The Songwriters Hall of Fame [SHOF] announced this morning its nominees for induction at its Annual Induction & Awards Gala, to be held June 15, 2017, in New York.
The nominations are in two categories, non-performing songwriters and performing songwriters.
The non-performing songwriter nominees are Kenneth “Babyface” Edmonds, Randy Goodrum, the team of Jimmy Jam & Terry Lewis, Tony Macaulay, Max Martin, Kenny Nolan, the team of Dan Penn & Spooner Oldham, Paul Overstreet, the team of P.F. Sloan & Steve Barri, William “Mickey” Stevenson, Allee Willis and Maury Yeston.
The performing songwriter nominees are Bryan Adams, Shawn “Jay Z” Carter, the band Chicago’s Peter Cetera, Robert Lamm and James Pankow; Gloria Estefan, David Gates, Vince Gill, Cat Stevens (Yusuf Islam), Kool & The Gang’s Robert “Kool” Bell, Ronald Bell and George Brown; Jeff Lynne, Madonna, George Michael and Sylvester “Sly Stone” Stewart.
Voting SHOF members have until December 16 to vote for three nominees in the non-performing category and two in the performing category. Information on the nominees—and how to become a voting SHOF member—is available at the SHOF website.
The Songwriters Hall of Fame is dedicated to recognizing the work and lives of those composers and lyricists who create music around the world. It celebrates songwriters, educates the public with regard to their achievements, and produces a spectrum of professional programs devoted to the development of new songwriting talent through workshops, showcases and scholarships.
Now comes word of a North American Zombies tour next spring–to continue to England and Europe later in the year–to include the final full-album performances of Odessey and Oracle reuniting all four surviving members of the group: lead vocalist Colin Blunstone, keyboardist/vocalist Rod Argent, bassist/vocalist Chris White and drummer Hugh Grundy (original guitarist Paul Atkinson died in 2004).
Also next year—in March—comes publication of a lavish, LP-sized coffee-table book, featuring lyrics for the Odessey and Oracle songs and many of their other classics, all handwritten by the songwriters and accompanied by original artwork from Terry Quirk, creator of the famous Odessey and Oracle album cover, and Vivienne Boucherat, who has conceived individual illustrations for each of its songs. Text will additionally include Zombies’ anecdotes behind the songs and their recording.
Released in 1968–ironically after the group had disbanded—Odessey and Oracle yielded The Zombies’ landmark hit, “Time of the Season,” the following year. It’s been widely acknowledged since then as a pop album masterpiece, with “Time of the Season” being used in numerous films and TV shows.
Blunstone and Argent, who enjoyed successful solo careers following the original Zombies demise, reunited in 1998 and then revived The Zombies name in 2004. To celebrate the 40th anniversary of the release of Odessey and Oracle, the four surviving original Zombies performed three concerts at London’s Shepherd’s Bush Empire Theatre in March, 2008.
Last year White and Grundy again joined their former bandmates for select performances of the album in the U.S., in which The Zombies current lineup–bassist Jim Rodford, guitarist Tom Toomey and Steve Rodford (Jim’s son) on drums–also played. Those shows furthered the band’s remarkable resurgence as a major concert draw more than 50 years after they first hit big with “She’s Not There”—their 1964 single inducted into the Grammy Hall of Fame just last year.
As many reviewers have noted, The Zombies today have somehow never sounded better.
Singer-songwriter-producer Kashif died Sept. 25 at 59. He had only recently resumed performing after a long absence from the concert scene—and was working hard on a documentary series about the history of R&B.
But outside of his self-published 1996 book Everything You’d Better Know About the Record Industry, little had been heard from the multi-talented R&B artist, who was such a major force in the 1980s.
“He was turning everyone’s head around about the electronics of R&B,” says music researcher/historian and former Billboard columnist Brian Chin. “That was when his song ‘I’m in Love’ by Evelyn King was sold out in every record store, and I was hearing it several times in one afternoon–on every radio station I was monitoring.”
