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Ike Willis, Frank Zappa’s Most Loyal Vocalist and Guitarist, Dead at 70

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Ike Willis died on May 16, 2026, in North Las Vegas, surrounded by family. He was 70. The singer and guitarist who spent a decade at Frank Zappa’s side, from 1978 through the final tour in 1988, had been battling prostate cancer since the early 2020s. His family confirmed the news in a statement that captured both the musician and the man: “At home, he was simply Dad: full of fun, warmth, and endless laughter over old Looney Tunes cartoons.”

Willis was born in St. Louis on November 12, 1955, and started playing guitar at age 8. By high school he was deep into progressive rock and jazz, and a 1974 Zappa concert on the Roxy and Elsewhere tour changed everything. Three years later, working as part of the in-house concert crew at Washington University in St. Louis, he found himself backstage with Zappa after a show. Zappa handed him a guitar and asked if he knew any of his songs. Willis did. By 1978, after a formal audition in California, he had joined the band and, as he put it, “never left.”

His first and most celebrated contribution to the Zappa catalog was voicing Joe on the sprawling 1979 triple album ‘Joe’s Garage’, a rock opera about free speech, censorship, authoritarian rule, and the peculiar relationship Americans have with sex. Zappa trusted Willis with the entire narrative arc of the record, and the performance remains one of the most distinctive vocal turns in rock’s more experimental corners. He followed that with appearances on ‘Tinseltown Rebellion’, ‘You Are What You Is’, ‘The Man From Utopia’, ‘Thing-Fish’, the ‘Shut Up ‘n Play Yer Guitar’ trilogy, and multiple volumes of the ‘You Can’t Do That on Stage Anymore’ live series.

Drummer Chad Wackerman, who shared the stage with Willis through some of Zappa’s most ambitious years, described his voice as something that gave him chills on the best nights. “His ability to be creative and humorous gave Frank so much joy on stage,” Wackerman wrote. “He was one of the most incredible singers I have had the honor to work with.”

Willis claimed to be the last of Zappa’s former band members to have seen him alive, the week before his death in 1993. Zappa’s final instructions to him were precise and characteristically direct: “Don’t change anything. Don’t ad-lib, don’t try to get cute, don’t try to spruce it up, don’t change the key that it was written in. Play the songs like I taught you.” Willis honored that for the rest of his life, touring with Zappa tribute acts including Project/Object, The Muffin Men, Bogus Pomp, The Stinkfoot Orchestra, and Ugly Radio Rebellion, and appearing at the annual Zappanale Festival in Bad Doberan, Germany. He also taught at School of Rock and released two albums under the Ike Willis Band name.

“It was a privilege for me to be able to perform and to be a part of this person’s orbit,” Willis said in 2022. “I have always thought that Frank was the most intelligent human being I have ever met.” That loyalty, sustained across three decades after Zappa’s death, defined Willis as much as any single performance.

Denyse LePage, Voice and Songwriter Behind Montreal Hi-NRG Duo Lime, Has Died

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Denyse LePage, one half of the beloved Canadian disco duo Lime, passed away on May 20, 2026, following a stroke. She was a founding member of the group alongside her husband, Denis LePage, forming one of Montreal, Quebec’s most celebrated dance music acts.

Together, Denis and Denyse brought Lime to international prominence, scoring a number one U.S. Dance hit with “Your Love” in 1981 — a gold record that topped the Billboard Disco chart. The duo went on to release a string of albums and singles throughout the 1980s and beyond, including the beloved hit “Babe, We’re Gonna Love Tonight” and “Unexpected Lovers,” cementing their legacy in the Hi-NRG and post-disco genres. Their catalog spans more than a decade of studio albums, from their 1981 debut through releases well into the 2000s.

Denyse’s passing comes less than three years after the death of her husband Denis, who died from cancer on August 21, 2023, at the age of 74. The two had continued to perform together for decades, with Lime remaining active as recently as 2018. With her death, an era of Canadian dance music history comes to a close.

