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    Lin-Manuel Miranda Releases ‘Warriors’ Album With Eisa Davis

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    He collaborated with Eisa Davis to make a concept album inspired by the 1979 movie. One big change: the main gang is made up of women.“The Warriors,” a 1979 film about a group of gang members fighting their way home to Brooklyn from the Bronx, isn’t the most brutal movie ever made, but it’s not exactly Sesame Street either — when it was first released, it was blamed (on pretty flimsy evidence) for inciting violence. And yet, somehow, Lin-Manuel Miranda found himself watching the movie when he was 4, thanks to a friend’s older brother.Sure, the experience was a little scary. But the film also stuck with him. Miranda, like any number of New Yorkers raised in the ’80s, treasures the sights and sounds of a bygone city preserved in the film, as well as its empathy for its characters. (If some of the gang members seem heroic, well, the story, from a novel by Sol Yurick, is based on an ancient Greek military narrative by Xenophon, “Anabasis.”)Now, after a pivot to television and film, the “Hamilton” creator has spent the last two-plus years working with the playwright and performer Eisa Davis to create a “Warriors” concept album.“You write the things that won’t leave you alone, and this won’t leave me alone,” Miranda said in a joint interview with Davis, conducted at the New York Public Library for the Performing Arts.The album was released on Friday by Atlantic Records. You can listen here.What is ‘The Warriors’ about?Miranda offers a succinct plot summary: “All the gangs of New York are meeting in the South Bronx for this unprecedented peace summit. Cyrus, the charismatic leader who has called the summit, is assassinated. The assassin blames the Warriors, and the Warriors have to fight their way home to Coney [Island], while every other gang in the city is trying to kill them.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Lin-Manuel Miranda’s Next Project: A ‘Warriors’ Album With Eisa Davis

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      The recording, inspired by Walter Hill’s 1979 film about a gang making a perilous trek through New York City, will be available on Oct. 18.In the nine years since “Hamilton” opened on Broadway, Lin-Manuel Miranda has acted (in the film “Mary Poppins Returns” and the HBO series “His Dark Materials,” among others), composed (songs for “Encanto” and “Moana,” for example) and even tried his hand at movie directing (“Tick, Tick … Boom!”).Now he’s returning to his roots, sort of. Miranda, who rose to fame as a musical theater savant, has been working with the playwright Eisa Davis on a concept album inspired by a cult 1979 action film, “The Warriors.” And on Thursday, Miranda and Davis announced that Atlantic Records will release the album on Oct. 18.The album’s executive producer is the rapper Nas; the producer is Mike Elizondo. The album will have 26 songs; the names of the singers have not yet been announced.The album has been in the works for three years. It is unclear if it will lead to a stage production, but “Hamilton” was initially conceived as a concept album, and there is a history of concept albums evolving into stage productions, from “Jesus Christ Superstar” to “Hadestown.”“The Warriors,” based on a 1965 novel that in turn was based on an ancient Greek work, tells the story of a street gang facing a variety of challenges as it retreats from the Bronx to its home base on Coney Island. The novel, also called “The Warriors,” was written by Sol Yurick, and the ancient Greek text, “Anabasis,” by Xenophon; the film was directed by Walter Hill.Miranda, 44, is one of the few musical theater composers to become a celebrity based on his stage work. But “Hamilton,” about the nation’s first Treasury secretary, was a rare accomplishment, winning the Pulitzer Prize as well as 11 Tony Awards, including for best musical and Miranda’s book and score.His other best-known musical is “In the Heights,” for which he wrote the score and Quiara Alegría Hudes wrote the book. Since “Hamilton,” he contributed lyrics to the short-lived musical “New York, New York,” but has not written a new stage production.Davis, 53, is a longtime friend of Miranda and has worked as an actress, a playwright, a singer and a screenwriter. She performed on Broadway in “Passing Strange,” and has numerous credits as a performer Off Broadway and on television and film. Among her plays is “Bulrusher.” More

