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      Naomi Judd Died of a Self-Inflicted Gunshot Wound, Her Daughter Says

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      The actress Ashley Judd said in a television interview on Thursday that her mother was suffering from mental illness when she died last month.When Naomi Judd, the Grammy-winning country music singer, died last month, her daughter Ashley Judd said that she had lost her mother to the “disease of mental illness.” On Thursday, Ms. Judd was more candid, saying in a television interview that her mother had died of a self-inflicted gunshot wound at her home in Tennessee, and encouraging people who are distressed to seek help.Ms. Judd, an actress, told Diane Sawyer on “Good Morning America” that she was speaking out about her mother’s death because her family wanted to share the information before it became “public without our control.”“We’re aware that although grieving the loss of a wife and a mother, we are, in an uncanny way, a public family,” Ms. Judd said. “So that’s really the impetus for this timing. Otherwise, it’s obviously way too soon. So that’s important for us to say up front.”Naomi Judd and her other daughter, Wynonna Judd, dominated the country music charts in the 1980s as the mother-daughter duo the Judds. Naomi Judd, 76, died on April 30, a day before the duo was inducted into the Country Music Hall of Fame.In the interview on Thursday, Ashley Judd said she was visiting her mother at her home outside Nashville when she died. Ms. Judd said she went outside to greet a friend of her mother’s who had stopped by, and when she went upstairs to tell her mother that the friend had arrived, she found her mother dead.“Mother used a firearm,” Ms. Judd said. “That’s the piece of information that we are very uncomfortable sharing, but understand that we’re in a position that if we don’t say it, someone else is going to.”Ashley Judd, left, joined her sister, Wynonna Judd, as the Judds were inducted into the Country Music Hall of Fame on May 1, a day after Naomi Judd’s death.Wade Payne/Invision/Associated PressSuicides have historically accounted for a majority of gun deaths in the United States.In 2020, 53 percent of suicides involved firearms, according to the Centers for Disease Control and Prevention. Gun deaths reached the highest number ever recorded in the United States in 2020, when more than 24,000 people died by gun-related suicide and more than 19,350 people died by gun-related homicide.Ms. Judd said that she had suffered “grief and trauma” since her mother’s death, and that it was important to distinguish her mother from her mental illness.“Mom was a brilliant conversationalist, she was a star, she was an underrated songwriter,” Ms. Judd said. “And she was someone who suffered from mental illness, you know, and had a lot of trouble getting off the sofa, except to go into town every day to the Cheesecake Factory, where all the staff knew and loved her.”Naomi Judd was born in Ashland, a coal-mining town in northeastern Kentucky, and lived in California before moving to Nashville in 1979, as a single mother with two daughters.Ms. Judd supported her family by working as a nurse while pursuing a music career with Wynonna. Their break came in 1983, when Ms. Judd cared for a patient who turned out to be the daughter of an executive at RCA Records. A record deal, nine Country Music Association Awards, five Grammys and 14 No. 1 hits followed.Ashley Judd said in the interview that her mother was most alive when she was performing.“She was very isolated in many ways because of the disease,” Ms. Judd said. “And yet there were a lot of people who showed up for her over the years, not just me.”Ms. Judd encouraged people in distress to seek help and cited resources, including the national suicide hotline and the National Alliance for Mental Illness, a mental health organization that also has a hotline.“And so I want to be very careful when we talk about this today,” Ms. Judd said, “that for anyone who is having those ideas or those impulses, you know, to talk to someone, to share, to be open, to be vulnerable.”If you are having thoughts of suicide, in the United States call the National Suicide Prevention Lifeline at 800-273-8255 (TALK) or go to SpeakingOfSuicide.com/resources for a list of additional resources. Go here for resources outside the United States. More

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      Mickey Gilley, Country Star Whose Club Inspired ‘Urban Cowboy,’ Dies at 86