Al Hurricane Jr., “El Godson” of New Mexico Music, Dead at 66

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Al Hurricane Jr., born Alberto Nelson Sanchez Jr. on October 30, 1959, in Albuquerque, died on May 19, 2026, at the age of 66. The cause of death had not been confirmed at time of writing. His family announced the news on social media with a statement that said everything: “¡Qué viva El Godson!”

He began performing at age 5, singing “Love Potion No. 9” in front of thousands at the Albuquerque Civic Auditorium. He never really stopped. Over six decades, he performed alongside his father Al Hurricane Sr., the Godfather of New Mexico music, and his uncles Tiny Morrie and Baby Gaby, building a family musical dynasty that became inseparable from the cultural identity of the state. When his father died in 2017, the torch passed completely to Junior, and he carried it without hesitation.

Known as “El Godson,” he helped shape what is now recognized as Música Nuevo Mexicana, a sound rooted in corridos, rancheras, cumbia, and rock and roll, all filtered through the specific spirit of New Mexico. Guitarist Eric Lee, who played with both father and son for nearly 20 years, put it plainly: “When Al Hurricane and Al Hurricane Jr. took the stage, that’s it. People knew what they’re in for. It’s huge.” His bassist of 20 years, Danielle Andrade, described the band as family in every sense. “Me, my father, Al Hurricane Sr. and Al Junior would go to Denver Broncos games with each other. We’d go shooting at the range. It was more than just a band; it was family.”

The tributes from across New Mexico arrived immediately and from every direction. Mayor Tim Keller wrote that Hurricane was “the sound of New Mexico.” KANW Radio called him “a keeper of our heritage.” The Albuquerque International Balloon Fiesta said his spirit was woven into the fabric of what it means to be a New Mexican. The City of Belen, which had been preparing to welcome him as their headlining performer for the All American Celebration, offered condolences to a community that lost him before that moment could happen.

Lawrence Trujillo, who performed with Hurricane since 2014, summed up his significance to the people who grew up with his music in one line that needed no elaboration. “It’s as important to the culture as green and red chile.”

His brother Jerry Dean, himself a musician, spoke with the grief of someone who had just lost a mentor, an idol, and a big brother at the same time. They had played together just two weeks before at a funeral in Belen. Dean described it as one of the most intimate and meaningful performances they’d ever shared. “I was beaming from that whole thing. And then, it’s like, ‘Wow, I didn’t realize that we’re going to have to do your funeral now.'”

Al Hurricane Jr. is survived by daughters Samantha, Alexis, and Alyssa, and grandchildren Layla and Noah.

Jimmy Hughes, Soul Singer Who Helped Define the Muscle Shoals Sound With “Steal Away,” Dead at 88

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Jimmy Hughes died on May 20, 2026, at his home in Leighton, Alabama, at the age of 88. The R&B singer whose 1964 recording of “Steal Away” helped put Muscle Shoals on the musical map leaves behind a legacy that runs deeper than his chart positions suggest. FAME Studios, where he made his most enduring music, said it plainly: “His soulful recordings helped put Muscle Shoals on the map and inspired generations of artists to follow.”

Hughes was born in Leighton on February 3, 1938, a cousin of Percy Sledge and a product of the same small Alabama town that would produce some of American music’s most essential voices. He began singing in a gospel quartet called the Singing Clouds while still in high school, and that gospel foundation never fully left his voice, even when he turned to secular R&B.

His first audition for producer Rick Hall at FAME Studios came in 1962, leading to the recording of “I’m Qualified,” co-written by Hall and Quin Ivy. The record didn’t chart, and Hughes returned to his day job at a rubber factory, singing in local clubs on the side. Two years later, he came back with something different.

“Steal Away,” an original composition drawing from the gospel song “Steal Away to Jesus,” was recorded in a single take. Hughes, backed by guitarist Terry Thompson, keyboardist David Briggs, bassist Norbert Putnam, and drummer Jerry Carrigan, cut one of the defining recordings in Southern soul history in one pass. The song rose to number 17 on the Billboard Hot 100 and has since been cited as a prototype for soul singers including Johnnie Taylor and Al Green, and a defining document of the Muscle Shoals sound. Rick Hall later said of Hughes: “Just like his idol Sam Cooke, Jimmy Hughes was an extremely handsome young Black man, with a unique and sensational high tenor voice. Nobody could ever hit those high notes Jimmy Hughes could as a singer.”

