• Downtown at Arnold's tonight (Friday), catch influential cult hero Paleface, a man who has been on the cutting edge of contemporary music's continual fascination with traditional Folk music and an influence on some of the more adventurous musicians who seek to translate that vintage spirit into their own voice. Over the past 20-plus years, the singer/songwriter has been an Anti Folk torchbearer and an Indie Folk mentor, first learning songwriting and lo-fi recordings from underground legend Daniel Johnston in the late ’80s. From there he went on to teach a few tricks to roommate Beck (pre-fame), help the so-called "Freak Folk" scene grow freakier and folkier and collaborate frequently with pals The Avett Brothers. Whether directly or indirectly, if you dig today's "Indie Folk" — or any brand of slanted or subversive Americana — you've likely heard the results of Paleface's unique influence. Click here to read more.
Paleface's show tonight at Arnold's is free and — icing on the cake — great local Folk Pop group Shiny and the Spoon opens the show at 9 p.m. The gig will also be the first one for which Arnold's has commissioned a special concert poster. Crafted by talented local artist Keith Neltner (who has done commissioned poster art for Alice in Chains, Modest Mouse, Hank Williams III, The Avett Brothers, Cake, Black Rebel Motorcycle Club and many others), the prints (pictured above) are available for $25 while they last (only 50 were pressed).
Here's Paleface's video for his ode to NYC, fittingly titled "New York, New York."
UPDATE: Arnold's just announced this afternoon that Paleface has cancelled due to illness. A rescheduled date is in the works. Shiny and the Spoon is still performing.
• After the best summer series yet, the final MidPoint Indie Summer concert on Fountain Square goes down tonight at 7 p.m. And the every-Friday series is going out with a bang, featuring a flawless triple bill of local acts. Things get started with superb modern Soul translators The Guitars, who will be followed by the duo R. Ring, featuring Dayton, Ky.'s Mike Montgomery (longtime local engineer ad musician, currently with Ampline) and Dayton, Ohio's Kelley Deal (The Breeders). R. Ring spoke with CityBeat's Brian Baker about the project in this week's paper. Read it online here.
Headlining tonight's Fountain Square concert is Wussy, the now-veteran four-piece that is gearing up for some huge happenings on the horizon, including tour dates with The Afghan Whigs and Heartless Bastards and a trip to the U.K. by co-frontpeople/singer/guitarists Lisa Walker and Chuck Cleaver (playing as a duo) for several shows in support of the band's first U.K. release, Buckeye, a retrospective that came out to glowing reviews this summer. Read more about Wussy's many goings on here.
Here's the skate video by Kristian Svitak that R. Ring helped re-soundtrack. After DEVO's record label removed the video because it used the group's song "Mr. DNA," Svitak got together to record a new version with Deal and Montgomery. The song in the re-edited video was so popular, R. Ring released it as a limited edition single and local label Phratry Records released it digitally. (Click here to get your own copy.)
• Popular local Gypsy Jazz favorites and Django Reinhardt devotees The Faux Frenchmen celebrate the group's 10th anniversary tonight with a show at downtown's Blue Wisp Jazz Club. A decade ago this fall, the band (which features esteemed local musicians George Cunningham, Brian Lovely, Paul Patterson and Don Aren) made its debut, starting an every-Monday residency at former Clifton restaurant Tink's. Over the years, the band has only gotten more popular, drawing attention from outside of Cincinnati and performing numerous road dates (this fall they return for their sixth appearance at the annual Jazz at Chautauqua Festival in New York).
The band's anniversary show begins at 8:30 p.m. and admission is $10. Here's a clip from the Frenchmen performing on another anniversary — Reinhardt's birthday (taken from one of their annual appearances on WNKU in honor of Django).
• The performers for the weekly "Friday Flow" concerts at Washington Park are always a bit of a surprise because the lineups have been announced within only a week or two of the performances. It's also a surprise because the featured act is usually something pleasantly unexpected. Dayton Funk greats Lakeside ("Fantastic Voyage") popped up one week and Neo Soul star Dwele launched the series this summer.
Tonight's free Friday Flow concert is another cool, unanticipated treat. Just announced earlier this week, the show will feature R&B singer Chrisette Michele, a Hip Hop hook-singer extraordinaire (with Jay-Z, Nas, The Game and others) who has also had a successful career on her own, releasing a handful of acclaimed, charting albums for Def Jam.