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      Mr. Gilley, who had more than 30 chart-topping records, owned a Texas nightclub that was behind a country music revival.Mickey Gilley, the hit singer and piano player whose Texas nightclub was the inspiration for the movie “Urban Cowboy” and the glittering country music revival that accompanied it, died on Saturday at a hospital in Branson, Mo. He was 86.His publicist, Zach Farnum, announced the death but did not cite a cause.A honey-toned singer with a warm, unhurried delivery, Mr. Gilley had 17 No. 1 country singles from 1974 to 1983, including “I Overlooked an Orchid” and “Don’t the Girls All Get Prettier at Closing Time.”He placed 34 records in the country Top Ten during his two decades on the charts. But he was ultimately best known as the proprietor, with Sherwood Cryer, of Gilley’s, the honky-tonk in Pasadena, Texas, that became one of the most storied nightspots in country music.Established in 1971 as a local bar catering to 9-to-5ers in and around Pasadena, an oil refinery town near Houston, Gilley’s was large, encompassing 48,000 square feet, with a parquet dance floor that could accommodate up to 5,000 people. Among the hall’s main attractions was its mechanical bull, a repurposed piece of rodeo-training equipment on which the club’s more intrepid patrons vied to see who could ride the longest before being thrown off.Just as striking was the synchronized line dancing of its boot-scooting regulars, attired, as was the fashion, in crisply pressed Wranglers, big, gleaming belt buckles and immaculately cared-for Stetson hats.Extending rodeo iconography beyond the provinces of the American West, Gilley’s shaped dance scenes in cities and suburbs across the nation, especially after an article about the club, “The Ballad of the Urban Cowboy: America’s Search for True Grit,” appeared in Esquire magazine in 1978.Two years later, Paramount Pictures released the feature film “Urban Cowboy,” starring John Travolta and Debra Winger. Much of the film was shot at Gilley’s.“Country Night Fever” was how Mr. Gilley characterized the movie in interviews, alluding to “Saturday Night Fever,” the disco-themed 1977 movie that also starred Mr. Travolta. Nevertheless — even as “Urban Cowboy” helped country music become more popular than disco — Mr. Gilley was quick to add that “Urban Cowboy” cast his establishment in a glossier light than its warehouselike ambience, mud-wrestling contests and reputation as a hotbed for brawling might have warranted.“There wasn’t anything nice about that club,” he said in a 2019 interview with The Santa Fe New Mexican. “I mean, Gilley’s was a joint. But it worked because of what it represented — country music and the cowboy image.”Mr. Gilley, left, performing with his cousin Jerry Lee Lewis at Gilley’s, his nightclub in Pasadena, Texas, in the mid-1970s.Michael Ochs Archives/Getty ImagesGilley’s and the scene that coalesced around it also brought country music newfound crossover success with adult contemporary radio. The soundtrack to “Urban Cowboy,” replete with contributions from rock and pop acts like Boz Scaggs, Bonnie Raitt and the Eagles, was certified platinum three times over for sales of three million copies. It spent eight weeks at No. 1 on the country album chart and climbed as high as No. 3 on Billboard’s Top Pop Albums.This crossover impulse was second nature to Mr. Gilley, who had successfully navigated the country charts in the ’70s with honky-tonk remakes of R&B staples like Lloyd Price’s “Lawdy Miss Clawdy” and Big Joe Turner’s “Chains of Love.” Both were No. 1 country singles for Mr. Gilley, as was his version, from the “Urban Cowboy” soundtrack, of the soul singer Ben E. King’s “Stand By Me.”“Orange Blossom Special/Hoedown,” a recording from the soundtrack credited to Mr. Gilley’s Urban Cowboy Band, won a Grammy for best country instrumental performance in 1981.Well into his 30s before he had his first hit, and over 40 when his nightclub achieved widespread acclaim, Mr. Gilley was something of a late bloomer. This was certainly the case compared with his flamboyant cousin Jerry Lee Lewis, whose meteoric early success had reached its zenith — and flamed out, after his marriage to his adolescent cousin — by the time he turned 22.Another of Mr. Gilley’s piano-playing cousins, the televangelist Jimmy Swaggart, achieved fame (and notoriety, for widely publicized scandals involving prostitutes) more readily than Mr. Gilley did as well.Mickey Leroy Gilley was born on March 9, 1936, in Natchez, Miss., to Irene (Lewis) and Arthur Gilley. Raised in nearby Ferriday, La., he grew up singing gospel harmonies with his cousins Mr. Swaggart and Mr. Lewis, and sneaking into local juke joints with them to hear blues and honky-tonk music.Mr. Gilley’s mother bought him a piano when he was 10, shortly before he came under the boogie-woogie-inspired tutelage of his cousin Jerry. Mr. Gilley would not begin playing professionally, though, until he was in his 20s, several years after he had moved to Houston to work in the construction industry.He released his first single, “Ooh Wee Baby,” in 1957, only to wait 55 years for it to find an audience: It ran in a television commercial for Yoplait yogurt in 2012. His first recording to reach the charts, “Is It Wrong (For Loving You)” (1959), featured the future star Kenny Rogers on bass guitar.Settling in Pasadena in the early ’60s, Mr. Gilley began performing regularly at the Nesadel Club, a rough-and-tumble honky-tonk owned by his future business partner, Mr. Cryer. His recording career, however, did not gain traction until 1974, when Hugh Hefner’s Playboy label rereleased his version of “Room Full of Roses,” which had been a No. 2 pop hit in 1949 for the singer Sammy Kaye. Mr. Gilley’s iteration became a No. 1 country single.Mr. Gilley subsequently enjoyed a decade at or near the top of the country charts. At the height of the Urban Cowboy boom, he had six consecutive No. 1 hits.As the movement that Gilley’s had spawned gave way to the back-to-basics neo-traditionalism of mid-80s country music, Mr. Gilley increasingly turned his attention to his nightclub, where protracted conflict with Mr. Cryer, who died in 2009, had previously caused the men to dissolve their partnership. Mr. Gilley closed the honky-tonk in 1989, a year before a fire destroyed much of the building.He opened the first of two theaters in Branson, Mo., in 1990, and later established night spots in Myrtle Beach, S.C., and in the Dallas-Fort Worth area. No longer a presence on the country charts, he also marketed his own brand of beer and made cameos on prime-time television shows like “The Fall Guy” and “Fantasy Island.”Mr. Gilley suffered a fall while helping friends move a sofa in 2009, an accident that left him temporarily paralyzed. He was unable to play the piano again, but he otherwise recovered and resumed singing in public well into his 80s.Mr. Gilley is survived by his wife, Cindy Loeb Gilley; a daughter, Kathy Gilley; three sons, Michael, Gregory and Keith Ray Gilley; four grandchildren; and nine great-grandchildren. He was married to Vivian McDonald from 1962 until her death in 2019. His first marriage, to Geraldine Garrett, ended in divorce.The mechanical bull was certainly a major draw at Gilley’s, but Mr. Gilley always made it clear that it was not his idea. Mr. Cryer had the it installed, unbeknownst to Mr. Gilley, who at the time was on the road performing.“He went and made a deal with these people with this mechanical contraption who’d used it as a rodeo-training device,” Mr. Gilley said in his interview with The New Mexican, recalling the circumstances that led to the arrival of the mechanical bull at his venue. “It was never meant to be in a nightclub.”Vimal Patel contributed reporting. More