That was 1981, when Evelyn “Champagne” King’s recording of Kashif’s “I’m in Love” topped both soul and dance charts in Billboard—and reached No. 40 on its Hot 100. Also in the ‘80s, he recorded his own albums—as Chin notes, heavily employing electronics and synthesizers—while working with the likes of Melba Moore, George Benson, Meli’sa Morgan and Kenny G. He produced Whitney Houston’s first big hit “You Give Good Love” for her self-titled 1985 debut album and duetted with her on its “Thinking About You,” which he also co-wrote.
He scored, too, in the New Jack Swing era of the late ‘80s, with his own hit “Personality.”
“Kashif was so impeccably qualified top-to-bottom that his how-to book inevitably was titled Everything You’d Better Know About the Record Industry,” says Chin. “He remained accessible for three decades of hit-making, and that’s why I know I’m always going to feel his loss personally.”
Oscar Brand, one of folk music’s great luminaries, died Sept 30 at 96.
He was “a national treasure,” per folk music authority Stephanie P. Ledgin.
“Oscar Brand has left an enormous number of accomplishments in music, television and beyond that will entertain and educate for many years to come,” says Ledgin, author of Discovering Folk Music. “He was warm, funny, engaging, abundantly generous in his talents. It was truly an honor to have known and worked with him.”
Ledgin’s connection with Brand came during the latter part of a remarkable 70-year career dating back to the 1940s. His Oscar Brand’s Folksong Festival radio show, which aired every Saturday on New York’s WNYC-AM, extended into its 70th year after its launch in December, 1945. On it he introduced the likes of Bob Dylan, Joan Baez, Woody Guthrie, Arlo Guthrie, Lead Belly, Joni Mitchell, Peter, Paul & Mary, Judy Collins, the Kingston Trio, Pete Seeger and The Weavers, all the while refusing payment so as to avoid being censored.
A two-time Peabody Award winner, Brand was a most prolific musician himself, and after his Army service during World War II moved to Greenwich Village and wrote a book How to Play the Guitar Better Than Me. He eventually recorded hundreds of campaign songs, drinking songs, college songs, children’s songs, vaudeville songs, sports car songs, protest songs, military songs, outlaw songs and lascivious ditties, filling over 100 albums. Doris Day charted in 1952 with his “A Guy Is a Guy,” and his “Something to Sing About”—also known as “This Land of Ours”—became the unofficial national anthem of his native Canada.
Additionally, Brand hosted the Canadian TV show Let’s Sing Out (in which he featured such folk music pioneers as Malvina Reynolds, The Womenfolk and The Weavers, and introduced then unknown Canadian singers like Mitchell and Gordon Lightfoot) and collaborated on musicals including The Education of H*Y*M*A*N K*A*P*L*A*N.
Brand participated in the 1965 Selma-to-Montgomery civil rights marches, and was a board member in the ‘60s of the Children’s Television Workshop, for which he helped develop Sesame Street. He joined the Songwriters Hall of Fame (SHOF) board of directors in the early years of the organization and was responsible for creating the first SHOF Museum, then located at One Times Square in 1980.
On behalf of SHOF, president/CEO Linda Moran expressed gratitude for Brand’s “invaluable contributions,” adding, “he will always be remembered fondly by those of us who were fortunate enough to have known him.”
Moran further notes the many years that Brand served as the organization’s curator—and that he remained an active board member up until 2014.
“On a personal level, Oscar was a handsome, charming, witty, brilliant gentleman, and I will always fondly remember him for the support and guidance he gave me in my role as president of the SHOF,” says Moran.
It’s been 10 years at least since I and a number of Rock and Roll Hall of Fame nominating committee members were let go, ostensibly, the form email firing us said, to bring in younger ones more conversant in 1970s rock. Then a couple years ago there was a final bloodletting ridding the committee of virtually all nominators—many of whom had been on since the RockHall’s launch—who had any knowledge of the ‘50s and ‘60s, when rock ‘n’ roll really was rock ‘n’ roll.
Well, with today’s announcement of the 2017 Rock and Roll Hall of Fame nominees, the turnover is pretty much complete. First time nominees Pearl Jam and Tupac Shakur, both in their first year of eligibility, are most certainly shoo-ins, with the other 17 nominees also coming mainly from the ‘70s and after.