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      Henry Fambrough, Last of the Original Spinners, Dies at 85

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      He was a mainstay of the group that was known for hits like “Could It Be I’m Falling Love,” from its inception in 1954 until his retirement last year.Henry Fambrough, the last surviving original member of the hit-making R&B vocal group the Spinners, died on Wednesday at his home in Herndon, Va. He was 85.His death was announced by a spokeswoman for the group, Tanisha Jackson. She did not specify a cause.Mr. Fambrough died less than a year after he announced his retirement, and just a few months after the Spinners’ classic 1970s lineup of Mr. Fambrough, Billy Henderson, Pervis Jackson, Bobbie Smith, Philippé Wynne and John Edwards was inducted into the Rock & Roll Hall of Fame.That same year, the group donated 375 of its performance outfits to the Motown Museum in Detroit. Touring Motown’s Studio A that day, Mr. Fambrough told reporters that he “used to dream about this place” before the Spinners began recording there in the 1960s — and that he sometimes had to convince his wife that he was going to the studio when he left the house in the middle of the night.The Spinners in an undated photo, from left: Bobby Smith, Billy Henderson, Pervis Jackson, Mr. Fambrough and Philippé Wynne.Echoes/Redferns via Getty ImagesOriginally known as the Domingoes, the Spinners were formed in 1954 in Ferndale, Mich., a northern suburb of Detroit. The group joined the Motown roster a decade later but had only one big hit for the label, “It’s a Shame,” which was co-written and produced by Stevie Wonder and peaked at No. 14 on the Billboard Hot 100 in 1970.They hit their artistic and commercial stride after they signed with Atlantic Records in 1972 and began working with the producer Thom Bell. The ensuing string of hits began with the Top 10 singles “I’ll Be Around” and “Could It Be I’m Falling in Love” and included “Then Came You,” a collaboration with Dionne Warwick that reached No. 1 on the Hot 100 in 1974. Their last hit was a medley of “Cupid” and “I’ve Loved You for a Long Time” in 1980.The Spinners were nominated for six Grammy Awards, though they never won. They were inducted into the National Rhythm & Blues Hall of Fame in 2015.Mr. Smith and Mr. Wynne handled most of the group’s lead vocals, but Mr. Fambrough took or shared the spotlight on a few songs, notably “Ghetto Child,” a No. 4 R&B hit in 1973.Henry Lee Fambrough was born in Detroit on May 10, 1938. His survivors include his wife of 52 years, Norma Fambrough; a daughter, Heather Williams; and a sister, Martha.Like many other groups of their era who no longer have any original members, the Spinners have continued touring. After Mr. Fambrough announced his retirement in April 2023, he said in a statement: “The Spinners are still here and still singing for our people who want to hear us. And that’s not going to change. We’ll still be there for them.”The New York Times contributed reporting. More

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      Les McCann, a Jazz Pianist and Singer, Dies at 88

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      He released more than 50 albums but had his greatest commercial success with “Compared to What,” a recording that came together at the last minute in 1969.Les McCann, a jazz pianist and vocalist who was an early progenitor of the bluesy, crowd-pleasing style that came to be known as soul jazz, and who, although he released more than 50 albums, was best known for a happenstance hit from 1969, died on Friday in Los Angeles. He was 88.His death, at a hospital where he had been admitted with pneumonia, was confirmed on Monday by Alan Abrahams, his longtime manager and a producer of several of his albums. Mr. McCann had lived for the past four years at a skilled nursing facility in the Van Nuys neighborhood of Los Angeles.Mr. McCann’s earthy, uplifting approach to music was a product of his upbringing in a churchgoing family. As he came to emphasize his singing more and play