The other headliner is Rob Base, a Hip Hop artist most know from his 1988 hit with DJ E-Z Rock, "It Takes Two."
Because of the volleyball tournament in Washington Park tonight, gates for the concert won't open until 7:30 p.m. Another change from the usual Friday Flow flow (also due to volleyball) — no food, drinks or coolers will be permitted (this weekend only). Extra food vendors will be on hand to feed the masses.
Click here for even more live music events going on tonight in Greater Cincy.
• Bluegrass ensemble Hayseed Dixie began racking up fans upon its formation at the dawn of the 21st century thanks to its energized and entertaining live show and the contents of the band’s initial setlists and albums. Though all talented and experienced players, it was Hayseed Dixie’s novelty that initial drove attention its way. The group’s debut was a Bluegrass tribute to AC/DC, while subsequent albums have featured a wonderfully ridiculous array of the group’s Appalachian-spun Rock covers (they grass up everything from OutKast and Green Day to Neil Young and Motorhead). After wide exposure through musical- and comedy-world exposure, the Hayseeds began to introduce more and more original material (2008’s No Covers should be self-explanatory).
Hayseed’s members have individually gotten more busy with various interesting side projects while the main band takes a hiatus. As frontman John Wheeler works towards his more serious-minded debut solo album (scheduled for release early in this new year), banjoist Don Wayne Reno carries the Hayseed torch with his band Granny 4 Barrel, self-described as “Country music’s first and only shock Country Rock & Roll band.” If you thought Hayseed Dixie was outlandish, G4B takes it to the next level with their ridiculous outfits and a sound that retains Hayseed’s Rawkgrass attitude and turns the Rawk elements up to 11.
Granny 4 Barrel performs tonight at the Southgate House Revival as part of the opening for area visual artist Derek Toebbe’s “Urban Revival Art Show.” The event (which also includes DJ sets by the Devout Wax crew) is free and starts at 7 p.m.
Here's a sampling for G4B's crazy sound and stage show.
• Wildly entertaining (and wildly eclectic) ensemble The Duke of Uke & His Novelty Orchestra bring its self described "lyrical ukulele jazz-funk-motown popssical" sound back to Cincinnati tonight for a a free show tonight at MOTR Pub in Over-the-Rhine. Drawing comparisons to artists as diverse as Tom Waits, Squirrel Nut Zippers, Amy Winehouse, the B-52s, and Captain Beefheart, the Urbana, Ill.-based septet has been winning fans all over the region with their energized, swinging live shows, which blend smart lyrics, four-part harmonies and diverse instrumentation (ukulele, violin, tuba, saxophones, Latin percussion). Read more about The Duke and Co. in Reyan Ali's preview in this week's CityBeat here.
Here's The Duke of Uke & His Novelty Orchestra's official music video for "Jump Back," a track from their 2012 album April's Empire.
• There were moments over the past few years where it seemed like bassist Nick Oliveri was on the brink of imploding, stuck in that weird, almost dreamlike universe (inhabited by the likes of Courtney Love and Katt Williams) where an entertainer’s fans ultimately just accept that there’s a good chance the performer might die any day. Oliveri’s ornery streak has been consistent but it started out manageable — just some usual Rock & Roll debauchery. Then, in 2004, Oliveri was kicked out of Queens of the Stone Age after Queens frontman Josh Homme suspected he had been physically abusive to a girlfriend.
Luckily for Oliveri, he had a few side-projects to fall back on, touring with his group Mondo Generator (who comes to Newport’s Thompson House Saturday night), as a solo acoustic act and with veteran Punk sensations Dwarves. But it wasn't enough to keep him out of trouble (click here to read more about Oliveri's various ups-and-downs over the past year).
But Oliveri seems to have rebounded, even reportedly making amends with his old bandmate Homme. Mondo Generator has been perhaps the most consistent part of Oliveri’s life since 1997. Blending the Hard Rock of his previous projects with more Punk Rock chaos, Mondo has built a strong cult following for itself. But, with the way things are going as Oliveri continues to rebound, it’s anyone’s guess if Mondo will go back to “side project” status at some point.
Mondo Generator performs Saturday at the Thompson House with Saviours, Wino, Bearer of Bad News and Mangrenade. Showtime is 7 p.m. and tickets are $18.
Here's Mondo Generator performing "Four Corners" live.
