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Jimi Hendrix's former roadie James '"Tappy" Wright has claimed that
the late guitar legend was murdered by his manager, Michael Jeffrey.

In his new book Rock Roadie, Wright claims that Jeffrey told him he
plied Hendrix with pills and alcohol in order to kill him and claim on
the guitarist's life insurance.

Hendrix died in September 1970. His body was found in a room at
London's Samarkand Hotel booked by Monika Dannemann, whom Hendrix had
known for a matter of days.

Jeffrey allegedly made the confession to Wright in 1971, two years before he was killed in a plane crash.

Writing of the admission, Wright says: "I can still hear that
conversation, see the man I'd known for so much of my life, his face
pale, hand clutching at his glass in sudden rage."

Jeffrey is quoted by Wright as telling him: "I was in London the
night of Jimi's death and together with some old friends.. we went
'round to Monika's hotel room, got a handful of pills and stuffed them
into his mouth...then poured a few bottles of red wine deep into his
windpipe."

The manager was allegedly worried that Hendrix was about to sack
him. He had recently taken out a life insurance policy worth $2
million, with Jeffrey as beneficiary, reports Britain's Mail On Sunday.

"I had to do it. Jimi was worth much more to me dead than alive,"
Jeffrey is quoted as telling Wright. "That son of a b*tch was going to
leave me. If I lost him, I'd lose everything."

At the time of Hendrix's death, a coroner recorded an open verdict,
stating that the cause was "barbiturate intoxication and inhalation of
vomit."

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Best known for his work as the wry frontman for the Magnetic
Fields, Stephin Merritt's music and lyrics for the off-Broadway version
of Neil Gaiman's "Coraline" officially debuted last night (June 1) in
lower Manhattan at the Lucille Lortel Theatre. The production has been
in previews since May 7 and is scheduled to run through July 5.

"Coraline" has been a wildly popular novella and film, but this
version adds a musical spin to the story of a young girl who finds a
portal to an alternate world. Merritt's score and lyrical compositions
are used throughout the play, often pairing the actor's voices with
eerie combinations of piano, toy piano, and prepared piano (an
instrument with various objects, like tin foil and playing cards,
attached to its strings).

While the story remains faithful to the original, Merritt's lyrics
retain the wittiness that has lined his work in the rock worlds, but
also add a new dimension to the play. The songs are used as story
devices- and Merritt's stripped down, simplistic presentation creates a
creepy ambiance. The songs are either told from protagonist Coraline's
perspective or from the perspective of the cast around her singing
together.

This isn't the first time Merritt has shown interest in composing
and adapting music for another medium. His band the Gothic Archies
wrote and recorded music for the audiobook series of "Lemony Snicket's
A Series of Unfortunate Events." Nonesuch released a compilation of
Merritt's Lemony Snicket compositions in 2006 called "The Tragic
Treasury: Songs From A Series Of Unfortunate Events." Merritt has also
collaborated on three other musical theater productions this decade
("Orphan of Zhao," "Peach Blossom Fan," and "My Life As A Fairy Tale")
for which Nonesuch also released a compilation in 2006 entitled
"Showtunes."

Within the "Coraline" program, playwright David Greenspan praises
Merritt's work by saying he's "a wonderful story-teller. He is able, in
song, to not only develop character and advance plot, but to create
moments of emotional expansion."

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Mark McGrath, the lead singer of Sugar Ray and former host of the
celebrity news show "Extra," has often employed an old political tactic
for his career: Set expectations low so success seems all the sweeter.

The self-deprecating attitude served him and his band well. He has
joked about his looks, voice, penis and fleeting fame -- one album was
called "14:59," just short of the 15 minutes Andy Warhol famously
described -- while the band's steady stream of reggae-tinged mid-'90s
radio hits sold more than 5 million albums, according to Nielsen
SoundScan, and made McGrath a star.

So when the band announced in April that it regrouped in a Los
Angeles recording studio, made a new album ("Music for Cougars") and
was ready to head back out on the road for another turn in the
spotlight, McGrath was quick to acknowledge that many would wonder why.
"I know people aren't sitting on the edge of their seats waiting for a
Sugar Ray record," he says. "But that wasn't the point."

Contrary to popular perception, Sugar Ray never broke up. The
band's original lineup of childhood friends from Newport Beach,
California, moved from rap-punk to power-pop and from broke unknowns to
wealthy platinum-sellers over the course of five albums on Atlantic.

But by 2003, the writing was on the wall for bands like Sugar Ray,
and that year the group's "In the Pursuit of Leisure" album -- an
attempted reinvention that included several songs produced by the
Neptunes -- flopped. McGrath took the TV job, and the rest of the guys
went back to the beach. They would reconvene every year for a few
corporate gigs, state-fair-type concerts and an occasional soundtrack
song, but Sugar Ray was on the back burner. Atlantic dropped the act in
2006.

When McGrath's contract with "Extra" was about to expire, he, the
band and longtime manager Chip Quigley quietly began plotting Sugar
Ray's return. Jason Bernard, a music producer and longtime friend of
the band's whose Pulse Studios encompasses a recording studio,
publishing company and record label with a distribution deal through
Fontana, was eager to cut a deal.

"We realized there are bands out there in the world that major
labels were turning their heads on," says Bernard, who last year
brought alternative rock band Filter out of retirement. "We can make
world-class records for pennies on the dollar with our sweat equity."

The resulting "Cougars" marks a return to the tried-and-true
formula that made 1997's "Fly" a radio staple. The first single,
"Boardwalk," is a straight-down-the-center, sunny, unmistakably Sugar
Ray song. Other cuts on the album include the uptempo dance track
"She's Got The ... (Woo-Hoo)," the midtempo romancer "Love Is the
Answer" and the reggae-influenced remake of Eddie Hodges' "(Girls Girls
Girls Are) Made to Love" featuring Collie Buddz.

"We were part of a business where you had a hit single and you sold
3 million records, but it's different now," Quigley says. "The real
core of our business is the live arena, and for that you need songs on
the radio. So we're really going to try and get the song on radio and
go out there touring this summer and show folks we're still a great
live band."

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