On 4^th May 2012, the world lost one third of music’s greatest innovators when Adam Yauch’s life came to a premature end at the age of 47.

As one of the founding members of Brooklyn Trio the Beastie Boys, Yauch’s musical legacy has been highly prised over the decades.  To those mostly unfamiliar with the band, the Beasties’ will always be synonymous with their world-wide hit ‘Fight For Your Right (To Party)’, a track supposedly written for a joke to imitate various New York numbskulls.  For those willing to delve farther into the Beasties catalogue, it is clear (at least from their second album onward) that the Beasties’ records offer far more depth and sophistication than some might think.

Between the release of their 1989 album ‘Paul’s Boutique’ right through to 2011’s ‘Hot Sauce Committee’, there are elements of rock, hardcore punk and rap, often served up with a strong funk influence.  It was, perhaps on their funk experiments where the trio showed their strongest skill for musical chops as well as gift for sneering and rhyming.  On their third album, ‘Check Your Head’ the Beasties’ pot pouree of styles came of age and their fourth (the wondrous ‘Ill Communication’) provided a worldwide smash, complete with hit singles.  From then on, it seemed that everything the Beastie Boys released was beyond criticism, from both fans and critics.

In 2009, Adam Yauch was diagnosed with cancer of the parotid gland, for which he underwent treatment.  When the Beastie Boys were inducted into the Rock ‘n’ Roll Hall of Fame in early 2012, Adam Yauch was unable to attend due to ill health.

In his personal life, Yauch was a vegan and a practicing Buddhist.  He is survived by his wife and a daughter.

With Yauch’s passing, there comes the end of an era…and the end of a great band.

Looking beyond the some of the more obvious cuts, the career of Mr. Adam Yauch (aka MCA) is celebrated below, followed by a complete 95 minte live set.

“Yeah, that’s right…my name’s Yauch!” (‘The Sounds of Science’; Beastie Boys, 1989)

Way back in the late 80s, as an impressionable fifteen year old, I saw Martin Scorsese’s movie ‘The Last Waltz’ for the first time.  The film documented the star-studded final fling for The Band, showing them playing alongside a whole bunch of famous friends.  I have to be honest, initially I only recorded it since Eric Clapton was featured and I was a huge fan at that time.

I enjoyed the previously unseen Clapton footage, but as the years passed, I began to enjoy other aspects of the movie far more, opening my ears to the work of Neil Young, Joni Mitchell, Van Morrison and Bob Dylan – all of whom I knew before, but never really knew.  And then there was the wonderfully eccentric Dr John, Mac Rebennack, bringing New Orleans style to the stage as only he can.  Yes, this was a wonderful movie indeed.

Between the guest stars, that movie bought The Band into my teenage world.  For that, I’m eternally grateful.  In the late 1960’s, as their closest contemporaries were experimenting with mind bending sounds and substances, The Band were different: at a life-changing time, as other musicians pushed forward, The Band donned facial hair and great coats and made music that, too, harked back to the past: music with strong elements of folk, of country and of blues; music which often had strong story-telling elements at its core.

While The Band’s chief songwriter, Jaime ‘Robbie’ Robertson has often been praised for his gift as both song writer and arranger, in terms of stage presence and performance, The Band had a stronger figure.  Drummer Levon Helm just oozed charm.  He may not have written much material – contributing just three numbers to The Band’s 1970s catalogue – but his laid back drumming style, and equally laid back voice were absolutely essential to what made The Band’s sound so captivating.  Helm knew he didn’t need to be flashy to create magic behind the kit – his solid grooves and Southern vocals were just perfect.

While later incarnations of The Band during the 90s never quite captured the gloriousness of the original line up, Helm could always be relied upon for his unmatchable style to hold everything together, like a true professional.  His solo works in the late 2000’s and beyond have been critically acclaimed, with his 2009 release ‘Electric Dirt’ winning a Grammy Award for Best Americana Album in 2010.  Despite high praise, it will always be for The Band he’ll be best remembered.  Scorsese’s ‘The Last Waltz’ is a near perfect representation of the man’s charm, talent and his love of playing music. While he’ll never be replaced, let’s be thankful he left so many great recordings behind, and   thanks to having an old heart when they were first recorded, most of The Band’s recordings are truly timeless.   Just as I embraced the music Levon Helm helped make for the generation before mine, let us hope that future generations will also understand what made it – and continues to make it – so special.