electric keyboards, his albums, released from 1960 to 2018, influenced funk and R&B artists and became a rich vein for hip-hop artists to mine.His greatest commercial success, though, came purely by chance, in June 1969 at the Montreux Jazz Festival in Switzerland.Already a recording veteran by then, with albums on Pacific Jazz, Limelight and, most recently, Atlantic, Mr. McCann was appearing at the festival for the first time. After he and the tenor saxophonist Eddie Harris, also an Atlantic artist, played separate sets, they gave an unscheduled performance together, with Mr. Harris as well as the expatriate trumpeter Benny Bailey joining Mr. McCann’s trio.Neither had played with Mr. McCann before, and there was no time for rehearsal. But the performance was to be recorded and filmed for broadcast.Despite the pressure, or perhaps because of it, as Mr. McCann recalled in the liner notes for the 1996 CD reissue of the concert album, which was released in 1969 as “Swiss Movement,” “Just before we went onstage, and for the first time in my life, I smoked some hash.”When he got to the bandstand, he wrote, “I didn’t know where the hell I was. I was totally disoriented. The other guys said, ‘OK, play, man!’ Somehow I got myself together, and after that, everything just took off.”The highlight of the concert was Eugene McDaniels’s protest song “Compared to What.” Stretching past eight minutes and featuring Mr. McCann’s churchy vocals, “Compared to What” would be released as a single and peak at No. 35 on the Billboard R&B chart. “Swiss Movement” was nominated for a Grammy Award and went on to sell a half-million copies.Mr. McCann and Mr. Harris reconvened in 1971 for the Atlantic studio album “Second Movement.” They also returned to Montreux for the 1988 festival, where they performed an obligatory reprise of “Compared to What.”Leslie Coleman McCann was born on Sept. 23, 1935, in Lexington, Ky., to James and Anna McCann. His father was a water maintenance engineer.His family was a musical one; he, his four younger brothers and his sister all sang in the Shiloh Baptist Church choir. Mr. McCann began playing piano at age 3 and a few years later had a music teacher, who charged 35 cents a lesson. (Those lessons did not last long: She died only six weeks after he began studying with her.) While attending Dunbar High School in Lexington, he played drums and sousaphone in the marching band.He left Kentucky at 17 when he enlisted in the Navy and was posted to the San Francisco area.Les McCann performing at the Newport Jazz Festival in 1974. He had been performing in clubs in Los Angeles when he was first offered a record contract.Tom Copi/Michael Ochs Archive, via Getty ImagesDuring his time in the Navy, he sang on “The Ed Sullivan Show” after winning a talent contest. On his nights off, he would spend time at the Black Hawk, a San Francisco jazz nightclub.After leaving the Navy, Mr. McCann moved to Los Angeles, where he studied music and journalism at Los Angeles City College and hosted a Monday night jam session at the Hillcrest Club. It was during that time that he first connected with Mr. McDaniels.In a 2017 interview for the magazine Oxford American, Mr. McCann was asked about Mr. McDaniels’s composition “Compared to What.” “When I heard him,” he said, “I hired him in my band — one of the best singers I’ve ever heard. And I found out he was also a writer. We stayed in touch for years after that, and he would always send me songs. I can’t tell you how many songs he sent me, but that one stuck with me.”Mr. McCann was performing in Los Angeles clubs when a representative of Pacific Jazz Records heard him and asked if he had a record contract. When told no, the representative pulled one from his pocket and offered it to him.Mr. McCann recorded more than a dozen albums for the label from 1960 to 1964, usually leading a trio under the businesslike moniker Les McCann Ltd., but sometimes adding guest horns or orchestral accompaniment and sometimes collaborating with the guitarist Joe Pass. He also took part in Pacific Jazz sessions led by the saxophonist Teddy Edwards, the Jazz Crusaders and others. Les McCann Ltd. backed the singer Lou Rawls on his debut album, “Stormy Monday,” released by Capitol in 1962.Mr. McCann then moved to Limelight, a subsidiary of Mercury Records run by