“Has anyone seen Kanye lately? I haven’t heard him piss off the world in like a week so I’m starting to worry.” – Tweeted by me on May 16 at 3:59 p.m.
Not 30 minutes later, at 4:28 p.m., this tweet from Rap-Up.com popped onto my Twitter feed, “‘I ain’t kissing nobody’s motherfuckin’ babies. I drop your baby and you sue me’ – Kanye West”
Like many other Kanye West fans, this is what I’ve had to deal with for the last 10 or so years of his solo career. Whether this soon-to-be father is ranting about not being a celebrity and holding random people’s children, drunkenly yelling at pretty white girls at award shows, freaking out Mike Myers on live television or impregnating the bumper sticker on the Bentley of pop-culture, Kim Kardashian, it’s been hard for Yeezy fans to deal with how “cray” Kanye has been since he was thrust into the public eye.
But with his near-brilliant performances of “Black Skinhead” and “New Slaves” on SNL recently (songs from his forthcoming album, Yeezus, due this coming Tuesday), all of Kanye's followers were reminded that Kanye is a lot like your drunken uncle at Christmas.
Sure, it was embarrassing when he threw up on your sister’s gifts halfway through his tirade about “Obama phones” and how the commie teachers at the university you recently graduated from are ruining America’s youth. But after a long clean up session and your mom stops crying, you open up the card that he gave you before his seventh Scotch and the contents inside contain a joint, $300 and a note stating, “Don’t spend it on drugs,” then you’re immediately reminded of why you loved him in the first place.
So no matter what outlandish behavior Kanye comes up with next, I think we all need to be reminded that the “cray” that has inspired Kanye’s less attractive moments is the same “cray” that has been the driving force in creating some of the most genius and interesting songs in Hip Hop of the last decade.
14. “Drive Slow (feat. GLC & Paul Wall)”; Late Registration – As the laidback beat puts the listener in a trance, Kanye paints a vivid picture of a summer spent driving around with his friend/mentor Mali; blasting his demo tape, looking for girls and desperately trying to grow up too quickly. Even though Kanye displays his great storytelling ability on this song, the real accomplishment here is that West found a way to make Paul Wall’s feature not sound ridiculously out of place, which is a feat in and of itself.
13. “Say You Will”; 808’s & Heartbreak – 2008 was a weird year for Kanye. Hell, 2008 was a weird year for all of us. But his unabashed openness (as you’ll see with the rest of this list) about his lady troubles is what makes this a song stick out. The only downside of this track? It gave Drake the green light to be all open and overly emotional on all his records, so thanks a lot, Kanye!
12. “Drunk and Hot Girls”; Graduation – A lot of people don’t care for this song, which is understandable because it’s not one of Ye’s deeper cuts. What this song does do, however, is give a perfectly, comical description of how one-night stands go. Plus, the song ends in him getting this girl pregnant, which brings to mind that slap-in-the-face reality check that every man and woman has the morning after a random sexual encounter (“Oh my god, not only did I overdraw my account at White Castles last night but is this the person that’s going to ruin my life for the next 18 years and nine months?!?”).
11. “Bittersweet”; Graduation – This is the first time Kanye blatantly admits he is in the wrong on a track. Sure, the first half of the cut makes him seem like a total asshole (wanting to drunkenly “shake the shit out of” his girl), but it makes his soul-spilling at the end all the sweeter.
10. “Addiction”; Late Registration – What’s your addiction? Is it money, girls, weed? Kanye has been afflicted by not one, but all three. But hey, that’s what makes this cut great. There is no catharsis or happy ending about how he found his will power and conquered his many ailments. But instead, we get a track about how, no matter what happens, no matter how hard he tries, his will power will always lose to the bad parts of his life, because they are just too damn good to resist – which is something everyone can relate to.
9. “Everything I Am”; Graduation – He’ll never be picture perfect like Beyonce (no one will, ever) or rock some mink boots in the summer time like Will.I.Am (no one should, not even Will.I.Am), but what Kanye can do is spit some harsh truths about public criticism and Chicago violence over a soothing beat. So please, keep talking shit about him at barber shops if this is going to be the outcome.
8. “Can’t Tell Me Nothing”; Graduation – Kanye addresses a few of his crazy outbursts on the first verse of this track (including the whole “President Bush doesn’t care about black people, right Mike Myers?” incident) and handles it with a precision and poise. He admits that the scrutiny and pressure of fame has changed his behavior, but he doesn’t know how to be himself (slightly crazy) without being criticized by the media. Can any of us understand that feeling? No. Does it sound like a bullshit excuse? Yeah. But hey, at least he knows he has a behavioral problem. Admitting it is the first step.
