Musician

Kenny Morris, Original Siouxsie and the Banshees Drummer, Dead at 68

Photo Credit: Public Domain via wikimedia

Kenny Morris, the original drummer of Siouxsie and the Banshees and a key architect of their earliest sound, died on January 15, 2026 at the age of 68.

Born Febuary 1, 1957, Morris was there at the beginning, emerging from London’s first-wave punk scene and helping shape the Banshees at their most stark and confrontational. Alongside Siouxsie Sioux and Steven Severin, he played on the band’s first two albums, The Scream (1978) and Join Hands (1979), records that helped define the dark, disciplined edge of post-punk.

His drumming style was physical and uncompromising, driven more by tension and atmosphere than flash. Heavy toms, martial rhythms, and a sense of restraint gave early Banshees songs their cold intensity, setting them apart from both punk’s chaos and rock’s excess. Those performances became a foundation for a band that would go on to influence goth, alternative rock, and generations of post-punk musicians.

Before recordings, Morris was already part of Banshees lore, appearing at the band’s incendiary early shows, including the 100 Club Punk Festival, a flashpoint moment that helped ignite the UK punk movement. His tenure captured the group in its rawest form, when structure and danger existed side by side.

Morris left Siouxsie and the Banshees in 1979 and was later replaced by Budgie, whose arrival marked a new chapter in the band’s evolution. Afterward, Morris remained connected to the underground spirit that shaped him, co-founding the Moors Murderers (later known as the Moors), a confrontational project emblematic of punk’s more extreme impulses.

In later years, Morris moved away from the spotlight, spending time in Ireland and working in the arts while remaining a revered figure among those who understood how crucial the early days were.

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Bob Weir, Grateful Dead Co-Founder and Rhythmic Soul, Dies at 78

Bob Weir, 1975. Photo Credit: via Wikimedia

Bob Weir, the guitarist, singer, songwriter and co-founder of the Grateful Dead who helped shape more than half a century of American music, died January 10, 2026, at the age of 78. He passed peacefully, surrounded by family, after complications related to long-term lung illness following cancer treatment.

For millions of fans, Weir was never just a band member. He was a presence. A guide. A steady hand in the middle of music that could wander for hours and still feel like home.

Born October 16, 1947 in San Francisco and raised in nearby Atherton, Weir found his future in a chance teenage meeting with Jerry Garcia in Palo Alto. That encounter sparked one of the most unlikely and influential partnerships in American music. Within a few years, they had formed what would become the Grateful Dead, a band that rejected pop formulas and embraced open-ended improvisation, turning concerts into living, breathing events.

Weir’s guitar style was singular. While Garcia soared and soloed, Weir built a rhythmic framework that was loose, jazzy, percussive and constantly shifting. He rarely played traditional rhythm guitar, instead weaving chord fragments, counter-melodies and syncopated pulses that gave the Dead their elastic feel. It was subtle, but it was essential.

As a songwriter and vocalist, Weir gave the band some of its most enduring material. “Sugar Magnolia,” “One More Saturday Night,” “Truckin’,” “Cassidy” and “Mexicali Blues” carried a sense of joy, mischief and American wanderlust that balanced Garcia’s more introspective side. His voice had a conversational warmth that made the songs feel like invitations rather than performances.

Before long, the Dead became a culture, a lifestyle. Their fans followed them from city to city, trading tapes, stories and shared experiences. Weir was at the center of that world, approachable, curious, and deeply aware that the relationship between the band and the audience was as important as the music itself.

When Garcia died in 1995, many assumed the story was over. Weir refused that idea. He kept the music moving forward through RatDog, the Other Ones, Furthur, and eventually Dead & Company, introducing the Dead’s music to a new generation of listeners. His partnership with John Mayer in Dead & Company surprised skeptics and ultimately won them over, proving that the music could evolve without losing its soul.

In the summer of 2025, even while dealing with serious health issues, Weir returned to Golden Gate Park for three nights celebrating 60 years of music. Those shows were emotional, powerful, and filled with gratitude. They felt less like a farewell and more like a final statement of purpose: this music still mattered, and so did the community around it.

Weir never spoke about legacy in grand terms, but he understood the weight of what he helped create. He often said that the same song could become something new every time it was played, and that idea became a guiding principle for his entire career. Nothing was fixed. Everything was alive.

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Richard Smallwood, Contemporary Gospel Great, Dies at 77

Photo Credit: Richard Sawyers via Wikimedia

Richard Smallwood, the Grammy-nominated gospel singer, composer, pianist, and choir leader whose music reshaped modern gospel with classical discipline and emotional depth, died on December 30, 2025. He was 77. His death was attributed to complications from kidney failure.

Born in Atlanta on November 30, 1948, and raised in Washington, D.C., Smallwood displayed extraordinary musical ability at an early age, teaching himself piano and organizing his first gospel group while still a child. He later studied music at Howard University, graduating cum laude, and became a founding member of the school’s pioneering gospel ensemble, the Celestials.