The album that followed, also titled ‘Steal Away’, featured the first songwriting collaborations between Dan Penn and Spooner Oldham, two figures who would go on to shape the sound of an era. Hughes continued recording through the late 1960s, scoring R&B chart entries with “Neighbor, Neighbor,” “Why Not Tonight,” and “I Worship the Ground You Walk On,” before moving to Stax Records in 1968. Frustrated by what he saw as a lack of promotion and tired of being away from his family, he walked away from recording and performing in 1970.

He retrained, took a government job making parts for nuclear power plants in the Tennessee River Valley, and kept his singing confined to his church congregation in Leighton. He lived there quietly for the rest of his life, a true Leighton legend, as his hometown’s official accounts described him after his passing.

“Steal Away” was covered by Etta James, Clarence Carter, Bobbie Gentry, Billy Joe Royal, and Frank Zappa. The song outlived every trend that surrounded it and remains one of the great recordings to come out of the American South.

Rob Base, Hip-Hop Pioneer Behind “It Takes Two,” Dead at 59

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Rob Base, born Robert Ginyard on May 18, 1967, died on May 22, 2026, surrounded by family after a private battle with cancer, four days after celebrating his 59th birthday. The Harlem-raised rapper was one half of Rob Base and DJ E-Z Rock, the duo whose 1988 single “It Takes Two” became one of hip-hop’s most enduring and widely sampled records, a platinum-certified cultural touchstone that crossed over from the dance charts into the mainstream and never really left.

He and DJ E-Z Rock, born Rodney Bryce, met as kids in Harlem and built their partnership from the ground up, inspired by watching a local group called the Crash Crew. “We said to ourselves, this is something that we want to do,” Base recalled years later. The demo for “It Takes Two” came together in about two nights at a friend’s house after they stumbled across the Lyn Collins sample. They didn’t expect it to travel beyond the tri-state area. It went platinum and changed hip-hop history.

Built around a vocal sample from Lyn Collins’ “Think (About It),” the track blended hip-hop and house music in a way that felt genuinely new, reaching number 3 on the Billboard Hot Dance/Club Songs chart. The follow-up “Get on the Dance Floor” topped the same chart. Their debut album ‘It Takes Two’ went platinum seven times over and landed at number 4 on the Billboard Top R&B/Hip-Hop Albums chart.

The song’s cultural reach extended far beyond music. “It Takes Two” was sampled by Snoop Dogg, Gang Starr, and 2NE1, appeared in Grand Theft Auto: San Andreas, The Proposal, and Iron Man 2, and landed at number 24 on Rolling Stone’s Greatest Hip-Hop Songs of All Time. Rolling Stone described it as “a pop-rap landmark and an ode to understanding and respect that brought people together under a groove.”

Base released his solo debut ‘The Incredible Base’ in 1989, then reunited with E-Z Rock for 1994’s ‘Break of Dawn’. He remained active as a live performer through the I Love the 90’s Tour and was working as executive producer on films through his production company Funky Base, Inc. DJ E-Z Rock died on April 27, 2014, from complications of diabetes at age 46.

His son, Rob Ginyard Jr., shared news of the death on Instagram with a simple, direct message: “Sleep in peace dad. I love you.” The official statement from his team described him as a loving father, family man, and creative force. “Thank you for the music, the memories, and the moments that became the soundtrack to our lives.”

Montreal Jazz Festival Completes Its 2026 Lineup With Kamasi Washington, a World-Exclusive Coltrane Preview and More

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The Festival International de Jazz de Montreal has revealed the final additions to its 2026 lineup, and the announcements land with real force. Kamasi Washington returns to the TD Stage following his landmark 2022 performance, cementing what will be one of the most anticipated sets of the entire festival. KELS, an internationally buzzed singer-songwriter known for her powerful old-school vocals, makes her FIJM debut on the Rogers Stage, joined by experimental bassist MonoNeon, famously one of the last musicians to collaborate with Prince, returning to the festival for the first time since 2022.

