Richey James Edwards

Born: December 22, 1967, in Blackwood, Wales, UK
Disappeared: February 1, 1995, in Wales, UK
Band: Manic Street Preachers

Richey James Edwards of the Welsh Manic Street Preachers was a huge fan of Cobain and thought of him as a kindred soul who was also suffering from existential depression. After a post-gig interview in 1991 with New Musical Express’s Steve Lamacq—who inferred that the band’s image was an artistic mask and that the music alone should say enough—Richey took him aside and said, “Believe me, we are for real.” He carved “4real” into his left forearm using a razor blade. “I was really fucked off,” Richey explained later. “I didn’t know what I could possibly say to him to make understand.”

Edwards suffered from vicious bouts of depression, anorexia, alcoholism, and self-mutilation. The latter started when a fan handed Richey a cutlery set before a gig in Thailand with a note that urged him to cut himself on stage that night. He did.

“I’m on my own, I’m very selfish,” Richey said in an interview. “Self disgust is self-obsession—that’s the truest line on there, probably.” Richey referred to “Faster,” a song he wrote for Manic’s monumental The Holy Bible from 1994. The lyricist (and second guitarist) cut his wrists on the eve of the record’s release, but he convinced his bandmates that it wasn’t a suicide attempt. “In terms of the S word, that does not enter my mind. And it never has,” Richey insisted in an interview, but few outside of his closest circle believed him.

The Holy Bible is one of the top three records of the 1990s. 4real.

It’s a creative collaboration, a defining masterpiece with a fat sound, hard flanging hooks, and sinewy leads accentuated by drummer Sean Moore. The stark lyrics about religion, eating disorders (“4st 7lb”), and iconoclasms were emancipated from Richey’s troubled head, while bassist Nicky Wire filled in the last quarter. Guitarist James Dean Bradfield says he struggled to set music to the dire stanzas, but the result is astonishing.

Even though the record climbed to number six on the UK album charts, it took a few years for critics and listeners to wrap their heads around it. The Manics are virtually unknown in the US (partly because their US distributor insisted on censoring songs and album designs in the name of morals and decency), but the Brits revered them as the hippest in Brit pop. In a way the Manics filled the same role on Britain’s musical landscape as the Bunnymen had before them. Not coincidentally, the quartet sported military fatigues and draped their amps with camouflage nettings a la Echo & the Bunnymen anno 1980.

The controversy surrounding Richey and death continued with the Bible track “Die In the Summertime,” but Richey spun that one too, claiming it was written before he experienced self-destructive tendencies: “Die In the Summertime was basically an old man looking back over his life, over his favorite period of youth, his childhood, basically. Everybody’s got a perfect mental time of their life and that’s what that song is about. And it was written last summer.”

Sure, that’s one interpretation. Although mentally ill, Richey commanded an incredible intellect. He was drawn to very heavy stuff such as the Holocaust, Albert Camus, Fyodor Dostoevsky, Van Gogh, Sylvia Plath, and Joy Division’s Ian Curtis. His artistic, literary, and musical heroes lived short, depressed, yet productive lives.

“He’s just a mess. Fucking nutter, the boy is,” Nicky Wire said after Richey was interred at the Priory, the same mental institution that Brian Jones had stayed at in 1967.

In 1995, the day before a promotional visit to the US, Richey disappeared from the hotel where he was staying. A note addressed to his sometime girlfriend read, “I love you.” His passport and wallet were found at his apartment in Cardiff Bay, which proved he had stopped by there after he left the hotel. But no more clues were discovered until two weeks later when Richey’s abandoned car was found near the Severn Bridge. The battery was flat, and it looked like someone had spent several nights in the vehicle. Could he have jumped from the bridge, his body dragged from the Severn into the Bristol Channel and from there to the Atlantic Ocean? “That’s the only time that I genuinely ever thought that, you know, he’s dead,” Moore said.

Despite no confirmed sightings since February ’95, the remaining band members still deposit Richey’s royalty shares into an escrow account in case he resurfaces. Richey’s heroes fall into two categories: they either staged their own disappearance or they committed suicide. More than a decade has passed since he vanished, but The Manics, Richey’s family, and innumerable fans still believe he’s alive. Is he peaced out in a monastery somewhere, or was that Richey James Edwards someone spotted on the beach in the Canary Islands or Goa, in Mexico or Iceland? “He was a very intelligent guy,” says Simon Price, who wrote Everything (A Book About The Manic Street Preachers). “If he wanted to disappear, he could’ve done it.” At the end of 2007 New Musical Express, Britain’s leading music mag, named the Manic Street Preachers recipient of the 2008 God Like Geniuses Award in honor of their outstanding, unique, and innovative career. Prior recipients include The Clash, New Order, and Primal Scream.