In 1977, Smallwood formed the Richard Smallwood Singers, a group that brought refined arrangements, rich harmonies, and spiritual intensity to contemporary gospel. Their 1982 self-titled debut spent an extraordinary 87 weeks on Billboard’s Spiritual Albums chart, establishing Smallwood as one of Gospel’s revered new voices while opening the door to a string of influential recordings throughout the 1980s and 1990s.

Smallwood earned eight Grammy nominations over the course of his career and became widely respected for compositions that balanced technical sophistication with congregational power. His 1996 live album Adoration: Live in Atlanta introduced “Total Praise,” a song that became one of the most enduring works in modern gospel, performed by choirs and worship leaders across denominations and continents.

His writing extended beyond the church world. “I Love the Lord” gained international recognition when recorded by Whitney Houston for The Preacher’s Wife soundtrack, while other compositions such as “Center of My Joy” became staples for gospel artists and choirs alike. Smallwood’s influence could be heard not only in gospel, but in R&B and pop, where his harmonic language and emotional directness resonated with artists across genres.

In addition to his work as a performer and composer, Smallwood was a mentor and educator, deeply invested in the spiritual and musical development of younger artists. He later earned a master’s degree in divinity, reflecting a lifelong commitment to faith that remained inseparable from his art.

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Perry Bamonte, Guitarist and Keyboardist for the Cure, Dead at 65

Photo credit: Chris “BuB” Cardi via Wikimedia

Perry Bamonte, the guitarist and keyboardist whose understated musicianship helped shape some of the Cure’s most enduring late-era work, died on December 25, 2025, after a short illness. He was 65.

Born Perry Archangelo Bamonte in London on September 3, 1960, his path into one of alternative music’s most influential bands began behind the scenes. He entered the Cure’s orbit in the mid-’80s as a guitar technician and close collaborator within Robert Smith’s inner circle, earning a reputation for reliability, musical fluency, and a deep understanding of the band’s evolving sound.

In 1990, Bamonte stepped into the lineup as a full member, contributing guitar, keyboards, and additional textures at a pivotal moment in the band’s history. His playing became part of the fabric of albums that followed, including Wish, Wild Mood Swings, Bloodflowers, and The Cure. While rarely in the spotlight, his role was essential, adding atmosphere, color, and stability as the band expanded its sonic range through the 1990s and early 2000s.

Onstage, Bamonte was a constant. He performed hundreds of shows during his initial run with the band, helping define the Cure’s live sound for more than a decade. After departing the lineup in 2005, he remained closely connected to the band’s legacy and was included in their Rock & Roll Hall of Fame induction in 2019, a recognition of his lasting contribution.

Bamonte returned to the Cure in 2022, rejoining the group for the Shows of a Lost World tour. Over the next two years, he appeared on stages around the world, once again anchoring the band’s performances with a calm presence and precise musical touch. His final shows took place in 2024.

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Died On This Date (December 22, 2025) Chris Rea / Yacht Rock Pioneer

Photo Credit: Dutch Simba via Wikimedia

Chris Rea, the English singer, songwriter, and guitarist known for his gravelly vocals and blues-influenced sound, died on December 22, 2025. He was 74. His family said he died peacefully in hospital following a short illness.

Rea was born March 4, 1951, in Middlesbrough, England, to an Italian father and Irish mother. He began playing guitar in his early 20s and signed his first record deal in the mid-’70s. His debut album, Whatever Happened to Benny Santini?, was released in 1978 and included “Fool (If You Think It’s Over),” which became an international hit and earned a Grammy nomination.

Over the next four decades, Rea released more than 25 studio albums and sold an estimated 30 million records worldwide, with his strongest commercial success in the UK and Europe. His best-known albums include On the Beach (1986), Dancing with Strangers (1987), The Road to Hell (1989), and Auberge (1991). Several of these releases topped the UK Albums Chart and established him as a consistent presence in British popular music through the 1980s and early 1990s.

Rea was widely recognized for his distinctive slide guitar style, rooted in blues and soul, and for songwriting that often focused on work, travel, relationships, and everyday experience. His voice and guitar tone became defining elements of his recordings and live performances.

One of his most enduring songs, “Driving Home for Christmas,” was first released in 1986 and grew steadily over time into one of the UK’s most frequently played holiday recordings. The song regularly re-entered the charts decades after its initial release.

In the early 2000s, Rea faced significant health issues, including pancreatic cancer, which led to major surgery, and later a stroke in 2016. After these setbacks, he shifted his focus toward blues-based projects and released a large volume of music independently, often through his own label, Jazzee Blue.

Chris Rea continued recording and releasing music well into his later years, largely outside the mainstream music industry. His career spanned nearly fifty years and remained closely aligned with the musical influences that shaped his earliest work.

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