Quincy Jones, for which he made six albums from 1964 to 1966. He signed with Atlantic in 1968; on his first album for the label, “Much Les,” he was accompanied by a string section.He would make 11 albums for Atlantic. On two of them, “Invitation to Openness” (1971) and “Layers” (1972), he played a host of keyboards and synthesizers, an avenue he had been inspired to explore after hearing the keyboardist Joe Zawinul’s work with Miles Davis. Those albums have been cited as seminal in popularizing electric keyboards.Later in his Atlantic years, Mr. McCann was featured more as a singer in a slicker, more pop-oriented context. This continued through the 1970s and ’80s on albums for the Impulse!, A&M and Jam labels. But he also remained committed to the piano. In 1989, when he was a guest on the NPR show “Piano Jazz,“ hosted by his fellow pianist Marian McPartland, it was as both a singer and a player. The two closed the broadcast with a duet on “Compared to What.”Mr. McCann had returned to emphasizing his piano playing by 1994, when he released “On the Soul Side,” the first of three albums for the MusicMasters label, which reunited him with Eddie Harris and Lou Rawls. But a stroke later that year forced him to once again focus on singing, which he did through the end of the decade.He later recovered fully and resumed recording. He released albums on a German label in 2002 and on a Japanese label two years later. His last recording was the holiday-themed “A Time Les Christmas,” which he released himself in 2018.In December, Resonance Records released the archival album “Les McCann — Never a Dull Moment! Live From Coast to Coast (1966-1967),” comprising concert recordings from Seattle and New York.Information about his survivors was not immediately available.Mr. McCann’s music has been sampled by nearly 300 hip-hop artists, including Eric B. & Rakim, A Tribe Called Quest, Cypress Hill, Nas, De La Soul, Snoop Dogg, the Notorious B.I.G. and Sean Combs.Mr. McCann performing at the 40th Montreux Jazz Festival in 2006. He also painted and was a photographer.Martial Trezzini/European Pressphoto AgencyIn 1975, Mr. McCann became the first artist in residence at Harvard University’s Learning From Performers program. He was also a devoted painter and photographer of jazz culture and Black history, and his images have been included with some of his albums. His work was collected in 2015 in the book “Invitation to Openness: The Jazz & Soul Photography of Les McCann 1960-1980.”In an interview for the preface to that book, Mr. McCann was asked how he had achieved intimacy with his photographic subjects. He responded: “I trust my intuition, you see,” adding, “I’m better off when I just do what I do on the piano: play.”Rebecca Carballo More

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      Charlie Thomas, a Drifter Nearly All His Life in Song, Dies at 85

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      He was heard on hits like “There Goes My Baby,” “Under the Boardwalk” and “Up on the Roof.” He kept singing them for decades.Charlie Thomas, who recorded memorable songs like “There Goes My Baby” and “Under the Boardwalk” with the Drifters, the silken-voiced R&B group that had a long string of hits from 1959 to 1964 and was inducted into the Rock & Roll Hall Fame, died on Jan. 31 at his home in Bowie, Md. He was 85.The singer Peter Lemongello Jr., a close friend, said the cause was liver cancer.Mr. Thomas, a tenor, was a Drifter for more than 60 years, from the version of the group that had its first hits in the late 1950s to the version he led and toured with until the pandemic struck.“He was aging, but he was active almost every weekend,” Mr. Lemongello, a former lead singer of the Crests, which performed on bills with Mr. Thomas, said in a phone interview. “Unfortunately, he went from being active to being at home and he started going downhill.”Mr. Thomas became a Drifter by chance. He was singing with the Crowns, an R&B group, at the Apollo Theater in Harlem in 1958 when they came to the attention of George Treadwell, the manager of the original Drifters, who were also on the bill.After one of the Drifters got drunk and cursed out the owner of the Apollo and the promoter of the show, the music historian Marv Goldberg wrote, Mr. Treadwell, who owned the name, fired all