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      Naomi Judd, of Grammy-Winning The Judds, Dies at 76

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      The country music duo, made up of Naomi and Wynonna Judd, was to be inducted into the Country Music Hall of Fame on Sunday.Naomi Judd, of the Grammy-winning duo The Judds and the mother of Wynonna and Ashley Judd, died on Saturday. She was 76.Ashley Judd, the actress, confirmed her mother’s death on Twitter. She did not specify a cause of death but said, “We lost our beautiful mother to the disease of mental illness.”Scott Adkins, a publicist, said Ms. Judd died on Saturday outside Nashville but did not give a more specific location.The country music duo The Judds, made up of Naomi and Wynonna Judd, was to be inducted into the Country Music Hall of Fame on Sunday. They had just announced their final tour — and their first together in a decade. It was to begin in the fall.Naomi Judd, Ashley Judd and Wynonna Judd at a gala in Washington in 2005.Louis Myrie/WireImageThe mother-daughter duo had 14 No. 1 singles during a three-decade career.The Judds’ hits included “Mama He’s Crazy,” “Why Not Me,” (both in 1984); “Girls Night Out” (1985); “Rockin’ With the Rhythm of the Rain” and “Grandpa” (both in 1986); “Turn It Loose” (1988); and “Love Can Build a Bridge” (1990).They won nine Country Music Association Awards and seven awards from the Academy of Country Music. They also won five Grammy Awards for hits like “Why Not Me” and “Give A Little Love.”The pair stopped performing and recording in 1991, after Naomi Judd learned she had hepatitis.Ms. Judd is survived by her two daughters and her husband, Larry Strickland, who was a backup singer for Elvis Presley.In a news release this month announcing the upcoming tour, Ms. Judd said she was looking forward to reconnecting with fans and singing with her daughter Wynonna.Referring to Wynonna, Ms. Judd said: “She asked me if I was still going to twist, twirl and crack jokes. I answered, ‘Heck yeah! I’m too old to grow up now!’”This obituary will be updated. More

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      Lil Durk and Morgan Wallen Return to the Top of the Album Chart

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      The country star’s “Dangerous: The Double Album” has had tremendous staying power, landing at No. 2 in its 66th week out.The Chicago rap mainstay Lil Durk returns to No. 1 on the Billboard album chart, with his latest LP, “7220,” beating out new releases by Jack White and Fivio Foreign after its debut a month ago.But the greater accomplishment this week may be the continued staying power of Morgan Wallen’s “Dangerous: The Double Album,” which is No. 2 in its 66th week out.Released in January 2021, “Dangerous” held the No. 1 spot for its first 10 weeks, and has remained in the Top 10 every week but one, last December, when it was pushed out by holiday albums. Incredibly, 49 of its 66 weeks have been in the Top 5; quite a few of those were spent while Wallen was in a form of industry purgatory — removed from many radio playlists, ignored by the Grammy Awards — after he was caught on video using a racial slur. He apologized (more than once), though Wallen’s fans never gave up on him, and he has largely returned to the mainstream with a major tour.For its latest week, “Dangerous” had the equivalent of 46,500 sales in the United States, according to Luminate, the tracking service behind the Billboard charts. That means Wallen came within about 500 copies of retaking No. 1: Lil Durk’s “7220” was credited with 47,000. (Luminate’s publicly reported numbers are rounded.) Wallen may even have contributed to holding himself at second place: he is featured on “Broadway Girls,” the most popular cut on “7220.”In a slow sales week, however, neither total is impressive. The 47,000 equivalent sales figure for “7220” — which incorporates its 69 million streams and about 1,000 copies sold as a complete package — is the lowest for a No. 1 album in more than three years, since “Hoodie SZN” by the rapper A Boogie Wit Da Hoodie notched its third time at the top in February 2019 with similar numbers.Also this week, White’s “Fear of the Dawn” opens at No. 4 with 42,000 equivalents, including 24,000 copies sold on vinyl.The “Encanto” soundtrack is No. 3 and Olivia Rodrigo’s “Sour” is No. 5. Two hip-hop albums open in the lower half of the Top 10: 42 Dugg and EST Gee’s “Last Ones Left” is No. 7, and Fivio Foreign’s debut studio album, “B.I.B.L.E.,” starts at No. 9. More

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      Camila Cabello Gets in Her Head, and 16 More New Songs