7. “Spaceship (feat. GLC & Consequence)”; The College Dropout – Anyone who has had a shitty job (service industry, retail) would be lying if they hadn’t felt violent urges towards overzealous mangers who take their jobs too seriously. Lucky for us, we can live vicariously through Kanye on this joint instead of becoming the next viral sensation on worldstarhiphop.com.
6. “Jesus Walks”; The College Dropout – This song came out right when I got confirmed, which, as any of you were raised Catholic will know, is also the same time you stop going to church. It made me feel good to listen to Kanye, like his brand of socially conscious, Christ-loving jams were the sole key to my salvation and the only thing that could outweigh my deeply engrained Catholic guilt. Plus, who else could make a club banger about Jesus? Nobody but Yeezus.
5. “All Falls Down”; The College Dropout – Does anyone else remember when Kanye was the self-conscious outsider of the Rap game? You probably don’t, hell, I don’t even know if Kanye remembers. You’d think Kanye’s egotisical façade he has concocted in place of his old persona would force him to listen to his own music more. But, alas, I fear that this Kanye is dead and gone, much like the career of that cute girl from Clueless that was in the music video.
4. “Roses”; Late Registration – “You know the best medicine go to people that’s paid/If Magic Johnson got a cure for A.I.D.S./And all the broke muthafuckers past away/You tellin’ me if my grandma was in the N.B.A./Right now she'd be ok?/But since she was just a secretary/Working for the church/For thirty five years/Things s’posed to stop right here?”
Kanye makes you feel the pain, anger and confusion of his family as they sit at the bedside of his dying grandmother on this track. I cry literally every time I hear this song come on, but I’m emotionally unstable. Then again, I’m pretty sure if you don’t at least slightly tear up; you don’t know what love is or your mom didn’t hug you enough as a child.
3. “Blame Game (feat. John Legend & Chris Rock); My Beautiful Dark Twisted Fantasy – This track is almost “Bittersweet” in reverse because it’s West whose emotions are constantly toyed with by his love interest as she lies about seeing another man. Although this song is mostly serious (especially heavy during the beautiful done Chloe Mitchell poem) it ends hilariously as Chris Rock is revealed as the “mister” (male version of mistress?), reaping the benefits her apparent education at “Kanye West School of How to Wear Some Fucking Jimmy Chu’s”
2. “Through The Wire”; The College Dropout – If you ever question Kanye’s dedication to the craft, go back and listen his first single, “Through the Wire”. Done only two weeks after a car crash that almost took his life, Kanye hit the studio and rapped with his jaw wired-shut. Nowadays, Nicki Minaj can’t even show up to her set at Summer Jam 2012 because radio personality, Peter Rosenberg, dissed her Katy Perry rip-off, “Starships.” So next time you want to diss Kanye, just remember, despite his flaws, he’s one of the only popular artist’s keeping the spirit of hip-hop alive.
1.“Runaway (feat. Pusha T)”; My Beautiful Dark Twisted Fantasy – He pleads without being pathetic. He’s unflinchingly honest without being cliché. But most of all, he’s artistically progressive without losing his knack for pop sensibility. The beat is one of the most simplistic of his career, but never once feels repetitive or overdone by the end of this 7-minute-and-49-second journey. From top to bottom this has to be considered Kanye’s masterpiece, but who knows, he’s outdone himself before.
Other Notables: “Heard ‘Em Say”, “The Glory”, “We Don’t Care”
The air seems sweeter here in the front of the website, the sun a little brighter and the deadlines a little more immediate, but as Uncle Ben once reminded Peter Parker, with great power comes great responsibility. So here we are in relatively short order with a batch of new reviews and a few more older titles in my continuing quest to revisit the deserving releases from the not-so-waning months of 2011. We’re getting there, slowly but surely. Read them while they’re hot; there’s more where they came from.
On this day in 2002, rapper for the Pop group TLC, Lisa "Left Eye" Lopes died in a traffic accident in the Honduras. The star was allegedly trying to pass a truck, but another vehicle was coming the opposite way when she made her move. To avoid it, Lopes swerved off the road. The Mitsubishi Montero Sport Lopes was driving flipped, hit a couple of trees and threw all four passengers out of the vehicle. Lopes died from head and neck injuries; the other passengers survived.