its members and replaced them with members of the Crowns, including Mr. Thomas and Ben Nelson, who would later be known as Ben E. King, and rechristened them the Drifters.Asked how it felt to suddenly become a Drifter, Mr. Thomas told Mr. Goldberg: “As a kid, I used to play hooky to see the Drifters at the Apollo. It felt good!”The new Drifters fulfilled the former group’s road obligations and began recording the next year for Atlantic Records, produced by the songwriting team of Jerry Leiber and Mike Stoller.Mr. King had written “There Goes My Baby” for Mr. Thomas to sing. But Mr. Thomas froze at the studio microphone, according to Billy Vera’s liner notes for “Rockin’ and Driftin’: The Drifters Box” (1996), and Mr. King took over. The song rose to No. 2 on the Billboard Hot 100 in 1959.The hits continued for several years, as the Drifters became one of the most successful groups of the era. They followed “There Goes My Baby” with songs like “This Magic Moment,”“Up on the Roof,” “Under the Boardwalk,” “On Broadway” and “Saturday Night at the Movies.” “Save the Last Dance for Me” was their only song to reach No. 1.Mr. Lewis in performance in Holmdel, N.J., in 2016. He performed for many years with a group billed as Charlie Thomas’s Drifters.Bobby Bank/Wireimage, via Getty ImagesCharles Nowlin Thomas was born on April 7, 1937, in Lynchburg, Va. His father, Willis, was a minister, and his mother, Lucinda (Nowlin) Thomas, was a homemaker whose singing voice Charlie admired.“My dad was a holy roller preacher down in Virginia,” Mr. Thomas said in an interview in 2013 with Craig Morrison, a musician and ethnomusicologist. “At my father’s church, I used to take the tambourine and do collection, and my mother used to sing in the choir. That’s where I really got my training from singing.”He moved to Harlem with his mother and a sister when he was 10 and eventually got a job pushing a hand truck in the garment district. He sang on street corners and came to the attention of Lover Patterson, the Crowns’ manager, who hired him in 1958. The group recorded “Kiss and Make Up” for the songwriters’ Doc Pomus and Mort Shuman’s short-lived RnB label before Mr. Treadwell turned them into the Drifters.The lead singers on most of the group’s hits were Mr. King and, after he left for a solo career in 1960, Rudy Lewis and Johnny Moore, who had been in the group’s first incarnation and rejoined it in 1964.But Mr. Thomas sang lead on “Sweets for My Sweet,” which reached No. 16 on the Hot 100 in 1961, and “When My Little Girl Is Smiling,” which peaked at No. 28 the next year. Mr. Thomas also took over the lead on the ballad “I Don’t Want to Go On Without You” a day after Mr. Lewis’s death in a hotel room in 1964.“When he died, I was the one who closed his eyes,” Mr. Thomas told Goldmine magazine in 2012. He added, “I really do love that song because that one, in particular, brings back a lot of memories.”The Drifters broke up in the late 1960s, but they didn’t disappear. Some members headed to England, where they performed as the Drifters and were managed by Mr. Treadwell’s widow, Faye, who vigorously defended her legal right to the name.Bill Pinkney, a member of the mid-1950s lineup fired by Mr. Treadwell, went on to form a group called the Original Drifters. He died in 2007, but the group continues to perform under that name.Mr. Thomas later joined them briefly before starting Charlie Thomas’s Drifters, which performed until 2020. Still other groups have claimed the Drifters name over the years as well.Mr. Thomas is survived by his wife, Rita Thomas; his daughters, Crystal Thomas Wilson and Victoria Green; his sons, Charlie Jr., Michael Sidbury and Brian Godfrey, and many grandchildren and great-grandchildren.When the Rock & Roll Hall of Fame inducted seven of the Drifters in 1988, it recognized members of the 1953-58 lineup — Mr. Pinkney, Clyde McPhatter, Gerhart Thomas and Johnny Moore — as well as those from the later years: Mr. Thomas, Mr. King and Mr. Lewis.“Time has hardly made their work seem quaint,” Michael Hill wrote in the induction essay, “rather their work has withstood the ravages of the years to become even more special, more knowing.” More

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      Earl McGrath Was a Character. His Closet Was Filled With Rare Recordings.