Looking at the nominees from my g-g-generation, I’m happy to see The Zombies back on the list—one of the few ‘60s artists who sound just as good today as they did 50 years ago, when they broke artistic ground in the British Invasion. The MC5 are back, too, and also deserve to go in—though neither are no-brainers for RockHall voters with fading memories or who are just too young to remember. Other pre-‘70s nominees are first-timers Steppenwolf and Joan Baez—both deserving but likely too far back in the past, and five-time nominee Joe Tex, who will likely have to wait at least for his sixth.
The two other ‘80s acts—Jane’s Addiction and Depeche Mode–are both first-timers, and thanks to short-term memories would seem to have a good shot at going in unless Pearl Jam and Tupac cancel them out. That leaves 10 nominees—all from the ‘70s–which it’s been determined that I know little about, no matter that I wrote the first book on The Ramones.
Starting with punk/new wave, then, first-time nominee Bad Brains are worthy, but probably too obscure for a more mainstream electorate, who might prefer The Cars, back with their second nomination. On the R&B tip, I just don’t feel it for Janet Jackson and Chaka Khan (both second-timers), though disco’s Chic, with their record-setting 11th nomination, just might turn the trick this time, if only to put them out of their misery—plus Nile Rodgers and his late Chic co-founder Bernard Edwards just went into the Songwriters Hall of Fame.
Chicago went in last year, which may bode well for the softer ‘70s rock of Yes, now on its third nomination, and first timers Journey and Electric Light Orchestra, with ELO getting the nod here on merit.
The final two nominees—Kraftwerk and J. Geils Band—are significant, for sure, but probably also limited in the glitz factor that is now such a major part of awards recognition, even by what should be such a credible organization as the Rock and Roll Hall of Fame. But credibility, as everyone knows, disappeared from the RockHall long ago.
Country Music Hall of Fame inductee and Grand Ole Opry star Jean Shepard, who died Sept. 25 at 82, stood well apart from other female country artists.
“Jean Shepard was a great singer and entertainer whose career spanned from the era of honky-tonk music to the present,” says acclaimed country singer-songwriter Laura Cantrell. “She was a pioneering female artist, one of the first to be honored with membership in the Grand Ole Opry in the mid-1950s, and as the widow of Hawkshaw Hawkins, she was a survivor of one of the most tragic losses in country music history.”
Shepard was married to country star Hawkins, who died in the 1963 plane crash that also claimed the lives of Patsy Cline and Cowboy Copas.
“You can hear the strength of her character in her voice, which was bold and hard-edged like the honky-tonks she started performing in as a teenager, but could also be surprisingly tender and sweet,” notes Cantrell. “It was that range as a singer that drove her recording career, kept her a favorite on the Opry stage for almost 60 years, and ensured her inclusion in the Country Music Hall of Fame just a few years ago.”
Shepard’s career took off in 1953, when she was 18 and sang the refrain of Ferlin Husky’s heartbroken recitation “A Dear John Letter.”
Her solo 1950s hits included “A Satisfied Mind,” “Beautiful Lies” and “I Want to Go Where No One Knows Me,” and her 1954 LP Songs of a Love Affair was country music’s first female “concept” album. Throughout her career she remained a country music purist, eschewing the more refined “countrypolitan” pop sound of the ‘70s.
Her last Top 10 hit came in 1973 with “Slippin’ Away,” which reached No. 4. It was one of many Bill Anderson songs recorded by Shepard, and fellow Country Music Hall of Fame/Grand Ole Opry member Anderson, posting on his website, surmised that he had known her longer than he had any other country artist.
He recalled their initial “infamous” radio interview backstage in Athens, Ga., in 1956, as well as the night in 2015 when he introduced her on the occasion of her 60th anniversary as an Opry member; within that span “there wasn’t a time when Jean wasn’t a part of my life,” he wrote—“a big part.”
Indeed, when Anderson started a syndicated TV show in 1965, Shepard was his first featured female vocalist.
“When she was looking for a song with which to begin a new recording career at United Artists Records, she chose one of mine called ‘Slippin’ Away,’” he said. “Later, when she was looking for an idea from which to build a ‘concept’ album around, she chose to honor me with a 12-song collection of nothing but songs I had written–songs that have never been sung any better than Jean Shepard sang them.”