Roger Lee Durham

Born: February 14, 1946, in Kansas City, Missouri
Died: July 27, 1973
Band: Bloodstone, The Sinceres

In 1962, a group of high school friends in Kansas City, Missouri, founded a doo-wop quintet named The Sinceres. The members eventually learned how to play instruments, renamed themselves Bloodstone, and after a brief stint as a Las Vegas lounge act, moved to LA. Months without a record deal forced the band to London where label boss Mike Vernon took them to the studio.

Roger Durham sang and played percussion on the group’s eponymous debut from 1972, which included “Natural High,” a single that placed top ten on the pop charts. (“Natural High” also found its way on the soundtrack to Quentin Tarantino’s Jackie Brown, starring Pam Grier, Robert De Niro, and Samuel L. Jackson, Bridget Fonda, and Michael Keaton.)

Bloodstone tapped into a mix of doo-wop, subdued funk riffs, and soul with a tinge of gospel, which garnered the group a place in the black rock and funk movement of the seventies. They played gigs alongside the likes of Curtis Mayfield, Marvin Gaye, The Impressions, and (the-not-so-black) Elton John. Bloodstone’s keyboardist Harold “Ivory” Williams went on to cut On The Corner with Miles Davis, but returned in time for gigs and recording dates.

July 27, 1973, Roger Durham fell off a horse and died from the injuries. His duty as an airman in the Vietnam War garnered him interment at the Fort Leavenworth National Cemetery in Kansas.

Jimi Hendrix

Born: November 27, 1942, in Seattle, Washington
Died: September 18, 1970, in a London hotel room
Bands: The Jimi Hendrix Experience, Band of Gypsys

The guitar was an extension of Jimi, a fifth limb he relied on as much as others would a leg or an arm. He played during set breaks or on the bus, recorded or jammed after shows, played along to Bob Dylan records during interviews and slept with the guitar at the edge of the bed.

Hendrix was born in Seattle by a teenage mom while his much older dad was stationed in the south. Jimi’s parents were both poor and alcoholic and they moved around a lot, living out of flop houses, cheap hotels and with friends and relatives, never staying too long in any place. With an upbringing marked by uncertainty, hunger, the death of his mother and belt whippings by his dad, Jimi became shy and introverted. One of his few joys was playing guitar on a broom along to old blues records. Somebody talked his dad into buying him a guitar and he spent his teenage years playing in a band around Seattle, including the premier club in the Northwest, the Spanish Castle. It didn’t take “half a day to get there,” as he later sang in “Spanish Castle Magic,” but traveling in beat-up cars sometimes led to unpleasant delays.

After a brief stint as a parachuter with 101st Airborne Jimi left the army guitarless, wearing issued clothes and $300 in his pocket. He walked into a jazz joint and spent all but $16. Unable to afford the Greyhound back to Seattle, he snuck back on the base and begged to get his guitar back from the guy he’d pawned it to. After recovering the axe, he spent the next three years priming his chops as a hired gun on the Chitlin’ Circuit—juke joints, cafes, dances and parties from Virginia to Florida, in the Delta and over to Texas—not unlike Robert Johnson had before him. Jimi’s knowledge of R&B, soul and rock hits of the day led to backing jobs for the stars of the day—Little Richard, Ike and Tina Turner and many others—but he kept getting fired for being too flashy. Otis Burke traded Jimi like a baseball card on the tour bus to Otis Redding for two horn players. He was fired a week later and left on the side of the road, but the penniless guitarist simply waited till another tour rolled through town for job.

Jimi eventually made it to New York City, playing with Curtis Knight—a pimp with a band—and his own, Jimmy James and the Blue Flames. Hendrix was finally in the spotlight, but his guitar reverberated nightly across an empty room at the Cheetah Club. Luckily, his dexterity caught the attention of Keith Richards’ girlfriend, Linda Keith, who kept bringing musicians and producers into the club until Chas Chandler of the Animals decided to fly Jimi to London. Finally, his career picked up speed. The day of Hendrix’ arrival, his guitantics wowed members of Britain’s musical cognoscenti and he found himself a girlfriend who had previously dated Brian Jones of The Rolling Stones and Keith Moon of the Who. Eric Burdon of the Animals who was present that night recalled later that, “It was haunting how good he was.” A week later Chandler brought Jimi to a Cream show so he could meet Clapton. Armed with his guitar he asked if he could jam—a request so ballsy that the guys were caught off guard. Nobody had ever asked to sit in with Cream before. Grafitti around London at the time proclaimed Clapton was God and here was this unknown, wild haired dude clutching a Fender Stratocaster. Jimi plugged in and played Howlin’ Wolf’s “Killing Floor” in triple speed. Eric’s jaw dropped. “I thought, ‘My god, this is like Buddy Guy on acid,’ ” he recalled later.

The years on the Chitlin’ Circuit finally paid off. Hendrix had learned how to entertain audiences from watching Little Richards, how to bend strings from Albert King, sat by the feet of B.B. and picked up techniques from an apt student of T-Bone Walker and Freddie King. The analytical musical cannibal had finally transformed into a virtuoso anxious to take on the world.

The Jimi Hendrix Experience shook the world with its innovative sounds and fierce electric assaults. He used amps and electronic effects as instruments as much as the guitar, creating dive-bombs, haunting feedback, wah-wah modulated melodies, the sound of a rapid-fire machine gun and Delta blues soaked with dripping washes from the uni-vibe. Jimi suddenly found himself as the celestial center of the psychedelic 60’s, embracing road sex and alterations from acid to speed. Although some women were more important to Jimi than others, he shied away from intimacy and commitment, perhaps ingrained from watching his parents. Off stage, Jimi remained polite, but shy and reserved. He kept few close friends and rarely ventured outside the realm of music, socializing almost exclusively with musicians, producers, groupies and hangers-on. That and an incessant tour schedule and recording dates taxed him.

Jimi Hendrix’ performances became erratic during the last two years of his life. He complained that fans came to hear his early hits and watch him play guitar with his teeth. One night he collapsed on stage. While vacationing in Morocco, most likely the only vacation of his life, an old fortune-teller with a Tarot deck drew the Death card. The card could also mean rebirth, but Jimi freaked out. A few weeks before his death, he told a Danish journalist, “I’m not sure I will live to be 28 years old. I mean, the moment I feel I have nothing more to give musically, I will not be around on this planet anymore.”

Before Hendrix went to bed for the last time, he gobbled nine sleeping pills that belonged to a girlfriend. The German pills were stronger than he was used to and sometime in the early morning hours he puked, suffocating himself in deep sleep. Before Jimi went out that last night of his life he had worked on a new lyric: “The story of life is quicker than the wink of an eye.” Jimi’s ended at 27.

Pete Ham

Born: April 27, 1947, in Swansea, Wales
Died: April 24, 1975, in Surrey, England
Bands: The Iveys, Badfinger

A Welsh singer, guitar player, and songwriter, Pete was a dedicated musician who spent as much time as possible honing his craft for his group Badfinger. The group’s predecessor was founded in his hometown Swansea while Pete was still in his teens, and they played a lot of the same venues as Steve Winwood and The Who. A small-time manager named Bill Collins saw the group’s potential and took them under his wing, letting the members live and practice out of his London home. Collins encouraged The Iveys to work on song writing and Pete took the advice to heart.

While the rest of London went psychedelic, The Iveys remained old fashioned in both dress and songwriting. Although the group’s talent attracted attention from several record companies, Collins stayed put, waiting for a better opportunity. A former Beatles roadie, who worked for Apple records, took a strong liking to the group, and Paul McCartney signed them on in 1968. The single “Maybe Tomorrow,” which trailed on the Billboard 100, selecting a follow-up proved difficult. In 1969, Paul McCartney gave them “Come and Get It” and an opportunity to record that track and a pair of their own for the movie The Magic Christian, starring Pete Sellers, Ringo Starr, Raquel Welch, and a John Cleese cameo. Before the release, the group changed their name to Badfinger and went for a slightly harder rock edge.

In November 1970, Badfinger released their second LP (No Dice) and the single “No Matter What” reached number eight on the Billboard charts (“Without You” from the same album became a hit for Harry Nilsson (1971) and Mariah Carey (1993). Signing on with business manager Stan Polley in 1970 proved to be a bad decision. He came highly recommended, but his mob ties and clever financial acrobatics only became obvious to the band members down the road.

Badfinger played acoustic guitars on George Harrison’s monumental triple record All Things Must Pass (1971), sang backup vocals on a Ringo Starr single, and Pete Ham performed “Here Comes the Sun” on acoustic guitar with George Harrison on his Concert for Bangla Desh. Ass, Badfinger’s last record for Apple, failed to reach the Billboard Top 100. The follow-up, the eponymous Badfinger, was met with little enthusiasm, but 1974′s Wish You Were Here was lauded by Rolling Stone magazine and other outlets. In a lawsuit with Warner Brothers, Polley was asked about money supposedly stashed away in an escrow account, but he didn’t respond to the requests since the money had vanished. In retaliation, WB removed Badfinger’s records from its catalog. Pete Ham soon found himself in a rut. He had written Top 10 singles and worked hard for Badfinger, but had no money and little fame to show for it.

April 24, 1975, Pete Ham hanged himself in his studio and his suicide note blamed Stan Polley for his death. Pete Ham’s daughter was born the following month.

Pete Ham and Badfinger performing their pop-classic “Without You”

Badfinger.org
PeteHam.net