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      When the art and music world figure died in 2016, he left behind a trove of reels from his years scouting for his own label and the one he ran for the Rolling Stones.An outsize character, Earl McGrath had variously worked as a record company head, film executive, screenwriter and art dealer before he died in early 2016 at age 84. Afterward, the contents of his Midtown Manhattan apartment were carefully cataloged and valued. His art collection, including prized works given to him by Andy Warhol, Cy Twombly and Ed Moses, was sent to auction at Christie’s. His papers, containing correspondence with Jack Kerouac, Allen Ginsberg and Stephen Spender, were donated to the New York Public Library’s archives.But the boxes stored at the top of McGrath’s large walk-in closet — filled with old reels of recordings — were largely overlooked. They were about to be sold blind to a record wholesaler when the journalist Joe Hagan stepped in.Hagan had been researching “Sticky Fingers,” his biography of the Rolling Stone magazine co-founder Jann Wenner, when he stumbled upon McGrath. “Little known outside a rarefied ’70s jet set of rock ’n’ rollers, movie stars, socialites and European dilettantes,” Hagan would write, “his name was once a secret handshake.”Rummaging through McGrath’s closet in the spring of 2017, the first tape Hagan discovered was an unedited master copy of the Rolling Stones’ 1978 album, “Some Girls.”“I instantly broke into a cold sweat,” Hagan said in a phone interview. He also found rare and unreleased recordings from Hall & Oates, the New York Dolls’ David Johansen, Terry Allen and the Jim Carroll Band. “It was like peeking through a keyhole in time. I thought, This is a real treasure trove — wouldn’t it be great if people could hear this stuff?”After purchasing the roughly 200 tapes from the McGrath estate, Hagan spent several years researching and compiling the material, along with a co-producer, Pat Thomas. This week, “Earl’s Closet: The Lost Archive of Earl McGrath, 1970-1980” will be released by the reissue label Light in the Attic. Its 22 tracks feature material collected by McGrath during his years as an Atlantic Records executive, where he operated his own imprint, Clean, before he later ran the Rolling Stones’ label.Moving musically and geographically through the 1970s, from California country-rock to New York post-punk, “Earl’s Closet” is a fittingly eclectic sampler that places the hillbilly soul of Delbert & Glen alongside the surrealist warbling of the Warhol “superstar” Ultra Violet.“I wanted the record to capture Earl’s spirit,” Hagan said. “He’s really the muse of the whole thing. It’s almost like being at a party at Earl’s house: You don’t know who you’re going to meet.”To that end, the collection’s through line is McGrath’s role as an exuberant social connector.“If you were to add up Earl’s achievements in terms of record making or art sales, that wasn’t who he was,” Jann Wenner said in an interview. “He thrived on his friendships. He loved talented people, interesting people — and his range of acquaintances were remarkable, literally from Zen masters to Z Listers.”In an email, the Rolling Stones’s Mick Jagger remembered McGrath as a “joker,” who “knew everybody in New York and beyond and was a lot of fun to be with.”McGrath introduced the actress Anjelica Huston to her husband, the sculptor Robert Graham, who died in 2008. “He was funny,” Huston said of McGrath. “He was daring. In his own way, Earl, he was the glue that held a lot of people together.”From left: The poet-turned-rocker Jim Carroll, McGrath and Mick Jagger. Camilla McGrathMcGRATH’S HUMBLE CHILDHOOD in the Midwest was far from the A-list world he would navigate so easily as an adult, but he could spin it into a more stately tale.“If you asked Earl, ‘Where are you from?’” the artist Ed Ruscha said, “He’d say, ‘I’m from Superior — of course — Wisconsin. And I lived on Grand — naturally — Avenue.’ That’s the way he talked.”McGrath’s blithe manner belied the troubled home life he endured as a youth, which included physical abuse at the hands of his father. “He would get drunk and beat him,” said Valerie Grace Ricordi, a family friend who now serves as executive director of the McGrath family foundation. “Earl never understood what he’d done wrong in his father’s eyes.” According to interviews with several of McGrath’s friends and biographical details included in Hagan’s liner notes and an essay in a 2020 photo book, at age 14, after his father broke his arm, McGrath left home for good — moving into a local YMCA and supporting himself as a dishwasher until he could get out of town.Largely self-educated, McGrath found solace devouring literature, poetry and philosophy, and came to see himself as a Proustian character. Transforming from dishwasher to aesthete, as a young man McGrath evinced the qualities that would carry him through life: a disarming sense of humor and an uncanny ability to befriend the cultured, the famous and the wealthy.In between stints as a merchant seaman, McGrath drifted out to California, corresponding and visiting with Aldous Huxley in Los Angeles and Henry Miller in Big Sur. He also developed an unlikely friendship with the English poet W.H. Auden, who would provide introductions for McGrath when he moved in the early ’50s to New York City, where he fell in with a lively crowd that included the writer Frank O’Hara and the pop art godfather Larry Rivers.In 1958, the 27-year-old McGrath began working as an assistant to the composer Gian Carlo Menotti, helping organize the inaugural Spoleto Festival in Umbria, Italy. There, he struck up an unlikely romance with an heiress, Camilla Pecci Blunt, the daughter of a Florentine marchesa and an American financier. The couple married in 1963 against the wishes of her family, and while they endured long stretches of physical separation in subsequent decades, he remained committed to their union.One of his next moves was to Los Angeles, where McGrath found his way into the movie business and developed a tight social circle of Hollywood literati, including Joan Didion, who dedicated her 1979 essay collection, “The White Album,” to McGrath. The writer Eve Babitz’s biographer, Lili Anolik, said McGrath “was one of the most influential and damaging people in her life,” explaining how Babitz was working as a fine artist and album designer in the early ’70s when McGrath offhandedly questioned one of her color choices. Her confidence shot, “she switched her focus to writing,” Anolik said. “So, we, the culture, owe Earl big in a way.”Joan Didion and McGrath in the early 1970s. The writer dedicated her essay collection “The White Album” to him.Camilla McGrathBUT McGRATH MADE perhaps his biggest impact with Atlantic Records.When he met the label’s co-founder Ahmet Ertegun in the early ’60s, the two sparked an immediate friendship. “Earl made him laugh,” Hagan said. “Ahmet really just loved having him around.” McGrath’s European society connections also helped Ertegun impress Mick Jagger, who brought the Rolling Stones into the Atlantic fold in 1971.That same year, Ertegun — along with Robert Stigwood, manager of the Bee Gees and Eric Clapton — decided to back McGrath and give him his own Atlantic-distributed label, Clean Records (the company motto: “Every man should have a Clean record”). McGrath’s West Hollywood home became Clean’s headquarters, where he’d regularly throw parties — attended by a mix of Cool School artists, Old Hollywood grandees and New Journalism figures — in lieu of A&R meetings.“He’d have these afternoon soirees where there’d be some 18-year-old musician on the edge of OD’ing in one room, and outside Joseph Cotten and Patricia Medina would be strolling through the lawn,” said the Texas singer-songwriter Terry Allen, among the first artists McGrath signed. “You never knew what was going to happen when you went to Earl’s.”One of the groups that McGrath discovered was a fledgling folk-soul duo from Philadelphia, Daryl Hall and John Oates, who had been struggling to find a record deal when their music publisher flew them out to meet McGrath in 1972.