Musician

Parthenon Huxley, Power Pop Craftsman and ELO Part II Guitarist, Dies at 66

Photo Credit: Wordtrust via wikemedia

Parthenon Huxley, the gifted songwriter, producer, and guitarist whose melodic instincts made him a quiet pillar of modern power pop, passed away peacefully on January 30, 2026. He was 70.

Born Richard Miller on January 19, 1956, in Baton Rouge, Louisiana, Parthenon Huxley, who drew his professional name from a love of Greece and Aldous Huxley, was a gifted songwriter, producer, and guitarist whose melodic instincts made him a foundation of modern power pop.

He first gained recognition in the early 1980s with the Spongetones, a band whose jangling guitars and airtight harmonies earned them lasting admiration among power pop fans and fellow musicians alike. Though mainstream success proved elusive, the group’s influence endured, shaping a generation of artists who valued precision and harmony.

After relocating to Los Angeles, Huxley launched a solo career that revealed the full depth of his songwriting voice. Albums such as Sunny Nights and Deluxe highlighted his gift for economy and melody, pairing bright hooks with thoughtful arrangements and a producer’s ear for detail.

Huxley later joined ELO Part II (later renamed the Orchestra), touring extensively and helping bring the band’s catalog to audiences around the world. His playing balanced technical precision with restraint, always in service of the song.

Beyond the stage, Parthenon Huxley earned wide respect as a producer, collaborator, and musical director. In the studio, he was known for patience and preparation, someone who understood that the smallest decisions often shaped the strongest records.

Click to find at amazon

Sly Dunbar, Legendary Drummer of Sly & Robbie, Dead at 72

Photo Credit: Tim Duncan via wikimedia

Sly Dunbar, the towering Jamaican drummer whose innovations reshaped reggae, dub, and global pop music, has died. As one half of the revered rhythm team Sly & Robbie, Dunbar helped define the sound of modern Jamaican music while leaving an imprint that stretched far beyond the island’s shores.

Born Lowell Fillmore Dunbar in Kingston on May 10, 1952, Sly grew up immersed in the city’s studio culture. He came of age during reggae’s most fertile period, absorbing ska, rocksteady, soul, and funk before forging a style that was unmistakably his own. His drumming blended militant precision with deep swing, pairing crisp hi-hat patterns with thunderous low-end accents that became instantly recognizable.

In the mid-1970s, Dunbar joined forces with bassist Robbie Shakespeare, forming one of the most influential rhythm sections in music history. Together, Sly & Robbie anchored hundreds of recordings, providing the backbone for classics by Peter Tosh, Black Uhuru, Bunny Wailer, Gregory Isaacs, Dennis Brown, and countless others. Their work helped push reggae into the digital era, most notably on Black Uhuru’s Red and Anthem, albums that brought Jamaican music to new international audiences.

But Dunbar’s reach was never confined to reggae alone. His rhythmic vocabulary crossed borders and genres, leading to collaborations with artists as varied as Bob Dylan, Grace Jones, Herbie Hancock, the Rolling Stones, Serge Gainsbourg, Sinéad O’Connor, No Doubt, and Joe Cocker. Whether working in Kingston, New York, London, or Paris, Sly brought the same discipline and imagination to every session.

Beyond sheer volume, thousands of recordings over five decades, it was Dunbar’s sense of invention that set him apart. He helped pioneer the use of drum machines in reggae without sacrificing feel, blending technology with human touch in ways that reshaped rhythm-driven music worldwide. His grooves were studied, sampled, and reinterpreted by generations of producers and drummers.

Despite his global stature, Dunbar remained a working musician at heart, happiest behind a kit, locked into a groove. His playing carried authority without flash, power without clutter. It was a masterclass in knowing exactly what a song needed and delivering it with conviction.

Click to find at amazon

Francis Buchholz, Former Scorpions and Michael Schenker Group Bassist, Dies

Photo Credit: MrPanyGoff via wikimedia

Francis Buchholz, the steady low-end force behind Scorpions during their most successful and influential years, has died. He was 72.

Born February 19, 1954 in Hanover, Germany, Buchholz joined Scorpions in 1973, stepping into a band that was still shaping its identity and helping anchor what would become one of hard rock’s most enduring catalogs. His tenure stretched across nearly two decades, covering the group’s creative and commercial peak.

Buchholz played bass on a defining run of albums, including Fly to the Rainbow, In Trance, Virgin Killer, Taken by Force, Lovedrive, Animal Magnetism, Blackout, Love at First Sting, Savage Amusement, and Crazy World. Those albums produced some of the band’s most recognizable songs and helped Scorpions grow from European hard rock contenders into a global arena act.