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      Hear tracks by Kelsea Ballerini, Syd, Oliver Sim and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Camila Cabello featuring Willow, ‘Psychofreak’Alienation gets an electronic lilt in “Psychofreak” from Camila Cabello’s “Familia,” which is actually stacked with songs about jealousy. In “Psychofreak” she sings about feeling dissociated, insecure and suspicious: “Tryin’ to get connected, no Wi-Fi/tell me that you love me, are you lying?” Against brittle percussion and impassive chords on the off-beats, Cabello sounds relatively unruffled despite what the lyrics say, but Willow (Smith) focuses and ratchets up the anguish. JON PARELESMiranda Lambert, ‘Actin’ Up’Miranda Lambert’s “Actin’ Up” could have been just another feisty, bluesy country-rock song. “I want a sunset ride, a velvet rodeo/A Colorado high, a California glow,” she declares. Its richness is in its arrangement: its stereo, reverbed guitar picking, its syncopated drumming, the echoes and pauses placed behind her boasts. PARELESKelsea Ballerini, ‘Heartfirst’On her 2020 album “Kelsea,” Kelsea Ballerini honed her keen ability to spotlight the sort of anxiety and self-doubt that many other country singers conveniently crop out of the frame. The single “Heartfirst,” though, is all about pushing those impediments aside and jumping headlong into new romance: “That voice in my head says to slow down, but it can’t feel your hands on my hips right now,” she sings. Recommended for anyone who revisited Taylor Swift’s version of “Red” last year and wished someone were still making glimmering, wholehearted pop-country songs like that in the present tense. LINDSAY ZOLADZBanks, ‘Meteorite’Banks’s songs bring a deep wariness to her relationships. “We’re already in bed, you may as well lie,” she sings as “Meteorite” begins. But in this track, syncopation fights pessimism. Handclaps, stop-and-start drums and backup vocals that hint at Balkan and African call-and-response insist that this iffy romance could still push ahead. PARELESPieri, ‘Vente Pa Aca’It was only a matter of time until the textures of hyperpop collided with reggaeton. Consider the Mexican-born, Brooklyn-based artist Daniela Pieri its champion: Her new single “Vente Pa Aca” interlaces a muted dembow riddim, serrated synths and gauzy speaker feedback lifted straight from a PC Music compilation. In an Auto-Tuned shrill, one that carries just enough of a punk edge, she intones, “No te quiero perder/tú y yo hasta el amanecer” (“I don’t want to lose you/Me and you till dawn”). ISABELIA HERRERASyd, ‘Fast Car’“Broken Hearts Club,” the first album in five years from Syd — a member of the R&B collective the Internet and a one-time Odd Future upstart — is mostly an intimate chronicle of a relationship’s demise, but the sultry “Fast Car” conjures a moment before things went sour. A driving, 4-4 beat and glossy ’80s sheen provide a backdrop for Syd’s vaporous vocals (“No one can see inside,” she croons, “do with me what you like”) before a glorious, Prince-like guitar solo breaks the whole song open like a cracked sunroof. ZOLADZOliver Sim, ‘Fruit’Harnessing the high drama of a power ballad, but holding all the airiness of the xx’s gauzy R&B, Oliver Sim’s “Fruit” is the kind of queer anthem only he could make. Produced by his bandmate Jamie xx, “Fruit” is a love letter to a younger self coming to terms with queer identity. “You can dress it away, talk it away/Dull down the flame/But it’s all pretend,” Sim whispers, oozing melancholia. He may have been the last member of the xx to go solo, but it has been well worth the wait. HERRERAFlorist, ‘Red Bird Pt. 2 (Morning)’This one’s a tear-jerker. Emily Sprague — sometimes a solo artist, sometimes the leader of the Brooklyn indie-folk group Florist — recounts the life of her late mother and her own early childhood in a series of vivid, cleareyed snapshots (“I’ve seen photos of the living room, we didn’t have a lot”), sung atop a gentle, fingerpicked chord progression. Synthesizer whirs mingle with bird chirps in the song’s airy atmosphere; Sprague and the band actually recorded it on a porch. That sonic embrace of the natural world becomes even more poignant toward the end of the song, which will appear on a forthcoming self-titled Florist album, when Sprague sings in a peaceful murmur, “She’s in the bird song, she won’t be gone.” ZOLADZDaniel Rossen, ‘Unpeopled Space’“Unpeopled Space,” a dazzling highlight from the former Grizzly Bear guitar virtuoso Daniel Rossen’s first full-length solo album “You Belong Here,” is a searching meditation about leaving the city for the country, as Rossen himself did a decade ago. But his arrangement is so full of compositional surprises and instrumental chatter — shape-shifting acoustic guitar riffs, croaking strings and dynamic percussion from his former bandmate Christopher Bear — that he makes the natural world sound every bit as alive as a teeming metropolis. “Whatever was, whatever will,” he sings to the vast green space around him, “we belong here now.” ZOLADZPink Floyd featuring Andriy Khlyvnyuk of Boombox, ‘Hey, Hey Rise Up’Andriy Khlyvnyuk from the Ukrainian band Boombox