“There was all these interesting people hanging out,” Hall remembered in an interview. “One of the Everly Brothers was there and I think a young Harrison Ford, too.” They played McGrath a few songs. “Next thing we knew, we were signed.”Clockwise from left: Robert Stigwood, Ahmet Ertegun, McGrath and Eric Clapton returning from Barbados in 1974.Camilla McGrathThe history of Clean Records might have turned out quite differently had Hall & Oates actually recorded for the company. Ertegun, sensing the duo’s hit potential, snatched them from McGrath and put them on Atlantic proper, where they sold millions of records. Clean, meanwhile, would release just a handful of poorly selling titles before ceasing operations in 1973.Moving to New York in the early ’70s, McGrath became an omnipresent figure on the city’s pre-punk scene. “I used to see him everywhere,” said Johansen, the New York Dolls singer whose earliest solo work appears on “Earl’s Closet.” “Funny thing is, I didn’t know Earl as a music business guy — it was just one of the things he did.”McGrath’s real passion was bringing together his many fabulous friends. The McGraths’ West 57th Street apartment, opposite Carnegie Hall, would become the site of endless dinners and parties attended by a cross-section of cultural giants: where the cast of “Star Wars” might run into Jasper Johns or Robert Rauschenberg; where the poet-turned-songwriter Jim Carroll mingled with the silent-film-era pioneer Anita Loos; and where Jagger first laid eyes on his future partner Jerry Hall. (The gatherings were often photographed by Camilla McGrath, with a collection of the photos published in a 2020 book from Knopf, “Face to Face.”)In 1977, the Rolling Stones were looking for someone to run their record label, replacing the longtime company head Marshall Chess. With Ertegun’s backing, McGrath lobbied for the gig in a letter to Jagger, admitting that he hadn’t been very successful in the music business, but “I was successful enough to marry a princess in Italy.” He got the job.“He was a very unusual choice to run a record company,” Jagger said. “But he had a great flair.”A number of the artists represented on “Earl’s Closet” are acts McGrath considered for the Stones label — including the Detroit saxophonist Norma Jean Bell and the Texas soul combo Little Whisper and the Rumors — but whose signings never came to fruition. “Earl was good at recognizing talent, but he wasn’t much for following through,” Hagan said.McGrath’s tenure did ultimately produce some successes: He negotiated a deal to bring the acclaimed reggae star Peter Tosh to the label in 1978, and a year later, he signed Carroll. Carroll, who died in 2009, noted in a 1981 interview with Musician magazine that McGrath was an anomaly in the music business. “He understood very well what I was doing,” Carroll said then. “He had some literary references that no other record executive would’ve had.”McGrath and Jagger after one of the legendary dinners at the McGrath home, where artists of different types mingled.Camilla McGrathAfter a few years in the Stones’ employ, McGrath found himself caught in the middle of the increasingly fractious relationship between Jagger and Keith Richards. As the guitarist recounted in his 2010 memoir “Life,” at one point he threatened to throw McGrath off the roof of Electric Lady Studios if he didn’t rein Jagger in. Angling to launch a solo career, Jagger was more than happy to let band relations, and the label’s business, sour. McGrath resigned his post with Rolling Stones Records in 1981, effectively ending his career in the music business.OVER THE NEXT three decades, McGrath would bounce between coasts, opening and closing art galleries in Los Angeles and New York. Although he and Camilla never had a family of their own, over time McGrath became godfather to nearly 30 children. Late in his life, McGrath’s older sister finally revealed the secret that had been kept from him: His birth had been the result of an affair between his mother and his father’s brother.As McGrath reckoned with his complicated past, an even bigger blow came with Camilla’s death in 2007, following a series of strokes. Within a few years, McGrath developed serious health problems. On Jan. 7, 2016, he died at NewYork-Presbyterian Hospital after suffering a brain hemorrhage.McGrath had been happy over the years to remain out of the spotlight. “He didn’t want to be a public figure, he only wanted to be well known amongst the well-known,” Hagan said. With the release of “Earl’s Closet,” McGrath’s legacy — his unique gifts as a kind of artistic alchemist — is finally being given its due.“It feels like we tapped into some kind of core sampler of the ’70s,” Hagan said. “It’s the story of the culture and where the artistic emphasis was going, about the end of a certain period and the beginning of another. And, of course, the element that threads everything together on this record — just like he did in life — is Earl McGrath.” More