SEARCH RESULTS FOR: Ride
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(Vocal/instrumental group, 1988–96) Formed in Oxford in 1988 by Mark Gardner (vocals, guitar), Andy Bell (guitar) and Stephen Overalt (bass), Ride revelled in a loud guitar sound that won favour with critics and fans alike. With more than a nod in the direction of The Who’s ‘Won’t Get Fooled Again’, ‘Leave Them All Behind’ was their biggest hit single ...

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

between the knees, with the tom toms arranged from left to right in descending order of pitch. The suspended crash cymbal is placed by the hi-hat and the suspended ride cymbals are placed over the tom toms. Drums The drums are constructed like the orchestral snare drum and bass drum. The bass (or kick) drum (45–60 cm/18–24 in diameter and ...

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

Bass Drum The dominant feature of every military band is its big bass drum. Throughout the history of percussion instruments, this drum has been the mainstay of time-keeping, whether it is used for a marching army or in a late-twentieth century heavy metal band. Early versions of the bass drum (it was certainly known in Asia around 3500 BC) ...

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

she enters and threatens to kill Johnson and herself. She reminds the miners of what she has done for them and Sonora persuades them to release Johnson. Minnie and Johnson ride off to a new future. Personalities | Giacomo Puccini | Turn of the Century | Opera Houses & Companies | The Birth of the Metropolitan Opera | Turn of the ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

1918–2005, Swedish Nilsson’s impressive soprano voice boasted a focused yet powerful sound and an amplitude that could ride the grandest of Wagnerian climaxes with ease. Among Nilsson’s most famous performances were her legendary 1950s and 1960s portrayals of Brünnhilde and Isolde. Both of these roles were recorded, with Karl Böhm conducting. She was equally powerful in roles such as ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

’80s. Dave left to join X and then left that band for a solo career that increasingly emphasized the country side of his influences. His song about Hank Williams’ last ride, ‘Long White Cadillac’, became a Top 40 country hit for Dwight Yoakam. Alvin also produced alt.-country projects for Sonny Burgess, Big Sandy And His Fly-Rite Boys, ...

Source: The Definitive Illustrated Encyclopedia of Country Music, consultant editor Bob Allen

his heavy drinking and drug use. Mustaine toured with the band, co-wrote four songs that appeared on Kill ’Em All and co-wrote two songs that would eventually appear on Ride The Lightning. Mustaine then started a new band, Fallen Angels, connecting with neighbours Dave Ellefson and Greg Handevidt to play bass and guitar, respectively. The first of ...

Source: Rock Guitar Heroes, consultant editor Rusty Cutchin

‘Heidenröslein’, with its echo of Mozart’s Magic Flute, has the simplicity of a folksong. In ‘Erlkönig’ (‘The Erl King’), relentless triplets in the piano brilliantly depict the father’s desperate ride through the night. Of Schubert’s 60 or more Goethe settings, one of the best loved is ‘Der Musensohn’ (‘Son of the Muses’). In its infectious good humour, when ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

Freddie (sometimes spelled Freddy) King (1934–76) revitalized the Chicago blues scene in the 1960s. His aggressive playing and piercing solos helped to set up the blues-rock movement, and he was a major influence on 1960s British guitarists like Eric Clapton, Peter Green and Mick Taylor. King’s mother taught him to play guitar as a child in Gilmer, Texas ...

Source: Rock Guitar Heroes, consultant editor Rusty Cutchin

emotional instability and undependability. Around this time, he also began appearing on the Louisiana Hayride and was soon one of the most popular performers on the show. Hank’s Last Ride Shortly afterward, he recorded one of his first chart-topping hits, ‘Lovesick Blues’ – his honky-tonk reprise of an old pop song previously recorded in the 1920s by Emmett ...

Source: The Definitive Illustrated Encyclopedia of Country Music, consultant editor Bob Allen

Top Of The Pops’ theme tune. Many vested interests were rubbed up the wrong way when Led Zeppelin passed through town. It’s no wonder the band had such a turbulent ride, nor that they depended upon the forceful bulk of Peter Grant to shield them from the fall-out. The rock writer and movie director Cameron Crowe (of Almost Famous fame) ...

Source: Led Zeppelin Revealed, by Jason Draper

approach to rhythmic accents, but Clarke developed that concept to new heights, using crisp punctuations on bass drum – known as ‘dropping bombs’ – to accent his rolling ride cymbal. He was drafted to serve in Europe in 1943–46, and eventually settled in Paris in 1956, where his many associations included the acclaimed Kenny Clarke-Francy Boland Big ...

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

complemented by a dreamy melodicism. Shields was a perfectionist in the studio, painstakingly assembling Loveless (1991), which consolidated their position as a leading indie band and inspired outfits like Ride, Chapterhouse, Slowdive and the short-lived shoegazing trend. Shields continued to work as a producer, remixer and composer, as well as recording occasionally, until My Bloody ...

Source: Rock Guitar Heroes, consultant editor Rusty Cutchin

paid off, and Hammett began to make a name for himself in the guitar community via his incendiary scalar lines in solos such as ‘Fade To Black’ from 1984’s Ride The Lightning. Two years later, in 1986, the band released what many believe to be their magnum opus, Master Of Puppets. In 1987, Hammett began an ...

Source: Rock Guitar Heroes, consultant editor Rusty Cutchin

students, to the wonderful mocking choral fugue on the death of a rat. A highlight is the apocalyptic ‘Cours à l’abîme’ (‘Journey to the Abyss’), in which the galloping ride to Hell, mocking skeletons and jeering demons are all graphically depicted. Success and Disillusion In 1831, having won first prize in the Prix de Rome, Berlioz went ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie
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