returned to his homeland to fight the Russian invasion. From Kyiv, he made an Instagram post of his defiant, full-throated rendition of a resistance anthem, “The Red Viburnum in the Meadow,” singing with a rifle slung across his chest. It moved Nick Mason and David Gilmour of Pink Floyd to build a full-length track around it — their first new Pink Floyd song since 1994, which will benefit Ukrainian relief. Pink Floyd accompanies Khlyvnyuk with somber gravity, buttressing him with organ chords and choir harmonies; a wailing, clawing Gilmour guitar solo sustains the mood of grim determination. PARELESJoyce Manor, ‘Gotta Let It Go’Emo bands tend to be verbose, but Torrance, Calif.’s Joyce Manor are unusually efficient — as if Taking Back Sunday had attended the Guided by Voices school of songwriting. “Gotta Let It Go,” a two-minute ripper from the band’s forthcoming album “40 oz. to Fresno” (out June 10 and named after an autocorrected text about Sublime) showcases the lead singer and guitarist Barry Johnson’s rabid but melodic holler, alongside the sort of crushing waves of distorted guitar that wouldn’t have sounded out of place on late-90s alt-rock radio. “You say it’s cute but you think it’s ugly,” Johnson shouts on the pummeling bridge — yep, a bridge in a two-minute song! Told you these guys are efficient. ZOLADZEl Alfa, Braulio Fogón, French Montana and Kaly Ocho, ‘Máquina de Dinero’El Alfa’s ascent as the king of Dominican dembow has come with its fair share of missteps: diluted EDM bangers, or pop-dembow tracks with a little too much gloss. So “Máquina de Dinero,” from his fourth studio album, “Sabiduría,” is an unexpected bombshell. El Alfa deploys his double entendres and witty raps over a gritty, shrapnel-like beat from his go-to producer Chael Produciendo, its deliciously raw, unfinished texture aligning more closely with the coarseness of his own early hits. His guests are surprising, too — Braulio Fogón and Kaly Ocho, titans of el bajo mundo (the underground dembow scene), along with French Montana. Just try not to laugh out loud when Montana says, “’Rican or Dominican, she bustin’ out the skirt,” and mimics the addictive hook from El Alfa’s summer heater “La Mamá de la Mamá.” HERRERAAlicia Keys, ‘City of Gods (Part II)’Alicia Keys let herself be treated as a mere hook singer alongside Fivio Foreign and Kanye West on “City of Gods,” shunted aside as they touted their careers. But with “City of Gods (Part II)” she reclaims the song as the plea of a spurned lover, begging, “Don’t leave me, go easy,” amid towering piano chords and cavernous bass tones, a voice trying to find its way through the cityscape. PARELESSun’s Signature, ‘Golden Air’Sun’s Signature is the partnership of Elisabeth Fraser from Cocteau Twins and Damon Reece from Massive Attack. In the 1990s, both groups conjured encompassing atmospheres, but in different registers. Cocteau Twins were mistily ethereal; Massive Attack was bassy and seismic. “Golden Air,” the first song from an EP due in June, is more protean. It works through multiple transformations — tinkly Baroque-pop, Minimalist a cappella vocal layers, shimmering psychedelic march — as Fraser sings cosmic musings: “My heart shall say to me/Do with me something.” PARELESS. Carey, ‘Sunshower’S. Carey, a longtime collaborator with Bon Iver, goes for billowing bliss in “Sunshower.” His multitracked falsetto harmonizes with cascading guitars and saxophones as he surrenders to the unexplainable beauty of a deep connection: “I don’t know myself before I knew you,” he realizes. PARELESSam Gendel and Antonia Cytrynowicz, ‘Something Real’One afternoon in Los Angeles, the saxophonist, keyboardist and composer Sam Gendel improvised some songs with Antonia Cytrynowicz, the younger sister of his partner, the filmmaker Marcella Cytrynowicz; at the time Antonia was 11 years old. They haven’t played them before or since. Luckily they recorded them, and realized they were good enough to release as an album; “Live a Little” is due May 13. In “Something Real,” Gendel circled through an undulating, slightly gloomy four-chord keyboard pattern as Antonia mused about what she was hearing: “Never knowing, never feeling/Like a sound, that is nice,” she sang. “You’re nice and gentle.” But dissonant feedback wells up at the end, suggesting that safety is fragile. PARELESMyra Melford’s Fire and Water Quintet, ‘For the Love of Fire and Water: II.’On “For the Love of Fire and Water,” the esteemed pianist and bandleader Myra Melford helms a new band featuring some of the most distinctive players in improvised music today: Ingrid Laubrock on saxophone, Tomeka Reid on cello, Mary Halvorson on guitar and Susie Ibarra on drums. On Track 2 of the 10-part suite, the quintet pulls itself forward with a mix of lethargy and restlessness, Halvorson and Laubrock — longtime musical intimates — carrying the nervy melody over Melford’s halting left-hand pattern, then improvising together in dyspeptic bursts. The tune itself is hard to keep track of, and the meter tough to count, but the stubbornness of the pulse and the resonance of the harmony may linger in your ear long after the track fades away. GIOVANNI RUSSONELLO More