Anderson recalled touring with Shepard “in the days when we worked the old package shows inside the new sports arenas that were springing up around the country back in the ‘60s. Before the shows, we all dressed in the hockey players’ or the basketball players’ locker rooms with absolutely no privacy [and] you knew it was getting close to show time when Jean Shepard’s voice would echo across the room, ‘Turn your heads, boys, I’m a-changin’ clothes. And if you don’t turn your heads, I’m changin’ ’em anyway!’”
Shepard, he concluded, “was talented, funny, opinionated, passionate, and genuine to the core. You might not always agree with her, but you always knew where she stood. She loved traditional country music, and didn’t have a lot of patience with those who didn’t. She was outspoken to a fault at times, and that might have delayed her induction into the Country Music Hall of Fame for a while. But her sheer talent was undeniable: She, along with Kitty Wells, pioneered country music for women–and there finally came a time in 2011 when the voters couldn’t deny her contributions any longer.”
Acclaimed composer-performer Joseph Martin Waters, whose “trans-classical” ensemble Swarmius serves up a singular multicultural, multi-genre musical mix-up, had a special understanding of the late electronic music pioneer Don Buchla.
“He invented brilliant and original electronic interfaces and synthesizers that explored new ways for electronic music performers to attain the subtlety and richness of expression possible with traditional instruments,” says Waters, himself an electronic music composer, and professor of music composition and computer music at San Diego State University.
“Think for a moment how difficult it is to play the violin,” continues Waters. “There are many jokes about the horrible noises emerging from beginning musicians torturing their instruments and their parents! But the slow mastery of the wild little beast transforms the violin over many years eventually into a powerful artistic weapon in the hands of a magician, one able to pull and twist emotions like salt water taffy.”
In addition to composing, Buchla, who died Sept. 14 at 79, manufactured and mastered his own instruments, including a random voltage-controlled modular synthesizer that he called Source of Uncertainty. His goal was to create new sounds out of his devices, these also including the Music Easel (he named a quintet of Music Easel players the Electric Weasel Ensemble), Multiple Arbitrary Function Generator, and the Buchla Box.
“People of the Amazon believed their instruments to be supernatural creatures,” notes Waters. “Those are the kinds of electronic music instruments Buchla aimed for. They were rare and hand-built, and prized by those who could get their hands on them. I was fortunate to have access to one called Thunder about 15 years ago for a few months: It was a midi interface essentially, but quite unique in that it required you to put your palms on the surface–which looked like something out of the hieroglyphics in an Egyptian pyramid, or maybe Mayan Stone carvings–and it reacted to the pressure points from various fingers and various points of the hand. It was very cool!”
Waters returns to New York with Swarmius this Friday for a show at the Cutting Room, opening for Frank Zappa alumni Ike Willis and Don Preston and their current undertaking Project/Object: The Music Of Frank Zappa featuring Willis and Preston. The Zappa-influenced Waters’ Swarmius, in a quintet configuration (conductor/programmer Waters, saxophonists Todd Rewoldt and Michael Couper, pianist Geoffrey Burleson and keyboardist/vocalist Toni James) likened by the founder to “a kind of extreme sports for music,” will perform new material from its forthcoming album Swarmius III—Trans-Classical–likely in the mold of previous Swarmius recordings combining syncopated Afro-American rhythms of rock, jazz, hip hop and salsa fused with classical and layered with complex polyrhythmic textures.
Nashville Songwriters Hall of Fame inductee John D. Loudermilk, whose compositions included such pop classics as “Tobacco Road” (a British Invasion hit in 1964 for the Nashville Teens), The Casinos’ “Then You Can Tell Me Goodbye” (1967), and Paul Revere & the Raiders’ “Indian Reservation” (1971), died Sept. 21 at 82.
“So, so sad to hear of the death of great songwriter John D. Loudermilk,” tweeted Rosanne Cash. “’Then you can tell me goodbye…’”
By email, she added: “He was just a teddy bear. The sweetest guy in the world. Hard to conceive that the guy who wrote ‘Tobacco Road’ was the same guy who wrote ‘Then You Can Tell Me Goodbye’, but he contained multitudes.”