The innovatively brilliant duo DOMi and JD Beck also appear on the Rogers Stage, their concert moved outdoors to accommodate demand. Local talent gets its moment at Club Montreal Loto-Quebec with Juno-nominated drummer Salin, whose music weaves northern Thai sounds with West African psychedelic rhythms, alongside Ping Pong Go, the new project from pianist Vincent Gagnon and drummer P-E Beaudoin.

The indoor concert lineup adds compelling opening acts. Franco-Gabonese singer-songwriter Anaïs Cardot, considered one of the rising stars of French jazz, opens for Diana Krall at Salle Wilfrid-Pelletier. Cellist and composer Lucinda Chua opens for St. Vincent at the same venue.

The Academie programming delivers the festival’s most headline-worthy announcement. In a world exclusive, the audience will hear an early listen of tracks from a new album of previously unreleased John Coltrane recordings from the early 1960s, presented alongside Ken Druker of Verve Records. Titled ‘The Tiberi Tapes: A Preview of the Mythic Recordings’ and scheduled for September release, this is the kind of event that belongs on every serious jazz listener’s calendar. The Academie also features legendary producer, DJ, and rapper The Alchemist and a masterclass from harpist Brandee Younger showcasing her revolutionary approach to the instrument in modern jazz.

Late nights stay active through the AFTER JAZZ series running 11pm to 3am, with the PHONO pop-up bar featuring DJ sets curated with Ferias and Music Is My Sanctuary, plus sessions at Le Balcon covering jazz, rock, hip-hop, R&B, and soul.

Devin Townsend Unleashes “Prepare For War / The Big Snit” Ahead of Orchestral Metal Opus ‘The Moth’

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Devin Townsend releases the visceral double-single “Prepare For War / The Big Snit” today alongside a Studio Sparks-directed video, the latest preview of ‘The Moth’, his orchestral metal opus over a decade in the making, arriving May 29 via InsideOutMusic.

The project began taking real shape about 6 years ago when the head of the North Netherlands Orchestra and Choir approached Townsend after an acoustic show in Amsterdam, turning what had lived in the back of his mind as his “life’s work” into an actual recording. That conversation changed everything.

Townsend describes the double-single as a cinematic experience rather than a conventional song, representing the final moments before fundamental change. “Either viewed from the lens of two warring factions whose actions have culminated in a final battle, or the same thing being essentially a metaphor for an internal struggle, it works in the same light,” he says. “The fastest way out is through, and this piece of music represents that process.”

The title “The Big Snit” comes from a short animated film from the Canadian National Film Board that Townsend grew up watching. His version, he says with characteristic humor, is simply a heavy metal take on it.

‘The Moth’ arrives in 3 distinct parts. The main album is joined by ‘The Moth – The Afterlife’, which highlights the full grandeur of the orchestra and choir in what Townsend considers a purer version of the experience, and ‘The Moth – The War’, a recording of the live debut that took place in the Netherlands in March 2025.

The limited deluxe edition arrives as a 3CD and Blu-ray artbook including all 3 parts plus Dolby Atmos and high resolution stereo mixes. Additional formats include a limited 2CD edition, standard CD, gatefold triple 180g 2LP, and digital.

Butthole Surfers Surface From 1998 With “Intelligent Guy” Video and Long-Shelved Album ‘After The Astronaut’

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The Butthole Surfers have a new single and video out for “Intelligent Guy,” the third taste of ‘After The Astronaut’, their long-shelved album originally recorded in 1998 as the follow-up to ‘Electric Larryland’ and held back by the label until now, arriving June 26 via Sunset Blvd. The track puts Paul Leary’s searing guitar against King Coffey’s syncopated drum programming while Gibby Haynes delivers the kind of surreal yet oddly poetic lyrics that have made the band one of the most genuinely singular acts in rock history. The accompanying video, directed by Ron English, delivers aliens, cellular-dividing fetuses, grotesque landscapes, muscular babies, and dinosaurs ridden by clowns playing guitar. English, whose own origin story with the band involves Daniel Johnston bursting into a house at 4am demanding acid on their behalf, brings exactly the right energy to the project. “We are not and never were in the business of being intelligent,” Leary laughs about the song’s title, which tells you everything you need to know about what kind of record this is going to be.