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      Roland White, a Shaper of Bluegrass and Country-Rock, Dies at 83

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      A mandolin player and singer, he made his mark with the Country Boys (later renamed the Kentucky Colonels), and his influence extended into the rock of the ’60s.NASHVILLE — Roland White, a mandolin player and singer who helped shape major developments in bluegrass and country-rock over a seven-decade career, died here on Friday. He was 83.His death, in a hospital after a recent heart attack, was confirmed by his wife, Diane Bouska.Mr. White was admired for his rich tone and rhythmic imagination as a mandolinist, as well as for his warm, expressive vocals, which were equally suited to the lead and harmony parts in an arrangement. His openness to ideas and approaches outside the bounds of traditional bluegrass was also among the hallmarks of his music.He first made his mark in the late 1950s with the Country Boys (later renamed the Kentucky Colonels), the West Coast bluegrass band that originally included his younger brothers Eric and Clarence on tenor banjo and guitar. Inspired by the virtuoso flatpicker Doc Watson, Clarence reimagined the role of the guitar in bluegrass, transforming it from a strictly rhythmic vehicle to a more expansive instrument on which lead and rhythm could be played simultaneously.“Appalachian Swing!,” the Kentucky Colonels’ all-instrumental album from 1964, was among the most influential bluegrass collections of the 1960s. In terms of repertoire and technique, the record — which, along with Roland and Clarence White, featured Billy Ray Latham on banjo, Roger Bush on bass, Bobby Slone on fiddle and LeRoy Mack on dobro — was a touchstone for the musically adventurous bands of the 1970s and beyond whose music came to be known as “newgrass.”The album’s reach extended to country-rock bands like the Byrds and Buffalo Springfield, who incorporated bluegrass instrumentation and sensibilities into their music. The album’s enduring relevance is also due in large part to Mr. White’s innovative mandolin work, as well as to his leadership with the project.“I don’t think it was my playing that had so much influence as just the fact that I was playing in the style and pulled things together for us to play, learn and be a band,” Mr. White said in a 2010 interview with the website Mandolin Cafe.“I didn’t show anybody what to play on their instrument, and really nobody else did, either,” he added. “Bits of things might have been shown to us by someone here and there, but almost all of it was by ear and observing.”Despite the band’s impact on West Coast folk and bluegrass, the Kentucky Colonels struggled to gain a foothold commercially amid the increasingly rock-dominated West Coast music scene of the 1960s.The group disbanded in 1966, with Mr. White moving to Nashville and, in 1967, becoming the lead singer and guitarist for Bill Monroe’s Blue Grass Boys, with whom he made recordings like “Sally Goodin” and “Walls of Time.” (His brother Clarence found work as a studio musician and later joined the Byrds as lead guitarist.)After about two years with Mr. Monroe, Mr. White took a job as mandolinist with the Nashville Grass, the band of another bluegrass patriarch, Lester Flatt.Mr. White around 2000. He began his career in the 1950s playing country music at dances and other social functions with his siblings.Stephen A. Ide/Michael Ochs Archives/Getty ImagesMr. White remained with Mr. Flatt until 1973, when he and his brothers reunited to form the New Kentucky Colonels with the banjo player and singer Herb Pedersen. The reunion ended tragically when Clarence White was killed by a drunken driver while loading equipment outside a club in Palmdale, Calif.Roland Joseph LeBlanc was born on April 23, 1938, in Madawaska, Maine, the first of five children of Eric and Mildred Cyr LeBlanc. His father, a carpenter, played guitar, tenor banjo and harmonica; his mother was a homemaker. Of French Canadian descent — young Roland spoke French at home until he was in the second grade — Mr. White’s father stopped using the original family name in favor of its anglicized equivalent, White, sometime after Roland was born.The family moved to Southern California in 1954, and the three brothers, with their sister Joanne occasionally joining them on bass, began playing country music at dances and other social functions. They moved to Burbank in 1957; shortly after that, the brothers won a talent contest sponsored by the Pasadena radio station KXLA.They also attracted the attention of the guitarist Joe Maphis, who helped get them bookings on “Town Hall Party” and other musical variety shows of the day.By this time a quintet, the group appeared on the sitcom “The Andy Griffith Show” shortly before Mr. White was drafted into the U.S. Army in 1961. They recorded their first album, “The New Sound of Bluegrass America,” in 1962, at which point they changed their name to the Kentucky Colonels at the suggestion of the guitarist Merle Travis. (Mr. White was still stationed in Germany at this point; his brother Eric had previously left the group to get married.)After his brother Clarence’s death in 1973, Mr. White joined the Country Gazette, a musically omnivorous Los Angeles-based bluegrass band that also included Mr. Pedersen, the fiddler Byron Berline and the banjoist Alan Munde. Mr. White toured and recorded with the group while also releasing an acclaimed solo album, “I Wasn’t Born to Rock’n Roll,” in 1976.He left the Country Gazette in 1987 to join the Nashville Bluegrass Band, with whom he recorded Grammy-winning albums in 1993 and 1995. In 2000, he formed the Roland White Band; the group’s debut album, “Jelly on My Tofu,” was nominated for a Grammy.A prolific mandolin teacher, Mr. White published numerous instructional books and videos with Ms. Bouska, who, in addition to singing and playing guitar in the Roland White Band, was a co-producer of their records.Mr. White was inducted into the International Bluegrass Music Association’s Hall of Fame in 2018. The Kentucky Colonels received the same honor a year later.In addition to Ms. Bouska, he is survived by a daughter, Roline Hodge, and a son, Lawrence LeBlanc, both from a previous marriage; two grandchildren; a great-granddaughter; and a sister, Rose Marie Johnson.As influential as the album “Appalachian Swing!” proved to be, of equal impact on the West Coast folk scene of the 1960s were the club dates that Mr. White and the Kentucky Colonels played at the Ash Grove in Los Angeles.The Byrds were particularly impressed, adapting the bluegrass instrumentation and technique they gleaned from those shows — they even enlisted Clarence White to play guitar on landmark albums like “Younger Than Yesterday” (1967) and “Sweetheart of the Rodeo” (1968).“Playing the Ash Grove opened the way for us to play to a totally new audience — a folk audience that we had known nothing about,” Mr. White said in an interview with the website The Bluegrass Situation. “They dressed differently from the country-western audience (they were college students, professors, beatniks, doctors and lawyers) and they paid close attention to the music.” More

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      Harry Styles Tries On Synth-Pop, and 13 More New Songs