Loudermilk, who also sang, also penned such classic pop and country hits as Stonewall Jackson’s “Waterloo” (1959), Johnny Tillotson’s “Talk Back Trembling Lips” (1963), Dick & Dee Dee’s “Thou Shalt Not Steal” (1964), George Hamilton IV’s “Abilene” (1963) and “A Rose and a Baby Ruth” (1956) and Sue Thompson’s “Norman” (1961), “Paper Tiger” (1964) and “Sad Movies (Make Me Cry)” (1961).
“John D. Loudermilk was deserving of wider public recognition,” says veteran performing rights executive Jim Steinblatt. “He was a craftsman with range: He created memorable ‘fluff’ like ‘A Rose and a Baby Ruth’ and ‘Norman’ and searing songs of social significance like ‘Tobacco Road’ and ‘Indian Reservation.’ While the average music lover never knew his name, performers knew he was a source of great material–Lou Rawls, Marianne Faithfull, the Flying Burrito Brothers and Linda Ronstadt, to name just a few. Loudermilk was a stalwart American tunesmith–a vanishing breed.”
“John D. Loudermilk had the songwriting market cornered,” says music historian John Alexander, singling out Johnny Cash’s version of Loudermilk’s “Bad News.”
“He could write a heartbreakingly beautiful ballad just as easily as he could a clever novelty gem. Johnny Cash’s rendition of Loudermilk’s ‘Bad News’ is certainly one of Cash’s most animated performances. He takes on the part of the ornery outlaw with a full-throated laugh and no apologies for all the horrible things he’s done.”
Loudermilk, adds Alexander, “could then turn around and write the visually stunning ‘Abilene’ for George Hamilton IV, and one of the Everly Brothers’ greatest songs of all, the haunting and tragic ‘Ebony Eyes.’ That song alone would rank Loudermilk among the finest of songwriters of his generation, not to mention dozens of other classic compositions that crossed all genres from pop to folk to country to the blues.”
Recording Academy president/CEO Neil Portnow cited in a statement Loudermilk’s “uncanny ability to create songs that crossed genres and to draw fans in with captivating stories.”
“’Tobacco Road,’ one of his best-known tunes, has been covered nearly 200 times and remains a testament to John’s ability to connect with audiences through authentic lyrics,” noted Portnow. “John came from humble beginnings. The first instrument he learned to play was a ukulele made from a cigar box, but it proved to be the start of a career that included a Grammy win and many hits. He is a reminder that talent can come from anywhere and music must be nurtured.”
If all anyone knows of zydeco is Buckwheat Zydeco, well, it’s both the perfect place to start and. Stanley “Buckwheat” Dural Jr., who died Sept. 24 at 68, exemplified the zydeco genre of South Louisiana, such that his very stage name embodied it.
“It’s been said many times–I’ve heard it said many times—but it’s true: For multitudes of people Buckwheat Zydeco was the introduction to zydeco music,” says popular radio and TV personality Todd Ortego, who programs zydeco—the propulsive mix of French Cajun music with Creole music and African-American Creole music traditions of R&B, blues, jazz, and gospel–along with Cajun and swamp pop music, on KBON-FM in Eunice, La. Indeed, Dural, who played organ in zydeco king Clifton Chenier’s Red Hot Louisiana Band before launching Buckwheat Zydeco in 1979, was the first zydeco artist to sign with a major label (Island Records, in 1987).
Buckwheat Zydeco also performed in the Summer Olympics closing ceremonies in Atlanta in 1996, won an Emmy in 2002 for the music in the TV movie Pistol Pete: The Life and Times of Pete Maravich, took the 2010 Best Zydeco or Cajun Music Album Grammy award for Lay Your Burden Down, and performed with the varied likes of Eric Clapton, U2, Robert Plant and the Boston Pops. Dural and the band also played both Bill Clinton presidential inaugurations.
“If zydeco music had a rock star, it was Buckwheat Zydeco,” says Herman Fuselier, music and eentertainment reporter for The Daily Advertiser in Lafayette. “Buckwheat wasn’t the first zydeco artist to tour nationally and internationally, but no one else comes close to the massive and consistent success he enjoyed.”