Kentish Post-Punks Moron Butler and Yorkshire Jazz Group Vipertime Collide on a Ferocious New Mini LP

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It started with a chaotic double bill at Hastings boozer The Jenny Lind in February 2025, a mosh pit, a breakneck run through The Stooges’ “TV Eye,” and enough cross-pollinating energy that local label Property Of The Lost commissioned an album before last orders. The result is a mini LP from Kentish post-punks Moron Butler and Yorkshire aggro-jazz four-piece Vipertime, recorded across 2 hectic days at Leeds’ Eiger Studios and mixed in a single session, out now on vinyl.

The music channels Gang Of Four’s acerbic attack, the punk-dub distortion of The Pop Group, and the motoric drive of Can. Troy Osmond’s vocals sit front and center, his delivery interspersed with saxophone abstractions from Vipertime’s dual-drum, bass, and sax configuration. The range across the record is striking, from a 5-minute-plus slow-build sax and feedback crescendo on “The Easter Parade” to the 70-second hardcore gut-punch of “Waugh & Peace.”

Vipertime’s 2023 album ‘Arise’ earned BBC 6 Music airplay and praise from Iggy Pop, Gilles Peterson, and Colin Curtis. Iggy’s verdict on the band says plenty: “I wouldn’t mind hanging out somewhere where that was going on. I guess I’d have to go to Leeds.” Mike Watt of the Minutemen and Stooges called the collaboration “really fucking happening. I dig this big time.”

Moron Butler bring the DIY ethos of Minutemen and Hüsker Dü to songs inspired as much by Cheever and Steinbeck as by the street poetry of Billy Woods and Black Thought. Their songs are short, lyrically bleak, and deliberately hard to categorize, which is precisely the point. Three split 7-inch singles with three equally undefinable bands have done nothing to help them slide into a category, and they’re fine with that.

The two bands take the collaboration on the road through early June, including a London show at The Blue Monk with Sly and the Family Drone on May 29.

Tour Dates:

Wed, May 20 – Oldham – Whittles (Manchester Jazz Festival)

Wed, May 27 – Leeds – Wharf Chambers (Leeds Jazz Festival)

Thu, May 28 – Deal – The Lighthouse

Fri, May 29 – London – The Blue Monk (with Sly & the Family Drone)

Sat, May 30 – Hastings – Jenny Lind

Wed, Jun 3 – Nottingham – Peggy’s Skylight

The Beach Boys Mark 60 Years of ‘Pet Sounds’ With a San Diego Zoo Wildlife Video and New Archival Collection

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‘Pet Sounds’ turns 60 this month, and the Beach Boys marked the occasion with purpose. The group partnered with the San Diego Zoo for a special video pairing the album’s full track listing with wildlife footage, a direct nod to the Zoo’s connection to the original album imagery. Every dollar raised through the video goes to the San Diego Zoo Wildlife Alliance, supporting global species conservation and habitat protection.

The video debuted as a live stream on the official Beach Boys YouTube page and remains available to watch now. It’s a genuinely warm pairing of iconic music and stunning animals, and the fundraising angle gives it real staying power beyond the anniversary moment itself.

The archival side of the celebration is just as strong. ‘Pet Sounds Session Highlights’ arrived around the anniversary, drawing from the landmark 1997 4-CD box set ‘The Pet Sounds Sessions’. The new collection brings together alternate takes, a cappella recordings, and tracking sessions, each making their vinyl debut across a 2-LP and 2-CD release.

Together, the wildlife video and the archival collection give one of the most celebrated albums in rock history an anniversary treatment that serves both longtime fans and new listeners finding the record for the first time. ‘Pet Sounds’ has earned every bit of the attention.