Taylor Swift is Time’s 2023 Person of the Year. In the year of the blockbuster Eras Tour and accompanying film, as well as “Taylor’s Versions” of Speak Now and 1989, Swift was “the individual who most shaped the headlines over the previous 12 months, for better or for worse,” according to the magazine’s criterion. She is Time’s first Person of the Year to be recognized for success in the arts, the announcement notes. Her cover shoot features a cameo from her cat Benjamin Button, as credited in her acknowledgment post.
Time’s Sam Jacobs wrote, “In a divided world, where too many institutions are failing, Taylor Swift found a way to transcend borders and be a source of light. No one else on the planet today can move so many people so well.” This year in particular, Jacobs added, Swift “achieved a kind of nuclear fusion: shooting art and commerce together to release an energy of historic force.” This year alone, Swift has had three No. 1 albums: the two new “Taylor’s Versions” and a brief return to the top for last year’s Midnights. The Eras Tour movie broke box office records for a concert film. And, as Time notes, the tour itself came to symbolize American soft power: “A U.S. diplomat told me how meaningful it was to get Swift to agree to play in his host country,” Jacobs wrote. This is Swift’s second time on the Person of the Year cover, following her appearance in 2017 among “silence breakers” who contributed to the #MeToo movement. Last year, Time honored “The Spirit of Ukraine” and the country’s president, Volodymyr Zelenskyy. Read “Meet the Argentine Taylor Swift Fans Who Have Been Camping Out for the Eras Tour Since June” and, below, Pitchfork’s review of the Eras Tour movie. Plus, check out the Pitchfork Review podcast on the film and the surrounding mania.
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Country singers, romance novelists, video game artists and voice actors are appealing to the U.S. government for relief — as soon as possible — from the threat that artificial intelligence poses to their livelihoods. "Please regulate AI. I'm scared," wrote a podcaster concerned about his voice being replicated by AI in one of thousands of letters recently submitted to the U.S. Copyright Office. Technology companies, by contrast, are largely happy with the status quo that has enabled them to gobble up published works to make their AI systems better at mimicking what humans do. The nation's top copyright official hasn't yet taken sides. She told The Associated Press she's listening to everyone as her office weighs whether copyright reforms are needed for a new era of generative AI tools that can spit out compelling imagery, music, video and passages of text. "We've received close to 10,000 comments," said Shira Perlmutter, the U.S. register of copyrights, in an interview. "Every one of them is being read by a human being, not a computer. And I myself am reading a large part of them." What's at stake? Perlmutter directs the U.S. Copyright Office, which registered more than 480,000 copyrights last year covering millions of individual works but is increasingly being asked to register works that are AI-generated. So far, copyright claims for fully machine-generated content have been soundly rejected because copyright laws are designed to protect works of human authorship. But, Perlmutter asks, as humans feed content into AI systems and give instructions to influence what comes out, "is there a point at which there's enough human involvement in controlling the expressive elements of the output that the human can be considered to have contributed authorship?" That's one question the Copyright Office has put to the public. A bigger one — the question that's fielded thousands of comments from creative professions — is what to do about copyrighted human works that are being pulled from the internet and other sources and ingested to train AI systems, often without permission or compensation. More than 9,700 comments were sent to the Copyright Office, part of the Library of Congress, before an initial comment period closed in late October. Another round of comments is due by December 6. After that, Perlmutter's office will work to advise Congress and others on whether reforms are needed. What are artists saying? Addressing the "Ladies and Gentlemen of the US Copyright Office," the Family Ties actor and filmmaker Justine Bateman said she was disturbed that AI models were "ingesting 100 years of film" and TV in a way that could destroy the structure of the film business and replace large portions of its labor pipeline. It "appears to many of us to be the largest copyright violation in the history of the United States," Bateman wrote. "I sincerely hope you can stop this practice of thievery." Airing some of the same AI concerns that fueled this year's Hollywood strikes, television showrunner Lilla Zuckerman (Poker Face) said her industry should declare war on what is "nothing more than a plagiarism machine" before Hollywood is "coopted by greedy and craven companies who want to take human talent out of entertainment." The music industry is also threatened, said Nashville-based country songwriter Marc Beeson, who's written tunes for Carrie Underwood and Garth Brooks. Beeson said AI has potential to do good but "in some ways, it's like a gun — in the wrong hands, with no parameters in place for its use, it could do irreparable damage to one of the last true American art forms." While most commenters were individuals, their concerns were echoed by big music publishers — Universal Music Group called the way AI is trained "ravenous and poorly controlled" — as well as author groups and news organizations including The New York Times and The Associated Press. Is it fair use? What leading tech companies like Google, Microsoft and ChatGPT-maker OpenAI are telling the Copyright Office is that their training of AI models fits into the "fair use" doctrine that allows for limited uses of copyrighted materials such as for teaching, research or transforming the copyrighted work into something different. "The American AI industry is built in part on the understanding that the Copyright Act does not proscribe the use of copyrighted material to train Generative AI models," says a letter from Meta Platforms, the parent company of Facebook, Instagram and WhatsApp. The purpose of AI training is to identify patterns "across a broad body of content," not to "extract or reproduce" individual works, it added. So far, courts have largely sided with tech companies in interpreting how copyright laws should treat AI systems. In a defeat for visual artists, a federal judge in San Francisco last month dismissed much of the first big lawsuit against AI image-generators, though allowed some of the case to proceed. Most tech companies cite as precedent Google's success in beating back legal challenges to its online book library. The U.S. Supreme Court in 2016 let stand lower court rulings that rejected authors' claim that Google's digitizing of millions of books and showing snippets of them to the public amounted to copyright infringement. But that's a flawed comparison, argued former law professor and bestselling romance author Heidi Bond, who writes under the pen name Courtney Milan. Bond said she agrees that "fair use encompasses the right to learn from books," but Google Books obtained legitimate copies held by libraries and institutions, whereas many AI developers are scraping works of writing through "outright piracy." Perlmutter said this is what the Copyright Office is trying to help sort out. "Certainly, this differs in some respects from the Google situation," Perlmutter said. "Whether it differs enough to rule out the fair use defense is the question in hand."
