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(Vocal/instrumental group, 1993–present) Proud enough of their heritage to record a Welsh language LP – Mwng (2000) – at the height of their powers this is a band who enjoyed success of their own terms. Gruff Rhys (vocals, guitar), Cian Ciaran (electronics), Huw Bunford (guitar, vocals) Guto Pryce (bass) and Dafydd Ieuan (drums) signed to Alan McGee’s Creation ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

(Vocal/instrumental group, 1962–68) This R&B-influenced UK rock group from Newcastle comprised powerful blues singer Eric Burdon (vocals), Hilton Valentine (guitar), Chas Chandler (bass), Alan Price (keyboards) and John Steel (drums). They backed visiting US bluesmen before releasing their US and UK number-one hit ‘House Of The Rising Sun’ in 1964. A string of blues- and R&B-influenced smashes followed. After the ...

Source: The Definitive Illustrated Encyclopedia of Jazz & Blues, founding editor Howard Mandel

and The Rolling Stones. Price then left to pursue a solo career and was replaced by Dave Rowberry from The Mike Cotton Sound. It was business as usual for The Animals until they disbanded after 1966’s ‘Don’t Bring Me Down’ fell from the Top 20. Burdon was persuaded to front a New Animals, who racked up hits of a psychedelic ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

and nineteenth centuries. Gaetano Donizetti (1797–1848) used it in the mad scene in Lucia di Lammermoor (1835) and Saint-Saëns used it to represent the underwater world in Carnival of the Animals (1886). It became a popular domestic instrument. However, rumours that playing the instrument could send performers and listeners insane – perhaps fuelled by Viennese psychiatrist Franz Mesmer’s (1734–1815) use ...

Source: The Illustrated Complete Musical Instruments Handbook, general editor Lucien Jenkins

Rattles and shakers are ubiquitous untuned percussion instruments in all musical cultures. They are used in many forms of music-making, religious ceremonies, dance and other activities. They are often simple in construction and can be made from natural materials. A rattle comprises a body housing a number of small pellets or beans, which bounce against the internal walls of ...

Source: The Illustrated Complete Musical Instruments Handbook, general editor Lucien Jenkins

The xylophone (the name means ‘sounding wood’) is a percussion instrument consisting of a series of wooden bars of ascending size, capable of producing a range of notes when struck. It originated possibly in Asia or Africa; an instrument thought to be of Chinese origin fell into the hands of Jean-Philippe Rameau (1683–1764). Early instruments consisted of blocks strung together ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

them. In the vanguard of the mid-1960s ‘British Invasion’ were the seemingly happy-go-lucky Beatles, whose guitar-and-drums-based sound infused the entire pop scene. Meanwhile, R&B-influenced rockers such as The Animals and The Rolling Stones, as well as mod outfits such as The Who, also provided contrast by way of their devil-may-care attitudes and slightly less clean-cut image. For ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

terrible visions appear to Max, including the ghost of his mother, who warns him of the danger he will face. There is also a ghostly hunt with fire-breathing animals, and a vision of Agathe dying. Act III During the next day’s hunt Max is, unsurprisingly, rather successful. He only has one magic bullet remaining – the ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

‘The Magic Flute’ The librettist of Die Zauberflöte, Emanuel Schikaneder, Mozart’s old friend and fellow freemason, drew on an eclectic variety of sources, including a French novel, Sethos, Paul Wranitzky’s magic opera Oberon (1789) and the oriental fairy tale Lulu. In the bird catcher Papageno, Schikaneder created for himself a character that could exploit ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

circle when, after giving birth to her own cubs, the little vixen dies at the hands of a poacher. Janáček doubled certain roles so that some of the animals play humans, and the final scene is a deeply felt tribute to the natural world. In line with the composer’s request, the ‘Forester’s Farewell’ was played at his ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Following disbandment, Andy Fairweather-Low (vocals) had qualified success with, first, Fairweather and then as a solo attraction. Styles & Forms | Sixties | Rock Personalities | The Animals | Sixties | Rock ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

to a more psychedelic one, in accord with the changing musical landscape of the era. He would also play with Soft Machine and in a revamped version of The Animals during this time. Summers then decided to leave the London scene and go to America, where he enrolled at the University of California at Los Angeles to study classical ...

Source: Rock Guitar Heroes, consultant editor Rusty Cutchin

No. 3 (1886), which employs ‘thematic metamorphosis’, and Samson and Delilah (1877), the finest of his 13 operas. He also composed much chamber music including the entertaining Carnival of the Animals (1886), originally intended as a private joke, which has become one of the most universally enjoyed pieces of all time. Recommended Recording: Carnival of the Animals, Septet, ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

groups, Adderley recorded impressively with Miles Davis, John Coltrane, Bill Evans and Gil Evans’ Orchestra. Styles & Forms | Sixties | Jazz & Blues Personalities | The Animals | Sixties | Jazz & Blues ...

Source: The Definitive Illustrated Encyclopedia of Jazz & Blues, founding editor Howard Mandel

You Crazy Diamond’ set the atmosphere for the album’s centrepiece. He also co-wrote the acoustic ‘Wish You Were Here’ with Waters. While Waters tightened his grip on the band for Animals (1977), Gilmour’s guitar continued to characterize lengthy tracks like ‘Dogs’ and ‘Sheep’, as Gilmour shared much of the production work with Waters. By the time of The Wall (1979), Waters ...

Source: Rock Guitar Heroes, consultant editor Rusty Cutchin
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