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      Hear tracks by Angel Olsen, Koffee, Barrie and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Harry Styles, ‘As It Was’In “As It Was,” Harry Styles latches on to the kind of peppy electro-pop that the Weeknd updated from groups like a-ha. The song is from Styles’s third album, “Harry’s House,” due May 20, and its insistently upbeat production stokes the ambiguity of the lyrics. When he sings, “In this world, it’s just us/You know it’s not the same as it was,” it’s impossible to tell whether he’s pulling away or longing to reunite. JON PARELESBarrie, ‘Jersey’The Brooklyn musician and producer Barrie Lindsay makes music that sounds like the work of an introvert with a kaleidoscopically vivid inner world. Throughout her tuneful, gently melancholy new album “Barbara,” there’s a muttered, endearingly modest quality to her vocal delivery that’s contrasted with her colorful, adventurous production choices. That signature push and pull can be heard on the album’s lush opening song “Jersey,” where, atop an intricately layered track, Lindsay shrugs sweetly, “You didn’t dream so long, I’m just the girl that you got.” LINDSAY ZOLADZAngel Olsen, ‘All the Good Times’Angel Olsen’s forthcoming album “Big Time,” out June 3, was written during an emotionally tumultuous moment in her life: At age 34, she came out as queer to her family, only to lose both of her parents, in quick succession, to illness shortly afterward. Olsen certainly knows how to capture and exorcise melodramatic feelings in her music — see: “Lark,” the bombastic leadoff track from her great 2019 album “All Mirrors” — but the first single from “Big Time” is more of a slow burn, smoldering and occasionally sparking with sudden, cathartic surges. Pivoting from the luscious synth-scapes of “All Mirrors,” “All the Good Times” harkens back to Olsen’s twangy roots, and its melody has a laid-back confidence that occasionally brings Willie Nelson to mind. “I’ll be long gone, thanks for the songs, guess it’s time to wake up from the trip we’ve been on,” Olsen sings, as the instrumentation swells to meet her suddenly impassioned croon. ZOLADZJensen McRae, ‘Take It Easy’“I don’t wanna talk about it any more,” the Los Angeles songwriter Jensen McRae announces as she begins “Take It Easy,” from her debut album, “Are You Happy Now?” But of course she does. The tone is serene, two chords riding a gentle Caribbean lilt, even as she sings about grappling with burdens that seem to be both physical and emotional. She wonders, “Atlas, did your back get sore?,” but she finds a graceful equilibrium. PARELESThomas Rhett featuring Katy Perry, ‘Where We Started’What is country music right now? It’s a far cry from great pickers and singers collaborating in real time, as it was in honky-tonk history. Like the rest of pop, it’s a construction. Thomas Rhett, a country superstar, sings about a romance with a waitress who’s hoping for a musical career, played by Katy Perry, in “Where We Started,” the last song but the title track of his new album. “I’d be playing my guitar singing those covers in an empty room,” she faux-recalls. The beats are programmed drum-machine tones, like trap, with guitars that sound like loops, and the collaboration with Perry may well have been remote. It’s an artificial path toward a real feeling. PARELESIbeyi featuring Jorja Smith, ‘Lavender and Red Roses’Hand drums and echoey, hovering voices give “Lavender and Red Roses” the atmosphere of a ritual procession, as Ibeyi — the French, Afro-Cuban twins Lisa-Kaindé and Naomi Díaz — and the English singer Jorja Smith bemoan a self-destructive partner: “I’ve welcomed you with open arms baby/But you still walk towards the dark lately,” they sing, as hope fades. PARELESMichael Leonhart Orchestra featuring Elvis Costello, Joshua Redman and JSWISS, ‘Shut Him Down’The Grammy-winning Michael Leonhart Orchestra converts itself into a crack studio band on “Shut Him Down,” the guest star-fueled opener to its newest album, playing a groove infused with the bubbling patter of Nigerian juju music. Elvis Costello takes center stage, rattling off a few shifty-eyed verses from the point of view of a man fighting a charge. Then the rapper JSWISS drops his own bars, toying with wordplay and internal rhyme, before the tenor saxophonist Joshua Redman carries things to a close. Always an effusive improviser, he threatens to blow the lid off this medium-boiling track, but ultimately plays along with the chill, jammy vibe. GIOVANNI RUSSONELLOJuanita Euka, ‘Motema’Over the interplay of two crinkly, echo-laden guitars, the Congolese-born vocalist Juanita Euka sings with an easy confidence on “Motema,” which means “heart” in Lingala. The track comes from “Mabanzo,” the debut album from this young heir apparent (her uncle, Franco Luambo Makiadi, was a rumba star in Congo), who grew up in Buenos Aires and has lately become a promising voice on the London music scene. RUSSONELLOKoffee, ‘Where I’m From’The Grammy-winning Jamaican singer Koffee (Mikayla Simpson) widely stretches the reggae idiom on her debut album, “Gifted,” pulling in dembow, Afrobeats and more. In “Where I’m From,” she sing-raps about tough beginnings and current success, with a scrubbing funk guitar that echoes “Shaft,” a heaving bass line, ominous piano interjections and wordless choir harmonies that are at once mournful and lofty. PARELESVince Staples, ‘Rose Street’“I don’t sing no love songs, ain’t never sang no love songs,” Vince Staples proclaims at the top of “Rose Street,” and the title of the upcoming album it’ll appear on is possibly an explanation: “Ramona Park Broke My Heart.” As he raps nimbly atop a bass-heavy, vaguely ghostly beat, though, he gradually lets his guard down and confesses the reasons he’s reluctant to commit to the girl who wants him to stick around. “I promise you, you don’t gotta stress, it’s gon’ be OK,” he assures her before admitting, “OK, I’m lying, living day by day.” ZOLADZPup, ‘Totally Fine’The Toronto band Pup has long made frenetic punk-pop with neat verse-chorus-bridge structures underlying Stefan Babcock’s raucously overwrought and fully self-aware lead vocals. “Totally Fine,” from the band’s fourth album, “The Unraveling of Puptheband,” cranks everything up: feedback, drums, high and low guitars, Babcock’s blurted admission that “I just couldn’t decide/Whether I’m at my worst or I’m totally fine.” And then it cranks up further, with a big, stadium-ready singalong. The video, a fine sendup of tech-bro vanity, is a bonus. PARELESsadie, ‘Nowhere’Anna Schwab, the Brooklyn songwriter and producer who records as sadie, uses the twitchy double time, the computer-warped vocals and the cheap-sounding presets of hyperpop as a digital native. Yet in “Nowhere,” she also conveys something more than games-playing: a sense of how hard it is to cope with the pressures of 21st-century romance. “Think I’ll get it all right/Then it’s over,” she sings with knowing resignation. PARELESFlume featuring Caroline Polachek, ‘Sirens’In her purest soprano, Caroline Polachek sings her most benevolent aspirations, written during a pandemic peak: “If I could I’d raise my arm/And wave a wand to end all harm.” The Australian electronic musician Flume and his co-producer, Danny L. Harle, give her ethereal support at first — tremulous string tones and echoey arpeggios — but then throw up all sorts of sonic obstacles: clattering, thudding, lurching, scraping, distorting, and even bringing back the sirens she wishes she never had to hear again. PARELESGerald Clayton featuring Charles Lloyd, ‘Peace Invocation’The coolly warbling saxophone sound of Charles Lloyd, 84, is unmistakable on “Peace Invocation,” a duet with the pianist Gerald Clayton that appears on the younger musician’s newest album, “Bells on Sand.” The influence of a couple of other legendary saxophonist-composers hangs over this track, too: There’s the open-ended, shadow-casting style of Wayne Shorter, and hints of John Coltrane’s classic “Naima” in the irresolution of Clayton’s bittersweet melody. RUSSONELLO More