While guitarists Rudolf Schenker and Matthias Jabs handled the flash and Klaus Meine delivered the voice, Buchholz brought stability, groove, and feel. His playing rarely demanded attention, but it held everything together, giving Scorpions’ music its muscle and momentum. Whether driving the speed of their heavier tracks or locking into the slower burn of their ballads, his presence was constant.

Beyond his role as a bassist, Buchholz was also involved behind the scenes, contributing to songwriting during key periods of the band’s evolution. His work helped shape the sound that carried Scorpions through the late ’70s and into the MTV era of the ’80s.

He departed the band in 1992 following Crazy World, closing the chapter on a lineup that many fans still consider the group’s classic era.

After leaving Scorpions, Buchholz remained active, including a period with the Michael Schenker Group, where his grounded, melodic bass work fit naturally alongside Schenker’s sharp-edged guitar style.

Click to find at amazon

Rob Hirst, Midnight Oil Drummer and Co-Founder, Dead at 70

Photo credit: lanbren via wikimedia

Rob Hirst, the founding drummer and rhythmic backbone of Midnight Oil, has died at age 70 following a nearly three-year battle with pancreatic cancer.

For more than five decades, Hirst helped drive one of the most important bands ever to emerge from Australia. As both drummer and songwriter, he played a central role in shaping Midnight Oil’s sound and purpose, anchoring their urgent, politically charged music with a style that was forceful, disciplined, and unmistakably his own.

Born in Camden, New South Wales, on September 3, 1955, Hirst co-founded the band in 1972 alongside guitarist Jim Moginie. With the later additions of Peter Garrett and Martin Rotsey, Midnight Oil evolved from a hard-working pub band into an international force, known as much for conviction as volume. Hirst’s drumming powered that ascent, giving the band its forward momentum while leaving room for the message to land.

He co-wrote many of the group’s defining songs, including “Beds Are Burning,” “The Dead Heart,” and “Blue Sky Mine,” tracks that carried environmental, political, and Indigenous rights issues into mainstream rock without dilution. Across thirteen studio albums, Midnight Oil built a catalog that refused neutrality, and Hirst was central to its construction.

Away from the Oils, he remained creatively restless. Hirst recorded and performed with projects including the Ghostwriters, Backsliders, the Angry Tradesmen, the Break, and his own solo work. In 2020, he released music with his daughter Jay O’Shea, a collaboration rooted in family and shared musical language. His final solo EP, A Hundred Years or More, arrived in 2025.

Click to find at amazon

Ralph Towner, Visionary Guitarist and Co-Founder of Oregon, Dead at 85

Photo Credit: Brian McMillen via wikimedia

Ralph Towner, the quietly revolutionary guitarist and composer whose work blurred the lines between jazz, classical, folk, and world music, has died at the age of 85.

Best known as a founding member of the influential ensemble Oregon, Towner helped reshape the sound of modern acoustic music beginning in the early 1970s, creating a body of work defined by precision, lyricism, and an unwavering sense of curiosity. His playing was intimate but expansive, rooted in discipline yet guided by imagination.

Born March 1, 1940 in Chehalis, Washington, in 1940, Towner was classically trained on piano before turning his focus to the guitar. That dual foundation would shape everything that followed. His compositions often unfolded with the structure of chamber music, while his improvisations retained the freedom and emotional reach of jazz. Nylon-string guitar became his primary voice, though his use of twelve-string guitar added a shimmering, orchestral dimension that became a signature of his sound.

In 1970, Towner formed Oregon alongside Paul McCandless, Glen Moore, and Collin Walcott. The group rejected genre boundaries at a time when fusion was often defined by volume and amplification. Oregon instead pursued texture, space, and global influence, weaving together jazz improvisation, classical forms, Indian music, and folk traditions. Their music felt exploratory without being indulgent, meditative without losing momentum.

Across decades of recordings and constant touring, Oregon built a devoted international following, becoming one of the most enduring and respected ensembles in modern jazz history.

Outside the group, Towner maintained a prolific solo career, particularly through his long association with ECM Records. Beginning with Diary in 1973, his solo albums and small-group recordings helped define the label’s aesthetic: spacious, thoughtful, and deeply attentive to sound itself. His collaborations with artists such as Jan Garbarek, Gary Peacock, Eddie Gómez, and John Abercrombie revealed a musician who thrived in conversation rather than competition.

Though never a mainstream figure, Ralph Towner’s influence reached far beyond sales or chart positions. Generations of guitarists across jazz, classical, and acoustic traditions drew inspiration from his approach to harmony, composition, and restraint. He showed that virtuosity could be quiet, and that innovation did not require spectacle.

Click to find at amazon