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(Vocal/instrumental group, 1966–present) Comprising Bob Hite (vocals, harmonica), Al Wilson (guitar, harmonica, vocals), Henry Vestine (guitar), Larry Taylor (bass) and Fito De La Perra (drums), this Los Angeles band’s heyday was between 1966–70, when covers of the Memphis Jug Band’s ‘On The Road Again’ and Henry Thomas’s ‘Goin’ Up The Country’ propelled them up the charts. ...

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

(Vocal/instrumental group, 1967–present) Much of this good-time blues outfit’s allure lay in the disparate natures of its late front men: jocular Bob ‘Bear’ Hite (vocals) and intense Al ‘Blind Owl’ Wilson (vocals, harmonica, guitar). 1968’s Boogie With Canned Heat and its attendant ‘On The Road Again’ hit established them as a world-class act. ‘Goin’ Up The Country’ and ...

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

The guitarist in Dream Theater, John Petrucci (b. 1967) brought his virtuoso style – lengthy syncopated lines, complex rhythmic variations and grinding tones – into the progressive-metal scene. In the past decade, he has been involved in several extracurricular projects, often with other members of Dream Theater. Raised in Long Island, New York, Petrucci started ...

Source: Rock Guitar Heroes, consultant editor Rusty Cutchin

This section encompasses styles that were, at least initially, designed to work in tandem with other forms of expression, deepening or enhancing their impact. The scores of musical theatre are woven into stories played out by the characters on stage. A film soundtrack is composed to interlock with the action on a cinema screen, while cabaret songs ...

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

From the eclectic musical melting pot of ragtime, Gilbert & Sullivan, early jazz, Viennese operetta, blackface minstrel shows and authentic Deep-South blues emerged the Broadway show tune. ‘Show’ and ‘tune’, of course, are the essential indicators of musical style. The music created for Broadway musicals – and, subsequently, for the musical form whatever its ...

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

Originating as a device to mask the sound of a whirring projector, film music has become so much more than ‘music from the movies’. Before the advent of video and DVD, the soundtrack was the most accessible way to return to a favourite movie. It has since evolved into a multi-million dollar industry and one of the most thriving ...

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

Cabaret thrived on sensuality, wit and an intimacy between performer and audience. Its essence lies in intimate, escapist venues, where charismatic artists perform with ad-hoc backing from piano, brass and bass. Unlike the popularist music hall, cabaret was born from experimentation and a desire to explore the space between mass entertainment and the avant-garde. A French ...

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

(Trumpet, vocals, 1905–97) Adolphus Cheatham played in countless bands and small groups in the 1920s, before settling in the Cab Calloway orchestra in 1931. He remained with Calloway until 1939, after which he resumed work with a variety of bands. He didn’t emerge as a soloist until the 1960s, working with George Wein, Benny Goodman ...

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

(Piano, vocals, 1902–41) William Bunch was born in Tennessee but raised in Arkansas. He played guitar and piano in his youth, left home in the mid-1920s and settled in East St. Louis, Illinois. He made his recording debut in 1930 for Vocalion as Peetie Wheatstraw. A popular and prolific recording artist for Decca and Vocalion until his ...

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

(Tenor and soprano saxophone, flute, b. 1926) Jimmy Heath’s early devotion to Charlie Parker saw him nicknamed ‘Little Bird’, but he switched from alto to tenor saxophone and developed his own voice. He honed his writing skills with the Dizzy Gillespie Orchestra throughout 1949–50. He spent 1955–59 in prison, but rebuilt his career with a series of recordings ...

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

Several other non-Western cultures have developed genres of musical performance similar to that of opera – they combine music, song, story-telling and theatrical presentation. The most famous of these is the Nō theatre of Japan. Nō theatre was essentially established in the fourteenth and fifteenth centuries by the two great playwrights Kan’ami (1333–84) and his son Zeami (1363–1443). These ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

The city of St Petersburg was founded in 1703 by Peter the Great as his ‘window on the West’ – part of his plan to connect backward Russia to the modern world. A court theatre was included as part of Peter’s modernizing policy, but plays were being performed there for more than 30 years before the first opera was staged. ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Malcolm John ‘Mac’ Rebennack Jr., a.k.a. ‘Dr. John the Night Tripper’, was born in New Orleans in November 1940. The singer and pianist began his professional career while he was still a teenager. He backed local favourites including Joe Tex and Professor Longhair on guitar and keyboards, produced and arranged sessions at Cosmio Studio, also frequented ...

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

(Vocals, quills, guitar, 1874–1930) A son of former slaves, Henry ‘Ragtime’ Thomas specialized in the quills, a panpipe-like instrument made from hollow reeds. He was itinerant for most of his life, a fact reflected in songs such as ‘Railroadin’, in which Thomas names train stops from Fort Worth to Chicago. His ‘Bull Doze Blues’, renamed ‘Goin’ ...

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

John Lee Hooker’s sparse blues sound was a major influence on the younger generations of blues musicians dominating the music scene in the 1960s and 1970s. His individual style retained a primitive purity at a time when many of his contemporaries were experimenting with groups and incorporating the influences of other types of music into their blues. Hooker’s guitar technique was ...

Source: The Definitive Illustrated Encyclopedia of Jazz & Blues, founding editor Howard Mandel
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An extensive music information resource, bringing together the talents and expertise of a wide range of editors and musicologists, including Stanley Sadie, Charles Wilson, Paul Du Noyer, Tony Byworth, Bob Allen, Howard Mandel, Cliff Douse, William Schafer, John Wilson...

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Classical, Rock, Blues, Jazz, Country and more. Flame Tree has been making encyclopaedias and guides about music for over 20 years. Now Flame Tree Pro brings together a huge canon of carefully curated information on genres, styles, artists and instruments. It's a perfect tool for study, and entertaining too, a great companion to our music books.

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