Tributes flood in following the passing of Ross “The Boss” Friedman at 72.]

Manowar co-founder and original guitarist Ross ‘The Boss‘ Friedman has died at the age of 72.

“It is with profound sadness that we announce the passing of the Bronx’ own Ross ‘The Boss’, Friedman who died last night after battling ALS,” a statement posted to his official Instagram page reads.

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“His music meant everything to him & his guitar was his life’s breath,” it continues. “This insidious disease took that away from him. His legacy with The Dictators, Manowar, Ross the Boss Band and other collabs will live on forever in our hearts and ears.”

He later played in Manitoba’s Wild Kingdom and The Brain Surgeons, which also featured former Blue Öyster Cult drummer Albert Bouchard, as well as a raft of other projects. He also released four solo LPs, the last of which came out in 2020.

“It crushes me not to be able to play guitar,” he said of his diagnosis in February, which came after several months of seemingly unrelated symptoms, including weakness in his hands and knees.

Testament guitarist Alek Skolnick has led the tributes to Friedman, writing on Instagram, “Farewell Long Island legend Ross The Boss, who, in a very rare combination, brought tasty licks to both ‘70s punk and ‘80s bombastic metal, with The Dictators and Manowar.

“So sad to hear of the passing of Ross The Boss,” Eddie Trunk writes on X. “I knew Ross, of course, from Manowar, but also as a great guy on the NY scene for decades.”

Respects have also been paid by Queensrÿche vocalist, Todd La Torre, thrash band Gamma Bomb, and Metal Allegiance bassist, Mark Menghi. Of course, there has also been an outpouring of love from his fanbase.

Friedman was inducted into the Metal Hall of Fame in 2017 alongside Randy Rhoads, Lemmy Kilmister, and ever-present keyboard maestro, Don Airey.

During a 2022 interview with Guitar World, The Boss underscored that, while he was key player in the same New York punk scene that gave birth to The Ramones, his guitar-playing ethos differed from his peers.

“There wasn’t an emphasis on musicianship,” he said. “It was like, ‘Hey, I can play sloppy, and it doesn’t matter.’ I was the opposite of that. I practiced while everybody else was partying.”

That quote is indicative of his unique mindset, which, as Skolnick says, led him to assert his talents in two very distinct music scenes across two huge decades of heavy music.