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      Dolly Parton Bows Out of Rock & Roll Hall of Fame Nomination

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      The country singer, who was among 17 genre-spanning nominees this year, said, “I don’t feel that I have earned that right” and asked to be removed. Voting has already begun.Dolly Parton does not feel rock ’n’ roll enough for the Rock & Roll Hall of Fame.The country singer, known for crossover hits like “Jolene,” “I Will Always Love You” and “9 to 5,” said on Monday that she wished to be removed from consideration for the annual honor after earning her first nomination in February.“Even though I am extremely flattered and grateful to be nominated for the Rock & Roll Hall of Fame, I don’t feel that I have earned that right,” Parton, 76, wrote in a statement posted to social media. “I really do not want votes to be split because of me, so I must respectfully bow out.”❤️ pic.twitter.com/Z6LKfWtlxg— Dolly Parton (@DollyParton) March 14, 2022
      The Rock Hall did not immediately respond to a request for comment. Selection was underway as of last month, and it was unclear what would happen to any potential votes already cast for Parton.Among the 17 nominees eligible for inclusion alongside Parton were others who stretch the traditional definition of rock music: Eminem, A Tribe Called Quest, Lionel Richie, Carly Simon, Dionne Warwick and Kate Bush were selected for the ballot along with bands like Judas Priest, MC5, Rage Against the Machine and New York Dolls.Ballots were sent in February to the more than 1,000 artists, historians and music industry professionals who choose their top five inductees each year, with the winners — typically between five and seven in total — scheduled to be announced in May. This year’s induction ceremony was slated for the fall.The Rock Hall asks its voters to consider an act’s music influence and the “length and depth” of its career, in addition to “innovation and superiority in style and technique.” Following complaints about its treatment of female and Black musicians over the years, the Rock Hall has recently expanded its tent to include artists from rap, pop, R&B and beyond, including Whitney Houston, Janet Jackson, Jay-Z and the Notorious B.I.G. Artists in both the Country Music Hall of Fame and the Rock Hall include Hank Williams, Johnny Cash and Brenda Lee, among others. Parton was inducted into the Country Hall of Fame in 1999.On its website, the Rock Hall praised Parton as a “living legend and a paragon of female empowerment,” adding that her “unapologetic femininity belied her shrewd business acumen, an asset in the male-dominated music industry.”A 2019 look at the organization’s nearly 900 inductees found that only 7.7 percent were women.Other artists have balked at inclusion in the club before: John Lydon, better known as Johnny Rotten of the Sex Pistols, thumbed his nose at the band’s induction in 2006, with the band opting not to show. In 2012, when Guns ’n Roses made it, Axl Rose said he would decline to participate and asked that he not be inducted in absentia. Both acts were inducted anyway.In her statement, however, Parton left the door open. She wrote that she hoped the Rock Hall would “be willing to consider me again — if I’m ever worthy,” noting that she had been inspired by the recognition to “put out a hopefully great rock ’n’ roll album at some point in the future.” More