on drums and percussions)

Víctor Víctor, 71, Dominican singer-songwriter, Covid-19 on July 16

Ken Chinn, 57, singer of Canadian punk band SNFU, on July 16
SNFU – She’s Not On The Menu (1986)

Emitt Rhodes, 70, singer-songwriter and musician, on July 19
The Merry-Go-Round – Live (1967, as writer and on lead vocals)

Dobby Dobson, 78, Jamaican reggae singer, producer, of Covid-19 on July 21
Dobby Dobson – Loving Pauper (1970)

Annie Ross, 89, singer jazz trio Lambert, Hendricks & Ross, songwriter, and actress, on July 21
Charlie Parker And His Orchestra – In The Still Of The Night (1957, on vocals)
Lambert, Hendricks & Ross – Twisted (1959, also as co-writer)
Annie Ross with the Gerry Mulligan Quartet – All Of You (1959)

Tim Smith, 59, English rock singer-songwriter, musician, producer, on July 22
Cardiacs – Is This The Life? (1988, as singer and writer)

Dominic Sonic, 55, French rock singer, on July 23
Dominic Sonic – When My Tears Run Cold (1989)

Regis Philbin, 88, TV personality and entertainer, on July 24
Regis Philbin – You Make Me Feel So Young (2004)

CP Lee, 70, English musician, on July 25
Alberto y Lost Trios Paranoias – Gobbing On Life (1977)

Peter Green, 73, English blues rock singer-songwriter and guitarist, on July 25
Fleetwood Mac – The Green Manalishi (1970)
Peter Green – A Fool No More (1979)
Fleetwood Mac – Brown Eyes (1979, uncredited on guitar)

Miss Mercy, 71, singer with Zappa project The GTO’s, on July 27
The GTO’s – Circular Circulation (1969)

Denise Johnson, 56, singer with Scottish rock group Primal Scream, on July 27
Primal Scream – Don’t Fight It, Feel It (1991, on lead vocals)

Richard Wallace, 80, singer and guitarist with The Mighty Clouds of Joy, on July 27
The Mighty Clouds Of Joy – Stoned World (1974)
The Mighty Clouds Of Joy – In These Changing Time (1979)

Bent Fabric, 95, Danish jazz pianist and composer, on July 28
Bent Fabric – The Alleycat (1962, also a writer)

Renato Barros, 76, Brazilian singer and guitarist, on July 28
Renato e seus Blue Caps – Darling (1971, as frontman)

Malik B., 47, rapper with The Roots, on July 29
The Roots – Section (1996, on rap)

Balla Sidibé, 78, bandleader of Senegal’s Orchestra Baobab, on July 29
Orchestra Baobab – Balla Daffe (2001, also as writer)

Juan Ramón, 80, Argentine singer and actor, on July 30

Bill Mack, 88, country singer, songwriter and radio DJ, of Covid-19 on July 31
Bill Mack – Drinking Champagne (1966, also as writer)
LeAnn Rimes – Blue (1996, as writer)

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