Dural’s music “was literally heard by millions for more than 30 years,” continues Fuselier, “a rare feat for not only zydeco and many roots musicians. When he played the closing ceremonies of the Olympics in Atlanta in 1996, the TV audience was three billion people. But he also had numerous appearances on David Letterman, toured and collaborated with Eric Clapton, Willie Nelson and other big names, won an Emmy and a Grammy, and the list goes on and on.”
In a statement, Recording Academy president/CEO Neil Portnow said: “Buckwheat Zydeco embodied a genre and represented a community with his signature playing style that brought distinctly Creole zydeco music to fans across the globe. Buckwheat played both for and with legends, performing at both Clinton inaugurations, touring with Eric Clapton, and collaborating with a seemingly endless list of artists over his 40-plus year career. He won an Emmy for his work in TV and a Grammy in the genre he helped define. The world lost a music heavyweight.”
Concludes Fuselier, “He showed how popular a zydeco musician could be and did it on his own terms. He was always adamant that fans, promoters and everyone else knew that he wasn’t playing Cajun music, but zydeco, the black Creole accordion music that he grew up with in Lafayette, La. He shared his roots with everyone and made millions of people happy along the way.”
Vocalist/guitarist Fred Hellerman, a founding member of The Weavers who died Sept. 1 at 89, was the last surviving original member of the historic quartet, which formed a vital link between the folk music revival of the 1950s–which emerged out of the labor movement–and the peace-oriented folk revival of the `60s.
“As a founding member of the Weavers, Fred Hellerman’s place in American folk and pop music is secure,” notes music historian John Alexander. “While the other original members–Ronnie Gilbert, Lee Hays, and of course Pete Seeger–are more well-known, Hellerman’s contributions cannot be minimized. It’s a magical blending of all four voices that made songs like ‘Goodnight, Irene,’ ‘On Top of Old Smokey,’ and ‘Kisses Sweeter Than Wine’ come alive and embed themselves in our memories.”
“And let’s not forget that Hellerman produced Arlo Guthrie’s classic Alice’s Restaurant, one of the most defining albums of the ’60s,” adds Alexander.
The Weavers also introduced songs like “If I Had a Hammer,” “Midnight Special,” “The Sloop John B,” “Tzena, Tzena, Tzena” “This Land is Your Land,” “Wimoweh,” “House of the Rising Sun” and “Michael Row the Boat Ashore” into American popular culture. They paved the way for generations of important musicians including the Kingston Trio, Peter, Paul & Mary, Joan Baez and Bob Dylan.
“The music of the Weavers, for which Fred Hellerman was best known, continues to resonate not just within the folk music community, but globally, pertinent to social issues that remain at our core every day,” says Stephanie P. Ledgin, author of Discovering Folk Music. “I was never fortunate to meet Hellerman, but was thrilled to attend the 1980 Carnegie Hall Reunion.”
During the Red Scare of the 1950s, Seeger and Hays were identified as Communist Party members, with Seeger judged guilty of contempt for refusing to testify—though his conviction was later overturned. But The Weavers were no longer allowed to perform on TV or radio, and were dropped by their label. Denied airplay and the ability to record, and with their concerts besieged by right-wing protesters, they were essentially forced to disband in 1952.
The Weavers did reunite for a sold-out concert at Carnegie Hall in 1952, and a recording of the show was released in 1957. The group continued to perform after Seeger, who had established a successful solo career, left in 1958; they split up for good in 1964, though the original foursome got together occasionally through 1980, when their last full performance was the Carnegie Hall concert attended by Ledgin.
“We are very saddened to learn of the passing of influential folk music vocalist, guitarist, and producer Fred Hellerman,” said Recording Academy president/CEO Neil Portnow in a statement. “A 2006 recipient of The Recording Academy Lifetime Achievement Award with the iconic group the Weavers, Fred and his bandmates were best-known for performing timeless versions of American folk standards such as ‘Goodnight, Irene,’ ‘If I Had A Hammer,’ and ‘On Top Of Old Smoky.’ Their musical talents, and commitment to social activism, were a strong influence on the folk music revival of the 1960s. We have lost a true innovator.”