Sammy Hagar, Michael Anthony, Jason Bonham and electric guitar legend Joe Satriani have announced a summer 2024 North American tour that's set to feature a very Van Halen-heavy setlist. Its participants have been careful not to explicitly call The Best of All Worlds, as the tour is being called, a “Van Halen tribute tour,“ as original frontman David Lee Roth, drummer Alex Van Halen, and Eddie Van Halen's son – Mammoth WVH leader and one-time Van Halen bass guitar player Wolfgang Van Halen – do not appear to be involved. Needless to say, though, given that Satriani was long involved in discussions for an official tour with Roth and Alex Van Halen that eventually petered out, it appears that this is as close to a genuine tribute tour as we're going to get. "We're gonna go deep into the Van Halen catalog," Hagar told Howard Stern on Tuesday. "If you're gonna go deep into the Van Halen catalog, you need Joe Satriani." Hagar noted that he and Anthony typically play "five or six Van Halen songs" on the road with the Circle. This time, he'll flip the script and play "five or six of my songs" alongside Van Halen classics and deep cuts. “It’s crazy to think that it’ll be 20 years since Mikey and I played these songs with Van Halen on the 04’ Best of Both Worlds Tour,“ Hagar said in a statement. “With Joe on board, we can take a deeper dive into those years. “We’re going to touch on some hits from my entire career, but seeing fans old and new really embrace [The Collection II, a new box set featuring remasters of Van Halen's four Hagar-era albums] set off something in Mikey and I. We were at my Birthday Bash in Cabo for my 76th and looked at each other and high five-d, like, ‘let’s do it.’ We pulled out a couple of them and it was an instant lovefest with the fans from our first riffs. “The music we created is going to outlive us all,“ the singer concluded. “[The songs] deserve to be heard, so it's time we go out and serve the fans that music, while we still can.“
The statement announcing the tour highlighted latter-day Van Halen classics like Finish What Ya Started, 5150, Good Enough, Best of Both Worlds, Poundcake, and Right Now as examples of what fans can expect to hear at the shows, along with material from Hagar/Anthony/Satriani supergroup Chickenfoot, and modern-day project The Circle. From there, one can naturally infer that – in Roth's absence – the setlists will be light on material from Van Halen's first six albums. The Best of All Worlds tour is set to begin on July 13 in West Palm Beach, Florida and will conclude on August 31 in St. Louis, Missouri, and will be supported by Loverboy. Tickets go on sale this Friday, November 17, at 10 a.m. local time. "Machine Gun" is a powerful and evocative song by the legendary guitarist and songwriter Jimi Hendrix. It was recorded live at the Fillmore East in New York City on January 1, 1970, as part of the Band of Gypsys performances. The song is often considered one of Hendrix's most politically charged and emotionally intense compositions.
Hendrix's performance on "Machine Gun" is considered a masterclass in guitar improvisation. He used the instrument to paint a sonic landscape, conveying the pain, anger, and sorrow associated with war. The song's extended instrumental passages allowed Hendrix to explore the full range of his guitar's capabilities, creating a deeply emotional and cathartic experience for both the musician and the audience. Tragically, Jimi Hendrix's career was cut short when he passed away on September 18, 1970, at the age of 27. "Machine Gun" remains a testament to his musical genius and his ability to use his art to comment on the world around him. The song's enduring impact is evident in its continued relevance and the way it resonates with listeners, capturing the spirit of a tumultuous time in history. Every electric guitarist should have a few pedals in their arsenal to help shape their instrument's tone, boost its dynamics or sonic capabilities, or perform practical duties to ensure they always sound their best. Since the mid-20th century, when guitarists sought heavier sounds without pushing their amplifiers to breaking point, effects pedals have been used to creative effect, changing the face of modern music. In the intervening years, there have been significant advancements in guitar effects, not least with digital modulation and delay effects that are more portable, versatile, and reliable. Modeling technology has further advanced guitar pedals' capabilities by faithfully emulating classic analog units that are more affordable and durable than their original counterparts. From the acoustic player who favors a stripped-down selection of tuner, compressor, and reverb to the progressive rock guitarist whose playing relies upon layers of modulation and delay, everyone has their ideal pedal setup that's as unique to the guitarist as the music they create. Here are 10 types of guitar pedals that every guitarist would find valuable across various musical styles, and our picks of the best models within each category. Tuner Pedal: Boss TU-3 Our first entry is the most pedestrian of guitar pedals but one of the most important. Accurate tuning is fundamental to a good performance, and it can often be hard to determine a perfect pitch while competing against a loud backline. A tuner pedal affords you the peace of mind that your strings are not only in tune relative to each other but also to other musicians. It also allows you to silently tune your guitar on stage before and during a set, so your audience isn't treated to a cacophony as you twang your strings from high E to low E. Modern tuners present a backlit interface that enables easy pitch correction in low lighting (such as stage conditions), and many offer tuning modes so that you can adjust your pedal for alternate tunings with perfect accuracy. Most then detect the string you are tuning and use either a series of LEDs or an LCD to indicate whether you are sharp or flat and highlight when you reach the perfect pitch. The Boss TU-3 is one such tuner pedal that does all of the above but has some useful additional features. It is built with the exact dimensions and profile as most Boss pedals and with the same rugged build quality that looks to last a lifetime. Features include a high brightness mode for outdoor and well-lit conditions. It also provides power to other pedals when connected in series so that the tuner can be plugged into an outlet, and all of your other effects can then be daisy chained from it with a standard cable. This eliminates the need for an additional power bank and leaves your pedalboard neat. Overdrive Pedal: Ibanez Tube ScreamerWhat do you do when you need that extra boost and your amplifier doesn't go up to 11? An overdrive pedal may be the answer to your woes, as it increases gain and adds a moderate level of drive, giving your guitar a warmer, crunchier sound. It is also a useful dynamic tool that helps lead lines and double stops cut through the mix and provides added gain for soloing without oversaturated distortion levels. Unlike distortion pedals, overdrive replicates the sound of a fully-cranked — or "overdriven" — tube amp. Think of the guitar tone on The Kinks' "You Really