Left Eye was just a month away from her 31st birthday.
Lopes' casket was engraved with lyrics from the TLC hit "Waterfalls" ("Dreams are hopeless aspirations, in hopes of coming true, believe in yourself, the rest is up to me and you"). Lopes gave an interview to MTV News about her first solo album, 2001's Supernova, in which she described her song/poem "A New Star Is Born," which was dedicated to her late father. In the interview, she said, "That track is dedicated to all those that have loved ones that have passed away. It's saying that there is no such thing as death. We can call it transforming for a lack of better words, but as scientists would say, 'Every atom that was once a star is now in you.' It's in your body. So in the song I pretty much go along with that idea. I don't care what happens or what people think about death, it doesn't matter. We all share the same space."
There are a lot of Left Eye remembrances going on in cyberspace today since its the tenth anniversary of her death. Check out word on a new track — and some remembrances from her former TLC pals — featuring Lopes and Bootleg of the Dayton Family here.
Here's a video tribute to Lopes put together by a fan and set to "A New Star," followed by an earlier different kind of tribute to TLC by Cincinnati's own Afghan Whigs (who just announced their first non-festival reunion date in the U.S., scheduled for October in New York City).
Born This Day: Musical movers and shakers sharing an April 25 birthday include: Jazz/R&B saxophonist Earl Bostic (1913); legendary Jazz vocalist Ella Fitzgerald (1917); influential Blues guitarist Albert King (1923); wildly successful songwriter and producer (with writing partner Mike Stoller) Jerry Leiber (1933); bassist for Classic Rock band CCR, Stu Cook (1945); singer for Prog band Marillion, Derek William Dick, much better known as Fish (1958); singer for Synth Pop legends Erasure, Andy Bell (1964); original Jane's Addiction bassist Eric Avery (1965); and the "Father of Hillbilly Jazz," fiddler Vassar Clements (1928).
Clements' improv approach to Bluegrass was a revelation. Putting a Jazz twist on Roots music makes him a spiritual godfather of the whole "Newgrass" movement.
Clements grew up in Florida and taught himself to play violin at the age of 7. When he was 21, he joined Bill Monroe's Blue Grass Boys, recording with them in the early ’50s. Word of Clements' prowess and innovative style traveled and he became an in-demand session player. In 1971, Clements joined John Hartford for the groundbreaking Aereo-plain album, widely considered one of the first "Newgrass" records. Hartford and Clements were joined by Norman Blake, Randy Scruggs and Tut Taylor for the album, which was produced by David Bromberg.
During his 50-year career, Clements would go on to become a crucial part of the progressive Bluegrass movement of the ’70s, including appearances on a couple of other trailblazers — the Nitty Gritty Dirt Band's Will the Circle Be Unbroken and Old and in the Way, featuring Jerry Garcia, David Grisam, Peter Rowan and John Kahn. By the time he passed in 2005 at the age of 77 (from lung cancer), Clements had played with everyone from Paul McCartney, The Monkees and The Grateful Dead to Stephane Grappeli and Woody Herman.
Here's Clements performing with the Del McCoury Band in 2003.
Today is the 15th anniversary of the murder of celebrated rapper Christopher Wallace, aka the Notorious B.I.G. (aka Biggie Smalls, aka Big Poppa, etc., etc.). Since his death, Wallace's status has risen considerably and he's widely considered one of the best MCs to ever hold a mic, for both his smooth, laid-back flow and lyrical prowess.
Caught in the middle of the East Coast/West Coast feuding of the time, Wallace (a NYC native) was killed while in California promoting his soon to be released sophomore album, eerily titled (in hindsight, as was his debut's title, Ready to Die) Life After Death. On March 9, Smalls attended the Soul Train awards show in L.A., where he presented Toni Braxton with one of two awards she would win that night (and was booed by the West-leaning coastal feuders in the audience). Wallace left an afterparty at 12:30 a.m. later that night and, about 50 yards from the party entrance, a black Chevy Impala reportedly pulled up next to the vehicle the MC was in and someone in the Impala shot Wallace four times in the chest. He was rushed to the hospital and pronounced dead March 9 at 1:15 a.m.
Despite various theories, confessions and extensive investigations, the case, like that of West Coast star rapper Tupac Shakur (killed about six months prior in similar fashion), remains unsolved.