Goodbye Levon.  Wherever you are, may Spike Jones be on the box.

On March 23rd, 2012 singer-songwriter Eric Lowen passed away following complications with ALS (aka Lou Gehrig’s Disease or motor neurone disease), a condition with which he had lived since 2004.

While Eric’s work as one half of acoustic pop duo Lowen & Navarro (also featuring Dan Navarro, cousin of Jane’s Addiction guitarist Dave Navarro) may not be so familiar to those outside the US, the duo’s work from the 90s and beyond truly raised the bar with regards to singer-songwriter pop.

Best known for writing ‘We Belong’ (a hit for Pat Benetar), ‘I’ll Set You Free’ (a worldwide hit for The Bangles) and ‘Hammerhead Shark’ (covered by David Lee Roth in 1991), the duo wrote dozens of fantastic songs.

The duo released eight studio albums between (including a yuletide release in 2004 and a covers record in 2006) and a handful of live albums between 1990 and 2008, with their second release, 1993’s ‘Broken Moon’ being one of the most consistent; a near perfect album, which showcases the duo’s effortless skills as both musicians and song writers.

After Eric Lowen became too ill to perform, Dan Navarro continued to perform as a solo artist, while Lowen himself oversaw archive releases from the band’s catalogue.

For those unfamiliar with Eric Lowen’s gift as a songwriter, checking out ‘Broken Moon’ or L&N’s underrated follow up, ‘Pendulum’ is strongly advised. If you already own either of these albums, try and remember Eric by giving them a listen if you’ve not recently done so.

You can find out more about Amyotrophic Lateral Sclerosis by visiting the ALS Association’s official website.

A few highlights from Eric Lowen’s career can be seen below.

On March 3rd 2012, guitarist Ronnie Montrose passed away.

For many classic rock fans,  he is a man who needs no introduction. A hard working guitarist, Montrose was responsible for a handful of genuine rock classics in his own right as well as having appeared on various other well known sessions.

His eponymously named band propelled the now legendary vocalist Sammy Hagar into the spotlight, with their 1973 debut release hosting a couple of well-worn and often covered tracks: ‘Bad Motor Scooter’ and ‘Space Station #5’. The album inspired a generation of musicians, not least of all Edward Van Halen, who cited Montrose as a key influence and eventually hired Hagar for his own band just over a decade later.

Most rock guitarists would consider it a great achievement to have such a great album within their back catalogue, but Montrose’s legacy runs far deeper. Not only did he put his stamp on a few other greatly enjoyable Montrose records during the 1970s, but his follow up band – the often overlooked Gamma – recorded material which has worn the test of time incredibly well. Just check out 1980’s ‘Gamma 2’ (more specifically, the wondrous ‘Voyager’) for instant proof. [At the beginning of 2012, UK vocalist Lee Small played tribute to Montrose on his ‘Jamaica Inn‘ album with a great cover of this tune.]

In addition, Montrose can also be heard on Van Morrison’s ‘Saint Dominic’s Preview’, where his guitar lines are absolutely pivotal to the wandering slow-burner ‘Listen To The Lion’ and parts of Edgar Winter’s 1973 outing ‘They Only Come Out at Night’, both albums which have achieved a cult classic status.

Ronnie revived the Montrose moniker in the 80s and Gamma in the 00s, but also released a string of solo releases throughout the 1990s. He also never forgot those whose who had strong connections with his earlier work, appearing as a session man for both Sammy Hagar and Edgar Winter in the 1990s. For the last decade of his life, his output became more sporadic, but he lent his style and guitar chops to a few sessions, appearing on a couple of “all star tribute albums. The last few years were hardly a fitting epitaph for such an influential figure, but after his Montrose and Gamma works, Ronnie Montrose was a man who had nothing to prove.

Look back at a couple of Ronnie Montrose’s 1970 career highlights below.

READ UPDATE HERE.