Got Me." In doing so, they are not as abrasive as their heavier counterpart and are more responsive to pick attacks and changes in volume while retaining the guitar's natural tone. To many, the Ibanez Tube Screamer is the ultimate overdrive pedal. Originally given the designation TS-808, this traditionally green unit has been around since 1979 and was quickly adopted by guitarists Stevie Ray Vaughan and Eric Johnson. It is a simple transistor-based pedal with minimal controls, consisting of "Drive" for adding gain, "Tone" for boosted trebles and mellower lows, and "Level" to adjust volume relative to your amplifier. Its combination of simplicity, quality components, and distinctive tonal qualities won the Tube Screamer legions of fans, and it continues to be among the top-selling overdrive pedals in its latest iteration, the TS9. Distortion Pedal: Pro Co RAT 2 Almost every electric guitarist owns a distortion pedal of some description or, failing that, a switchable high-gain channel on their amplifier. Distorted guitar tones have come to represent the sound of rock music ever since the early days of overdriven tube amp tones, which were first used by blues players of the 1940s and '50s. This was followed by the transistor-based fuzz pedals of the 1960s, as used by Keith Richards on the seminal hit "Satisfaction," which developed into the heavy, saturated stompbox sounds we know today. Distortion pedals provide more aggressive distortion than overdrive and are ideal for heavier rhythm parts and leads. From Kurt Cobain's well-used Boss DS-1 unit that was used on every Nirvana record and sold at auction for $75,000, to David Gilmour's Electro-Harmonix Big Muff Pi, as heard on "Comfortably Numb," we are familiar with the sounds of various distortion pedals, even if we are unaware of their exact make and model. The Pro Co RAT is one such distortion pedal that helped shape the sound of modern rock. It has been championed by James Hetfield of Metallica and Nuno Bettencourt of Extreme for its versatility of tones, which range from smooth-as-silk to chainsawing-sheet-steel. Like the Tube Screamer, it features three controls, namely "Distortion," "Filter," and "Volume," which perform much the same duties, although Filter blends with your guitar's natural tone when rolled back. The latest version, the RAT 2, is exceptional value at $100 for such a rugged piece of essential gear that will not let you down. Delay Pedal: Line 6 DL4 MkIIDelay adds an echo effect to your guitar sound, creating a sense of space and depth. It is used across many contemporary genres, including alternative and psychedelic rock. It can be heard in the signature riff to David Bowie's "Let's Dance," as well as on just about every U2 record ever recorded. However, the delay effect can be traced back to the early days of rock n' roll, well before Boss released the first digital delay pedal, the DD-2, in 1984. The first delay effects used magnetic tape to create a short delay, or "slapback" effect, that wasn't unlike a large hall reverb. Since then, various other methods have been experimented with, including the Roland Space Echo of the early 1970s, the first true solid-state precursor to the digital models we use today. Now, delay has become a guitar staple, and thanks to digital technology, it can be adjusted to tempo and set to multiple rhythmic parameters, making it far more helpful in music creation and performance. While Boss is still a frontrunner in portable delay effects, since the turn of the century, Line 6 of California has made significant waves in digital guitar tech, not least with its DL4 MkII delay module. This beast offers 15 different delays, some modeled on vintage units, and each can be modified within various parameters. It even boasts a high-end loop sampler, which can be controlled via one of its four footswitches. Those looking for one delay to rule them all should undoubtedly have Line 6's flagship DL4 on their radar. Reverb Pedal: MXR M300Reverb is the most commonly used effect in live and recorded music and can be defined as an echo that reflects — or "reverberates" — in under 50 milliseconds. Producers use it to add space to vocals and most instruments (usually except for the bass, which sits in the center of the mix). Reverb is a handy dynamic tool that, when used properly, can make a track come to life or add ambiance and grandeur to a live performance. A reverb pedal simulates the guitar's sound in a particular acoustic space. It enriches the guitar's natural tone and helps add character and "feel" to your playing. Notable uses of guitar reverb in popular music are Jeff Buckley's digital effect on "Hallelujah," Chris Isaak's heavily saturated "Wicked Game," and David Gilmour's Stratocaster on "Shine On You Crazy Diamond." The MXR M300 offers six different reverbs, and each can add a different nuance to your tone. These include the standard plate and spring reverb options (modeled on classic studio and guitar amp technology) and four stylized options, including a rich room reverb and more complex modulation-based reverbs. MXR is known for making high-quality, compact pedals that offer excellent durability for the touring musician. Chorus Pedal: TC Electronic June 60 V2Guitar effects, like many things in life, go in and out of style. It could be said that chorus was the defining guitar sound of the 1980s, and some might say it was overused, but it is still a staple on guitar effects modules, amplifiers, and software. One of the main reasons for its enduring appeal is that it simply sounds cool, and it is one of the more subtle modulation effects that still adds plenty of character to clean guitar tones. Chorus adds a shimmering, doubling effect to a guitar's signal. It helps create a richer and more textured tone and was commonly heard on arpeggiated riffs in late 20th-century rock and pop. Notable uses include Kurt Cobain's main guitar hook on "Come as You Are," Andy Summers' sparse chords on "Walking on the Moon," or Nile Rodgers' funky strumming on "Get Lucky." The TC Electronic June 60 V2 is a faithful reconstruction of the vintage chorus sounds of the 1980s, specifically that of the Roland Juno 60 synthesizer on which its circuitry is based. It is beautifully presented with solid wood sides sandwiching a classic '80s-style interface with retro fonts and switches. It could barely be more straightforward, with switchable mono and stereo sound and two bold yellow switches. Switch 1 activates a slow and emotive chorus, whereas Switch 2 activates a faster, wobbly tone. This pedal is the epitome of the term "plug and play," but its limited sounds are reassuringly sublime. Phaser Pedal: MXR Phase 90Phasing is a modulation effect created by replicating the signal and time-shifting one very slightly. This "out of phase" result affects the frequency spectrum of the sound, which is then modulated using a low-frequency oscillator to produce a sweeping psychedelic or "spacey" tone. Phaser pedals work well with clean tones, and some models can be adjusted to track specific tempos. Some spottings of a phaser in the wild include Brian May's use of one in "Sheer Heart Attack" and on Van Halen's classic "Eruption." It could be said that as a subtler relative of the flanger pedal, the phaser gets less exposure than its more flamboyant counterpart, but when used well, it becomes an essential component of a song. It is also versatile and used by guitarists and electric piano players, especially those who use classic mid-20th century instruments like the Fender Rhodes, including Billy Joel and Donald Fagen of Steely Dan. It's hard to imagine a guitar pedal that is easier to use than the MXR Phase 90. It consists of a single rotary knob for "speed" that alters the intensity of the phasing effect, and that's it. Despite its simplicity, this pedal has become an icon among modulation effects. Famous guitarist proponents include Slash, Paul Gilbert, and the maestro Eddie Van Halen. Need we say more? Flanger Pedal: Alexander F-13 NeoAs oscillators became a defining feature in music technology, we saw a shift in the capabilities of line-level instruments. Suddenly, we could use subtractive synthesis to dial in some of the weirdest and most wonderful sounds via outboard effects, including guitar pedals. One of the most recognized modulation effects is the flanger. Like the phaser, it uses a time delay to create phasing combined with a low-frequency oscillator to produce a distinct swirling sound, but it is far more pronounced. This dynamic and unique modulation effect can be heard in the intro to Rage Against the Machine's "Killing in the Name," the bridge of The Eagles' "Life in the Fast Lane," and also on the drum break in Tears for Fears' "Head Over Heels." Such a conspicuous effect should be used sparingly and usually is, but it can add real identity to musical passages and make them stand out in the mix. While it's hard to fault the durable workhorse effects of brands like Boss, which have been around for decades, one cannot ignore some of the boutique pedals that are increasingly popular for a good reason. One of these is the Alexander F-13 Neo, a pedal claimed to have been inspired by space junk recovered from Area 51. This aesthetic is reflected in its tone, or as Alexander describes it, "interplanetary flange." Stylistically, it's a simple square box, and it looks like they have used a label maker to name its parameters, giving it a homemade, custom feel. But dial in one of its multiple flanger patterns in Step Mode or its Echo Flanger effect, and it lives up to its other-worldly reputation. Wah Pedal: Dunlop CrybabyThe wah pedal (or "wah-wah") alters the guitar's tone by shifting the frequency emphasis. Its onomatopoeic name refers to the vocal expression of its sound that could be likened to an infant crying. As the pedal is rocked back and forth, a ratchet rotates a tone potentiometer, which can be used to accentuate notes or rocked rhythmically to emphasize chord sequences. Some players like Carlos Santana and Frank Zappa used it in a "cocked" static position to boost midrange frequencies. The wah pedal was invented in 1966 when guitar effects were becoming mainstream, and it was quickly adopted by the guitar heroes of the day, including Jimi Hendrix and Eric Clapton. Having found roots in rock music, it helped shape the sound of funk and disco, with its muted "wacka-wacka" chop, as used on Isaac Hayes' "Theme from Shaft." The Dunlop Crybaby is the most popular wah pedal with a bright high end. It remains a common feature on the pedal boards of guitar players, including Slash and Kirk Hammet, each of whom has their own signature model. The range has been extended in recent years to include "Mini" and "Junior" models that are smaller than the original, as well as a "Q-Zone" auto-wah stomp box and the 95Q Crybaby, where you can alter the intensity of the tonal sweep. Compressor Pedal: Boss CS-3A compressor pedal is usually the last item on a guitarist's wish list, as it performs more of a functional role that will barely be noticeable to the average listener. Yet, once added to your arsenal, it is immediately apparent how it improves the dynamics of your playing, helps you cut through the mix, and adds sustain to your distorted leads.
A compressor works by regulating the volume of plucked or strummed notes. Reducing the difference between a loud and quiet attack enhances the guitar's overall sound and tightens up your playing. This is especially useful when playing rhythm lines and for bass players who don't rely as much on nuance and need a punchier sound. There are many compressor pedals for guitarists, each with varying degrees of technicality, but the Boss CS-3 Compression Sustainer ably straddles the line between functionality and usability. The pedal consists of four rotary dials and a switch. The "Sustain" dial allows you to alter the amount the pedal hangs on a note before decaying, and the "Attack" control adjusts the compression-to-signal ratio. Put simply, this is where it kicks in. There's also a tone knob, and a level control, to balance your pedal with the amplifier's output. Then, all that's left to do is turn it on and let it work its magic. If you’re a regular follower of vintage guitars or any other guitar-obsessed haunter, you’ll know that when it comes to the vintage market, no other production line model demands the kind of money associated with the 1959 Gibson Les Paul Standard. When one of the roughly 1,400 so ’Bursts produced between 1958 and 1960 (so-called for their stunning sunburst finishes) hits the market, it is news in itself. Even more so when you narrow that to the most sought-after ’59 productions, which are thought to have been limited to just 643 guitars.Now a 1959 ’Burst dubbed ‘Miss Swiss’ is going up for sale via specialist dealer, Carter Vintage, with an asking price of $450,000. The instrument is described by the retailer as being “definitely one of the cleanest examples we've seen come through our showroom” and the images show it is in remarkably good condition for its 60+ years.
However, as Gibson’s Mark Agnesi recently said, they are still loved. “Everyone I know that has bought a ’Burst in the last five years is playing that guitar every single day,” says the Gibson man. “[Ultimately] if the thing doesn't play, it's worthless. So if you're sitting here with it and you're so worried about the value [dropping] you can't play the damn thing, it's worthless… There are far worse things you can do to guitars than put a new set of frets on it and have it PLEK-ed, so it plays like a new guitar again.” All of which, we imagine, will be welcome news to the new owner of the (refretted) Miss Swiss. If you’re in the market for a ’Burst, btw, you might also like the look of Kirk Hammett’s 1960 Les Paul Standard ‘Sunny’ – available for a snip more at $500,000, though it does come with its own Gibson Custom Shop replica model. For more information on the guitar, head to Carter Vintage.
In the vast landscape of music, certain artists possess a rare ability to transcend generations, captivating listeners with their timeless melodies and indelible charisma. Among these luminaries, Sade Adu, simply known as Sade, stands as a paragon of enduring elegance and musical brilliance. With a career spanning over four decades, Sade has woven an enchanting tapestry of sultry, soulful tunes that have left an indelible mark on the world of music.
Born on January 16, 1959, in Ibadan, Nigeria, Sade Adu's journey to international stardom is a tale of determination, talent, and unwavering passion. Raised in both Nigeria and Essex, England, Sade's multicultural upbringing would later influence her unique musical style. Her father's Nigerian heritage and her mother's English roots offered her a rich cultural palette to draw upon in her music. Sade's journey into the world of music began in the early 1980s when she joined a London-based Latin-funk band called "Pride." This initial foray into the music industry laid the foundation for her career as she began to hone her craft and develop her distinct vocal style. Soon, she formed the band "Sade" along with Stuart Matthewman, Paul Denman, and Andrew Hale. This partnership marked the inception of something truly special. In 1984, Sade's debut album, "Diamond Life," was released to critical acclaim. The album's fusion of jazz, soul, and pop elements, coupled with Sade's smoky and velvety vocals, struck a chord with audiences worldwide. The single "Smooth Operator" became a massive hit and catapulted Sade to international stardom. Her ability to blend genres seamlessly and convey deep emotions through her music set her apart as a singular talent. Throughout the 1980s and '90s, Sade continued to release a series of successful albums, including "Promise" (1985), "Stronger Than Pride" (1988), and "Love Deluxe" (1992). Each of these albums showcased her ability to craft beautifully melancholic ballads and catchy, upbeat tracks with equal finesse. Sade's lyrics often explored themes of love, heartache, and resilience, resonating with listeners on a deeply emotional level. What sets Sade apart is not just her exceptional vocal talent but her mysterious aura and penchant for privacy. She has consistently shielded her personal life from the prying eyes of the media, focusing instead on her music. This enigmatic quality has only added to her allure, allowing her music to speak volumes on her behalf. Sade's influence extends far beyond the boundaries of her chart-topping albums. Her contributions to film soundtracks, such as "Your Love Is King" in "The Last King of Scotland" and "No Ordinary Love" in "Indecent Proposal," have further cemented her status as a musical icon. Her songs have also been sampled by numerous artists, attesting to her enduring impact on the industry. After a hiatus in the early 2000s, Sade returned to the music scene with "Lovers Rock" (2000) and "Soldier of Love" (2010), both of which garnered widespread acclaim. These albums showcased her ability to evolve while staying true to her signature style, proving that she remained as relevant and captivating as ever. Sade's accolades are as numerous as they are well-deserved. She has earned four Grammy Awards, including Best New Artist in 1986, and she continues to fill concert halls around the world with adoring fans eager to hear her perform live. In conclusion, Sade's life and career represent a remarkable journey through the annals of music history. Her ability to create music that transcends time, genre, and cultural boundaries is a testament to her artistic genius. With a voice that can soothe the soul and lyrics that touch the heart, Sade Adu has earned her place as an enduring icon in the world of music, leaving an indelible mark on generations of listeners who continue to be captivated by her enchanting melodies and timeless elegance. The 1980s was a time of rapid change in the music industry. We saw the compact disc facilitate a massive paradigm shift in the way music was created and marketed. The first wave of punk sputtered out and was replaced in the zeitgeist by new genres that often had the synthesizer or the turntable as the fulcrum. But despite this, guitar remained an influential part of the musical landscape, especially with hard rocking bands who pushed the boundaries of both guitar playing and fashion. Among this new generation of shredders, there was one brand that ruled the 1980s – Kramer Guitars. But despite being forever associated with the 80s and hair metal, the story of Kramer Guitars actually starts in the 70s and a very different type of guitar. Travis Bean’s name has become synonymous with the unconventional aluminium-necked guitars that bore his name, not to mention their iconic hollow T headstock. But Travis Bean Guitars was not a one-man operation when it started out in California in 1974, in fact Bean started the company with two business partners – Marc McElwee and Gary Kramer. According to Kramer, the business deal with Travis Bean began to sour when he applied for a patent in his own name rather than the name of the company. Business relationships were strained further when, according to Kramer, guitar construction started to be edged out by Bean’s new passion, drumming. Again, according to Kramer, Bean had converted a large section of the production floor space into a garage style-recording studio, complete with hundreds of egg cartons on the wall during a weekend when he was supposed to be filling orders to meet the incredible demand for the instrument bearing his name. One thing that we are certain of is that Kramer left Travis Bean in 1976 to found his own company along with a friend of Bean’s from New York, Dennis Berardi – Kramer Guitars was born, The initial Kramer prototypes were built by a man named Phillip J. Petillo who was also responsible for the Travis Bean prototypes. Kramer also sought out investors and found one in Henry Vaccaro. Vaccaro later sold his shares of the company in 1993 to Jackson Communications Inc, formed by the family of superstar Michael Jackson (which resulted in a cascade of legal issues that we simply don’t have the space to go into here!). Between 1976 and 1981, the guitars built under the Kramer banner had some strong resemblance to Travis Bean Guitars – most notably the aluminum necks and the forked headstock design. But Kramer necks featured an important distinction – instead of being built completely out of aluminum, Kramer Guitar necks had wooden inserts placed into the aluminum. This was done for two reasons – weight relief, and to make the necks feel a bit more akin to traditional guitar necks. There may have been some tonal implications to the decision as well. If you’ve ever used an aluminum necked guitar, you may notice that the first time you pick it up, the neck feels a bit cold. Aluminum conducts heat very well so when you first grab an aluminum neck, it draws the heat from your hand, giving you that cooling sensation, even at room temperature. The wooden inserts, set in epoxy, were usually walnut or maple, while the bodies were made of curly or Birdseye Maple, Koa, Afromosia, Swietenia, Shedua, and Bubinga. The bridges and tuning pegs were made by Schaller and the pickups were supplied by DiMarzio. The cavity covers on the guitars were made of aluminum. In late 1981, Kramer Guitars ditched the aluminum necks in favor of a more traditional construction design. There has been a lot of speculation as to what prompted this move, but like most things in the guitar business, it’s likely had to do with sales, or a lack of them. During the years leading up to 1981, the aluminum necked bass guitars were outselling guitars at a rate of about four to one, we can speculate that this was because bass players were more willing to try something new during that era. In any case, the first batches of guitars to come out with wooden necks featured Fender-shaped headstocks, much like the Charvels of that era. After only a thousand or so instruments were built, in May 1981, Kramer received a cease-and-desist order from Fender to halt the production of guitars with the headstock shape, which would lead Kramer to switch to a “beak” headstock. During this era, the production of guitar components was moved out of the US. The bodies were made in various factories in Eastern Asia. Tuners and tremolos were made by Gotoh in Japan, and the necks were made by Japan’s ESP Guitars, which started making replacement guitar parts and importing them to the US around the same time – they also made guitar parts for Schecter during that era. All the parts were shipped to New Jersey where they were assembled, and the guitars were finished. The executive team at Kramer were wise enough to see the trends that were brewing within the music industry, which included the Eddie Van Halen-driven desire for guitars with tremolo systems. Kramer partnered with a German inventor named Helmut Rockinger to build tremolos for their guitars but soon after, in 1982, they partnered with Floyd Rose to build tremolos as well and by 1983 Floyd Rose tremolo equipped guitars were flying off the shelves. Kramer was using Schaller to produce tuning pegs and they arranged for the company to start producing Floyd Rose tremolos as well. Crucially, Kramer was the only guitar company offering Original Floyd Rose tremolos stock on their production guitars at the time, giving them a massive EVH-sharpened edge when it came to marketing. In late 1983, Kramer again switched up their headstock design to the somewhat-Gibson Explorer-like “hockey stick” design. Around this time, Kramer came out with a new model, the Baretta which was used on stage by Eddie Van Halen. The EVH partnership with Kramer stemmed from a chance meeting between Dennis Berardi and Eddie Van Halen’s managers when they found themselves on the same flight – but it was an association that would define the brand. Kramer Guitars continued to evolve to incorporate popular changes in technology such as introducing Seymour Duncan pickups in late 1985 and embracing the bright flashy colors of the glam movement for finishes in the mid to late 80s. Following Eddie Van Halen’s lead, a lot of prominent guitarists were seen using Kramers such as Mick Mars and Vivian Campbell. Kramer understood the trends of the market and the power of celebrity and combined the two to become the best-selling brand of 1985 and 1986. The wave crashed in 1991 when the decline of hair metal (thanks in no small part to Slash) combined with an insurmountable number of financial issues, including a lawsuit from Floyd Rose. The company declared bankruptcy and was sold to Gibson.
In the years since Kramer guitars have continued to be made – albeit in small numbers and only in Gibson’s Asian factories, but in the years since the KKR-backed takeover of Gibson Brands following its bankruptcy in 2018, the Kramer band has become more visible. As shred guitar continues to enjoy a renaissance, the future for Kramer might be brighter than it has been in decades. Bernie Marsden – former Whitesnake guitarist and a legend in the blue-rock sphere – has died at the age of 72. The news, first broken by bassist and friend of Marsden Neil Murray, has since been confirmed by Marsden’s record label Conquest Music, which writes: “On behalf of his family, it is with deep sadness we announce the death of Bernie Marsden. Bernie died peacefully on Thursday evening with his wife, Fran, and daughters, Charlotte and Olivia, by his side.” “Bernie never lost his passion for music, writing and recording new songs until the end,” the label adds.
Born in Buckinghamshire, England on May 7, 1951, Bernard John Marsden landed his first professional guitar gig with UFO in 1972. Thereafter, he worked with Glenn Cornick’s Wild Turkey, Cozy Powell’s band Cozy Powell’s Hammer, and Babe Ruth, with whom he played on two releases: Stealin’ Home (1975) and Kid’s Stuff (1976).
He later played in short-lived band Paice Ashton Lord, which was formed of former Deep Purple members Ian Paice and Jon Lord with singer Tony Ashton. But the gig he perhaps became best known for came in 1978, when he formed a new band with David Coverdale and guitarist Mick Moody, originally named David Coverdale’s Whitesnake. The band later changed their name to simply Whitesnake. Marsden was a member of Whitesnake between 1978 and 1982, during which time he appeared on the band’s first EP, first five albums and a live album: Snakebite (1978), Trouble (1978), Lovehunter (1979), Ready & Willing (1980), Live In The Heart Of The City (1980), Come An’ Get It (1981) and Saints & Sinners (1982). Saints & Sinners would see Marsden, alongside Coverdale, pen the biggest hit of his career: the anthemic Here I Go Again. Rocker Alice Cooper described “gender-affirming” medical procedures for children as a “fad” in an interview with Stereogum magazine on Wednesday, drawing criticism from Billboard and other establishment outlets.
Cooper, whose on-stage look features theatrical costumes, long hair and plenty of eyeliner, acknowledged that “there are cases of transgender,” but argued it was “also a fad,” with “a lot of people claiming to be this just because they want to be that.” He criticized adults who he said are planting the idea in children’s heads and confusing them at a vulnerable time, explaining: “You’re still trying to find your identity, and yet here’s this thing going on, saying, ‘Yeah, but you can be anything you want. You can be a cat if you want to be.’” Cooper, whose real name is Vincent Furnier, continued with a broader swipe at “the whole woke thing,” questioning who was “making the rules” that imposed politically-correct neologisms on the English-speaking population. “Is there a building somewhere in New York where people sit down every day and say, ‘OK, we can’t say ‘mother’ now. We have to say ‘birthing person.’ ‘Get that out on the wire right now’? Who is this person that’s making these rules?” he asked, dismissing the phenomenon as an absurdist “comedy.” While the interviewer mentioned other glam rockers who had opined on the trans issue and then eaten their words after public backlash, Cooper insisted he was not being “old school” in his views but simply “logical,” arguing his opinions were those of the vast majority. The 75-year-old rock star said that biological males identifying as women could pose a threat to women and girls in public bathrooms, saying that a predator could “just say ‘I just feel like I’m a woman today’ and have the time of his life in there.” “Somebody’s going to get raped,” he warned. Transgender activists have attempted to downplay such incidents, and a Virginia school district even moved a supposedly gender-nonconforming pupil who assaulted a girl in the restroom to another school – only for him to reoffend. Kiss guitarist Paul Stanley was excoriated earlier this year over comments on the “dangerous fad” of gender-affirming care for children. When Twisted Sister frontman Dee Snider retweeted those comments, he was similarly attacked and even had his invitation to march as a grand marshal with the San Francisco Gay Pride Parade retracted due to his alleged transphobia, despite insisting he supports the community. Ibanez and Paul Gilbert go way back. It is one of the most essential brand-artist collaborations in the world of electric guitar, and that world has just gotten a little bigger with the release of two more built-for-speed signature guitars, the PGM50 and PGM1000T. These might look familiar as Ibanez and Paul Gilbert revert to the sharpened offset S-style RG body shape with the painted-on f-holes, but there are some surprises in store. Let's start with the limited edition PGM1000T. It arrives in a buttery yellow Aged Cream Burst finish and, in a first for the series, it has a neck-through build. Gilbert’s PGM models, including this new PGM50 in Black, have all been bolt-ons. His FRM300 having a set-neck. The PGM1000T’s three-piece maple neck thus extends right through the body and is flanked by two ash wings. It is equipped with a pair of DiMarzio Air Classics – Gilbert’s favourite DiMarzio humbucker – that are selected via a three-way blade switch that alongside a single black volume pot is discretely positioned on that ornamental f-hole. You could even say the Air Classics, voiced perfectly for creamy high-gain rock tones, match the finish. Gilbert has gone for a 16.9” radius ebony fingerboard with abalone dot inlays, 22 jumbo frets with J Custom edge treatment to make it feel even more smooth. His signature neck profile is whip-thin, measuring just 18.5mm at the first fret and 20.5mm at the 12th. This really is a high-performance electric. Elsewhere, the PGM1000T has a 25.5” scale, a Duracon nut, black hardware, Gotoh tuners and a Gotoh GTC101 hard-tail bridge and gold pickup coverings. The PGM50, meanwhile, follows a more familiar recipe with a bolt-on five-piece maple and walnut neck, an American basswood body, a rosewood fingerboard with white dot inlays, 22 medium frets and Premium fret edge treatment. The neck is listed on the Ibanez site has measuring 20mm at the 1st fret, 22mm at the 12th, with a fingerboard radius of 15.7”. Again we have a pair of DiMarzio Air Classics at the neck and bridge, with a DiMarzio PGM single-coil in the middle position, and a five-way switch to make this one versatile shred platform.
Complementing the black finish nicely, the no-fuss F106 hard-tail bridge and Gotoh MG-T locking tuners are finished in gold. The PGM1000T ships in a hardshell guitar case, price TBC, while the PGM50 ships in a gig-bag and has a street price of $1,399. For more details, head over to Ibanez. And for a face-melting demonstration of what these guitars can do when played through a dimed Marshall guitar amp, check out Paul Gilbert demoing them in the video at the top of the page. In the realm of music, there are few figures as influential, innovative, and versatile as Nile Rodgers. A guitarist, composer, producer, and co-founder of the legendary disco band Chic, Nile Rodgers has left an indelible mark on the landscape of popular music. His prolific career spans decades and genres, leaving an enduring legacy that continues to inspire artists and captivate audiences around the world.
Born on September 19, 1952, in New York City, Nile Gregory Rodgers Jr. was exposed to music from an early age. Raised by his mother, who worked as a seamstress, Rodgers found solace in music during his formative years. His first foray into the world of music began with learning to play the guitar, which would become his lifelong passion and the cornerstone of his musical journey. Rodgers' breakthrough moment arrived in the mid-1970s when he co-founded Chic, a band that would soon become synonymous with the disco era. Chic's distinctive blend of funk, soul, and disco rhythms set them apart in an era marked by exuberant dance music. The band's debut single, "Dance, Dance, Dance (Yowsah, Yowsah, Yowsah)," released in 1977, was an instant hit and established Rodgers' prowess as a songwriter, guitarist, and producer. Chic's meteoric rise continued with their chart-topping hits like "Le Freak" and "Good Times." Nile Rodgers' guitar work, characterized by its rhythmic precision and infectious grooves, became a defining element of the band's sound. The crisp guitar riffs on tracks like "Le Freak" and "Everybody Dance" showcased his ability to craft instantly recognizable hooks that resonated with listeners. However, Nile Rodgers' impact extended beyond his work with Chic. He became an in-demand producer, collaborating with a diverse range of artists across genres. One of his most iconic collaborations was with David Bowie on the album "Let's Dance," released in 1983. The album's title track and "Modern Love" not only marked a departure from Bowie's previous sound but also highlighted Rodgers' ability to adapt his production style to suit different artists' visions. Rodgers' production work extended to other luminaries such as Madonna, Duran Duran, and Diana Ross, among others. His productions were marked by their polished sound, infectious grooves, and a knack for creating timeless hits. His work in the 1980s, often characterized by its fusion of pop, funk, and dance elements, left an indelible imprint on the music of the era. Nile Rodgers' influence is not confined to a particular time period. His ability to evolve with the changing musical landscape is a testament to his versatility and innovative spirit. In recent years, he has continued to collaborate with contemporary artists, infusing his signature style into their work. His collaboration with Daft Punk on the hit single "Get Lucky" reintroduced his music to a new generation, reminding the world of his enduring impact. Beyond his musical achievements, Nile Rodgers' journey has been one of resilience and triumph over adversity. He faced health challenges, including a battle with cancer, which he emerged from with renewed determination. His autobiography, "Le Freak: An Upside Down Story of Family, Disco, and Destiny," delves into his life's ups and downs, providing insights into the man behind the music. The writing and creation of the well known song "Get Lucky" involved collaboration between several talented musicians. Thomas Bangalter and Guy-Manuel de Homem-Christo, the members of Daft Punk, initiated the project with the intention of paying homage to the disco and funk music of the 1970s and 1980s. They wanted to capture the essence of those eras while infusing their signature electronic style. The duo began by creating the instrumental base of the track, which features Nile Rodgers' distinctive guitar playing. Nile Rodgers, a renowned musician, songwriter, and producer known for his work with the band Chic, contributed the iconic guitar riff that became a hallmark of "Get Lucky." His funky guitar work added a rich layer of groovy authenticity to the song. Pharrell Williams, a highly acclaimed singer, songwriter, and producer, was brought in to provide the vocals. Pharrell's smooth and soulful voice perfectly complemented the retro-inspired sound that Daft Punk was aiming for. The lyrics of the song center around themes of celebration, fun, and the joy of living in the moment, which further contributed to the song's infectious appeal. The collaborative effort resulted in a captivating and danceable track that blended electronic elements with live instrumentation. The production of "Get Lucky" emphasized a meticulous attention to detail, with Daft Punk's signature electronic manipulation combined with Nile Rodgers' guitar, Pharrell's vocals, and other subtle sonic layers. Upon its release, "Get Lucky" achieved widespread success, topping charts in multiple countries and becoming one of the best-selling digital singles of all time. The song's retro and infectious vibe resonated with listeners across different generations, making it a staple at parties and dance floors. Its popularity was further boosted by its inclusion in various media, commercials, and live performances. "Get Lucky" not only solidified Daft Punk's status as electronic music pioneers but also demonstrated their ability to seamlessly blend different musical genres to create a fresh and accessible sound. The song's success reaffirmed the timeless appeal of disco and funk influences, and its impact continues to be felt in the music landscape even years after its release. In conclusion, Nile Rodgers' life and work represent a multifaceted tapestry of creativity, innovation, and influence. From his formative years in Chic, through his groundbreaking collaborations, to his enduring relevance in contemporary music, he has left an indelible mark on the industry. Nile Rodgers' guitar prowess, production genius, and ability to craft timeless hits have cemented his place as a true musical luminary. As his music continues to resonate with new generations, his legacy remains an inspiration for aspiring artists and a testament to the transformative power of music. A 1980s Ibanez TS808 Tube Screamer that once belonged to Stevie Ray Vaughan has been sold for an undisclosed amount, just days after it was listed. The well-worn vintage overdrive pedal surfaced in a listing via Chicago Music Exchange last week (27 July). It is thought to have been one of several used by Vaughan and passed on to his guitar tech Cesar Diaz (who has certified its authenticity). In addition, the sale also includes a note from an unnamed previous owner, stating: “This TS-808 Ser # N/A was owned by SRV (Stevie Ray Vaughan). I purchased it as a pair along with TS-808 #111179 from Cesar Diaz. We were friends and I paid $5,000 for the pedal, I also paid $5,000 for the #111179 as well. These were used for recordings, gigs etc. “When Stevie passed it was a shock and Cesar had these in his house. This is exactly the shape, condition etc. that I bought it years ago. Has been in bank vault and is a sweet pedal. Enjoy!" The store hosted the sale at an unlisted price via its site and also demoed it in a YouTube clip – comparing it to a vintage Maxon OD-808 (the first Tube Screamer build, produced from 1979 before it was licensed to Ibanez) and a modern day TS808 reissue. In the clip, you can see Chicago Music Exchange’s vintage/used buyer Dan Lump discuss the item acknowledging that it was one of a few. As Lump puts it: “If he stepped on his pedals the same way he played guitar, I imagine he broke quite a few.” CME demo man Nathaniel Murphy then puts it through its paces and contrasts it with the vintage and modern equivalents with a 1960 Fender Stratocaster and 1966 Super Reverb amp for the full SRV flavor – extracting a very convincing take on ‘that’ tone, in the process.
Randy Meisner, a founding member of the Eagles who added high harmonies to such favorites as "Take It Easy" and "The Best of My Love" and stepped out front for the waltz-time ballad "Take It to the Limit," has died, the band said Thursday. Meisner died Wednesday night in Los Angeles of complications from chronic obstructive pulmonary disease, the Eagles said in a statement. He was 77.
The bassist had endured numerous afflictions in recent years and personal tragedy in 2016 when his wife, Lana Rae Meisner, accidentally shot herself and died. Meanwhile, Randy Meisner had been diagnosed with bipolar disorder and had severe issues with alcohol, according to court records and comments made during a 2015 hearing in which a judge ordered Meisner to receive constant medical care. Called "the sweetest man in the music business" by former bandmate Don Felder, the baby-faced Meisner joined Don Henley, Glenn Frey and Bernie Leadon in the early 1970s to form a quintessential Los Angeles band and one of the most popular acts in history. "Randy was an integral part of the Eagles and instrumental in the early success of the band," the Eagles' statement said. "His vocal range was astonishing, as is evident on his signature ballad, 'Take It to the Limit.'" Evolving from country rock to hard rock, the Eagles turned out a run of hit singles and albums over the next decade, starting with "Take It Easy" and continuing with "Desperado," "Hotel California" and "Life In the Fast Lane" among others. Although chastised by many critics as slick and superficial, the Eagles released two of the most popular albums of all time, "Hotel California" and "Their Greatest Hits (1971-1975)," which with sales at 38 million the Recording Industry Association of America ranked with Michael Jackson's "Thriller" as the No. 1 seller. Led by singer-songwriters Henley and Frey, the Eagles were initially branded as "mellow" and "easy listening." But by their third album, the 1974 release "On the Border," they had added a rock guitarist, Felder, and were turning away from country and bluegrass. Leadon, an old-fashioned bluegrass picker, was unhappy with the new sound and left after the 1975 album "One of These Nights." (He was replaced by another rock guitarist, Joe Walsh.) Meisner stayed on through the 1976 release of "Hotel California," the band's most acclaimed record, but was gone soon after. His departure, ironically, was touched off by the song he cowrote and was best known for, "Take It to the Limit." A shy Nebraskan torn between fame and family life, Meisner had been ill and homesick during the "Hotel California" tour (his first marriage was breaking up) and was reluctant to have the spotlight for "Take It to the Limit," a showcase for his nasally tenor. His objections during a Knoxville, Tennessee, concert in the summer of 1977 so angered Frey that the two argued backstage and Meisner left soon after. His replacement, Timothy B. Schmit, remained with the group over the following decades, along with Henley, Walsh and Frey, who died in 2016. As a solo artist, Meisner never approached the success of the Eagles, but did have hits with "Hearts On Fire" and "Deep Inside My Heart" and played on records by Walsh, James Taylor and Dan Fogelberg among others. Meanwhile, the Eagles ended a 14-year hiatus in 1994 and toured with Schmit even though Meisner had played on all but one of their earlier studio albums. He did join group members past and present in 1998 when they were inducted into the Rock and Roll Hall of Fame and performed "Take It Easy" and "Hotel California." For a decade, he was part of World Classic Rockers, a touring act that at various times included Donovan, Spencer Davis and Denny Laine. Meisner was married twice, the first time when he was still in his teens, and had three kids. The son of sharecroppers and grandson of a classical violinist, Meisner was playing in local bands as a teenager and by the end of the 1960s had moved to California and joined a country rock group, Poco, along with Richie Furay and Jimmy Messina. But he would remember being angered that Furay wouldn't let him listen to the studio mix of their first album and left the group before it came out: His successor was Timothy B. Schmit. Meisner backed Ricky Nelson, played on Taylor's "Sweet Baby James" album and befriended Henley and Frey when all were performing in Linda Ronstadt's band. With Ronstadt's blessing, they formed the Eagles, were signed up by David Geffen for his Asylum Records label and released their self-titled debut album in 1972. Frey and Henley sang lead most of the time, but Meisner was the key behind "Take It the Limit." It appeared on the "One of These Nights" album from 1975 and became a top 5 single, a weary, plaintive song later covered by Etta James and as a duet by Willie Nelson and Waylon Jennings. "The purpose of the whole Eagles thing to me was that combination and the chemistry that made all the harmonies just sound perfect," Meisner told the music web site www.lobstergottalent.com in 2015. "The funny thing is after we made those albums I never listened to them and it is only when someone comes over or I am at somebody's house and it gets played in the background that is when I'll tell myself, 'Damn, these records are good.'" Tony Bennett, the award-winning pop and jazz singer whose extensive career saw him collaborate with stars ranging from Frank Sinatra to Lady Gaga, has died at the age of 96, his publicist Sylvia Weiner announced on Friday.
Bennett passed away in his hometown of New York, Weiner told the Associated Press. She did not specify the cause of death, but Bennett had been diagnosed with Alzheimer’s disease in 2016. Often considered to be the last of America’s great crooners, Bennett released more than 70 albums and is regarded as the only performer to have had new material reach the US charts in every decade between the 1950s and the 2020s. In 2014, he became the oldest living artist to reach number one in the Billboard 200 album charts – breaking his own record in the process. His 1962 hit ‘(I Left My Heart) In San Francisco’ earned Bennett the first two of what would ultimately be 20 Grammy awards across his career, including a lifetime achievement accolade. He will also be remembered for a string of other hits, including ‘The Way You Look Tonight’ and ‘Body and Soul’ – both of which became 20th century pop standards. Frank Sinatra, who was Bennett’s childhood idol, described him in a 1965 interview with Life magazine as “the best singer in the business.” Sinatra added: “He excites me when I watch him. He moves me. He’s the singer who gets across what the composer has in mind, and probably a little more.” Bennett’s age throughout the latter part of his career was not a barrier to his creativity. He was in his late 80s when he recorded a duet album with American pop star Lady Gaga, and also collaborated with the likes of Aretha Franklin, Paul McCartney, Willie Nelson and U2’s frontman Bono. A 2011 duet with the late English singer Amy Winehouse was the final song she recorded before her death. The veteran singer, a lifelong Democrat, was also a strong supporter of the civil rights movement in the United States, and refused invitations to perform in South Africa during apartheid. He was drafted into the US Army in the final stages of World War II in November 1944, and in March 1945 fought on the front line as US forces moved through France and into Germany. Soon after his 90th birthday, Bennett told the New York Times: “I could have retired 16 years ago, but I just love what I’m doing.” He performed his final concert in New York’s Radio City Music Hall on August 5, 2021 alongside Lady Gaga – six years after his Alzheimer’s diagnosis. |
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