Life After Death came out 15 days after Wallace's murder. It went to No. 1 on Billboard's album chart instantly. Two more posthumous B.I.G. records were cobbled together — 1999's Born Again, featuring tracks culled from unfinished ones on which Wallace had been working, and the similar Duets: The Final Chapter from 2005, which was widely criticized due to the posthumous pairings with artists many felt Wallace would never have worked with in his lifetime. The album's guests included Eminem, Twista, The Game, Nas, Nelly, Scarface, Missy Elliott, R. Kelly, Bob Marley (?!), Korn (?!?!) and West Coast MCs Snoop Dogg and 2Pac. Amazingly, unlike the posthumously prolific 2Pac, the album really was "The Final Chapter"; the only other Biggie releases to come out after that were a 2007 greatest hits collection and the 2009 soundtrack to the film Notorious, based on Wallace's life and death.
Time magazine's website posted a music video playlist tribute today here. And below is "Living In Pain" from the Duets release, which featured Big and Pac, plus still-alive performers Nas and singer Mary J. Blige:
Click on for Born This Day, featuring Bow Wow, John Cale and Ornette Coleman.
The music he made with groups like The Light Wires, The Great Depression and The Brothers and the Sisters helped make singer/songwriter Jeremy Pinnell one of many local music fans' favorite songwriters. Pinnell's folksy songs were marked by his ability to convey — with an almost uncomfortable accuracy — the kind of dark, ominous emotions most people try to bury. His words, his melodies and especially his muttering yet soulful voice had that rare ability to effortlessly do what most writer's strive for their whole career — to make a deep connection with the listener that goes beyond a hummable hook or slick guitar solo and buries itself deep inside their conscience.
Having practically every person who heard his songs immediately captivated wasn't enough to keep those projects together. Pinnell seemed to ride the waves of success each act experienced (on varying levels), then the band would break up before the project's full potential was reached.
After another dry spell, Pinnell returns to the local stage tonight at MOTR Pub in Over-the-Rhine for the live debut of his latest project, Jeremy Pinnell and the 55's. Once again, Pinnell has hooked up with some gifted collaborators to create more soul-stirring songs to shatter what's left of your fragile, blackened heart.
The 55's reteams Pinnell with one of his earliest musical partners, Cameron Cochran (currently with Pop Empire). When they were 18, Cochran and Pinnell were pals playing Country songs together at their buddies' Punk Rock shows. Cochran says "The Voice" was already in place.
"He had that voice that would shut up a room," Cochran writes in a press release. "It didn't matter what the show was. He would open his mouth and everyone listened."
The two went their separate ways eventually, but recently reconnected. Cochran is vague about the circumstances of their last project ending and this one beginning, saying only that it is a tale of "heartbreak, tragedy, love and redemption" worthy of a Country song. Indeed, the 55's sound is somewhere between AltCountry and Indie Folk, with the timelessness of those genres' precursors driving everything. The band is rounded out by drummer Chris Alley and bassist Ben Franks; Cochran adds spectral atmospherics with his pedal steel guitar work and hovering backing vocals.
Some of the 55's material has come out via a handful of wonderful live videos shot by local photography superstar Michael Wilson. Below, check out one of the clips by Wilson, who is also working with Cochran on a series filming at The Emery Theater called "One Shot Music Videos" (referring to how Wilson shoots each in one continuous shot without edits).
Tonight's show at MOTR is free and starts around 9:30 p.m. Visit JP & the 55's on Facebook here.
This date in music history is a sad one, marking the "gone too soon" deaths of several young musicians with a lot ahead of them.
• Guitarist Paul Kossoff was the cofounder of British Rock band Free with singer Paul Rodgers and bassist Andy Fraser. The band's 1970 Fire and Water album spawned the band's best-known song, "All Right Now," but the band split by the end of that year. They reformed in 1972 and put out two more albums before calling it quits for good. Kossoff did solo work, played with many other artists and formed a band called Back Street Crawler. The guitarist was in poor health in the years after Free, reportedly due to drug problems and frustration over the demise of his most successful musical project. Kossoff died on a flight from L.A. to New York in 1976 from heart problems. His father spent the rest of his life campaigning against the perils of drug abuse, even doing a touring one-man show about his son. Kossoff's headstone contains the epitaph, "All Right Now."
Kossoff was 25.
Click on for Born This Day featuring Bun B, Billy Sheehan, Ricky Wilson and Terry Hall: