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Billy Jones, Baby's All Right Owner and Key Player in New York Music Scene, Dead at 45

Billy Jones, Baby's All Right Owner and Key Player in New York Music Scene, Dead at 45

Yahooa day ago

Anyone who frequented the live music scene in New York over the last decade has a favorite story about Baby's All Right, the 280-seat club in Brooklyn's Williamsburg neighborhood. There was the night Billie Eilish, then 15, played songs from her first EP and a cover of Drake's 'Hotline Bling.' The time Mac DeMarco, with the help of some wine, wrote a 'theme song' for the club. Or the night Zoë Kravitz's band Lolawolf played a set to an audience that included her dad Lenny and Anne Hathaway.
All those memories, and many more, are the legacy of Billy Jones, the club co-owner who died Saturday of what a spokesperson for the venue called 'a highly aggressive case of glioblastoma,' a malignant brain tumor. Jones was 45.
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Jones arrived in New York in 2002 after earning a degree in media arts at Salisbury University in Maryland. As Jones and others saw, a new generation of indie and dance artists was rising up and hungry for places to play. 'Chris from Grizzly Bear worked at a cafe on Bedford, and so did Kyp from TV on the Radio,' Jones said in an interview in 2023. 'It would be like, 'Maybe that was Karen O that walked by? I'm not quite sure.' … Whatever band would come out that week was like the best band ever.'
Jones himself was lead singer in his own band, Other Passengers, in the 2000s and was a DJ. Looking back at those years, and the burgeoning Brooklyn music scene, he said in the same interview, 'There was a feeling of calm before the storm.'
Jones established himself as a booker at city clubs like Pianos NYC, the Dance, and Sin-é (which, in an earlier incarnation, had fostered Jeff Buckley). In 2013, he and a business partner, Zachary Mexico, opened Baby's All Right, a combination bar, dining room, and performance space. With its astrology charts and shiny lighting, the club always felt a little otherworldly but quickly became a gathering spot for the Brooklyn and New York music community. Dev Hynes played a New Year's Eve party there, and the club also hosted early shows by SZA, Beach House, and Ariel Pink.
Jones himself looked the part of an indie entrepreneur; one report described him as wearing 'denim bell bottoms with the messy haircut of a 20-something.' But he was also admirably ambitious. Just before the pandemic, he was hoping to open a Los Angeles version of Baby's All Right and also owned the recently closed Billy's Record Salon, a record store near the Brooklyn space. He also recently opened two new clubs in the city's East Village neighborhood: Night Club 101 and the jazz-leaning Funny Bar. As he told Rolling Stone in 2020 as the lockdown began, ''Everyone throws around the word 'resilient' right now. But there's got to be a way to do it.'
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A timeline of Sly Stone's career in 10 essential songs
A timeline of Sly Stone's career in 10 essential songs

Los Angeles Times

time10 hours ago

  • Los Angeles Times

A timeline of Sly Stone's career in 10 essential songs

Sly Stone's hit-making era lasted all of six years — from the end of 1967 to the end of 1973 — but the music he made over that half-decade helped map the future. The singer, songwriter, producer and style icon, who died Monday at 82, came up as a DJ in San Francisco before putting together the Family Stone: a multiracial band of men and women that melted the lines between funk, R&B, pop and psychedelic rock. The group's music went on to influence multiple generations of artists, among them Prince, the Red Hot Chili Peppers, Outkast and the Roots; as a source of countless samples, Stone's songs represent a crucial part of hip-hop's DNA. Here, in the order they were released, are 10 of his essential recordings. 'Dance to the Music' (1967) Stone is said to have hated his breakout single, which he supposedly made at the behest of Clive Davis after the record exec requested something more commercial than the Family Stone's coolly received debut LP, 'A Whole New Thing.' Six decades later, though, 'Dance to the Music' still communicates a sense of boundless joy — even as it puts across a flicker of doubt about going so nice-and-smiley. Yowls trumpeter Cynthia Robinson in the song's bridge: 'All the squares, go home!' 'Everyday People' (1968)In the pantheon of catchphrases sprung from pop songs, few loom larger than 'Different strokes for different folks,' a perfectly casual bit of come-together sociology from the first of the Family Stone's three Hot 100-topping singles. Also worthy of canonization: Larry Graham's thrumming one-note bass line. Twenty-four years later, Arrested Development put 'Everyday People's' groove back on the charts in its 'People Everyday.' 'Sing a Simple Song' (1968)Funk as pure — and as low-down — as funk gets. 'Stand!' (1969)It's impossible to say too much about Stone's rhythmic innovations. But the title track from his 1969 LP — a platinum-seller enshrined in the Library of Congress' National Recording Registry — is perhaps his most impressive harmonic achievement, with a key change in the verse that lends a touch of melancholy to the song's message of protest. 'I Want to Take You Higher' (1969)Issued as the B-side of the 'Stand!' single, this bluesy psych-rock barnburner went on to become the high point of the Family Stone's set at Woodstock: a pummeling barrage of brass and wah-wah delivered at around 4 in the morning. 'Thank You (Falettinme Be Mice Elf Again)' (1969)Stone's second No. 1 boasts two indelible riffs likely familiar even to listeners born a decade or two after 'Thank You' came out: In 1989, Janet Jackson sampled the song's pulsating guitar lick for 'Rhythm Nation'; in 1995, Brandy borrowed Graham's pioneering slap-bass part for 'Sittin' Up in My Room.' 'Everybody Is a Star' (1969)True to its title, this shimmering midtempo number features strong lead-vocal turns by Stone, Graham and his siblings Rose and Freddie. (That said, Rose Stone all but steals the show.) 'Family Affair' (1971) Stone's 1971 album 'There's a Riot Goin' On' is widely regarded as a turn toward a darker style shaped by the musician's drug use and his political disillusionment. And certainly the dry croak of his singing voice in the LP's lead single suggests he'd enjoyed healthier times. Yet the musical invention at play in 'Family Affair,' which spent three weeks atop the Hot 100 — and helped drive 'Riot' to Stone's only No. 1 showing on Billboard's album chart — makes clear that he hadn't lost his creative drive: It's a startling piece of experimental R&B with Billy Preston on organ, Bobby Womack on guitar and a primitive drum machine coughing up a mutant funk beat. Beautiful if foreboding. 'If You Want Me to Stay' (1973)With Stevie Wonder having supplanted him as soul music's premier visionary, Stone was flailing by the mid-1970s, and not unself-consciously: It's easy to interpret his final Top 20 pop hit as a warning to the record industry that he's prepared to take his ball and go home. ('You can't take me for granted and smile / Count the days I'm gone / Forget reaching me by phone / Because I promise I'll be gone for a while.') Funny — or is it? — how free he sounds. 'Que Sera, Sera (Whatever Will Be, Will Be)' (1973)A churchy rendition of Doris Day's signature song by a man who truly knew too much.

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