SEARCH RESULTS FOR: Searchers
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(Vocal/instrumental group, 1961–present) Tidy harmonies and restrained fretboard interaction became stylistic trademarks after Tony Jackson (bass), John McNally (guitar) and Mike Pender (guitar) with Chris Curtis (drums) had a UK No. 1 with ‘Sweets For My Sweet’ in 1963. This precipitated further hits over the next two years. Belated success in the States was followed by personnel changes and commercial ...

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

fog. Ellen and Balstrode find him and Balstrode tells him to sink the boat out of sight of land. He helps Grimes push the boat out. Dawn comes and the searchers have not found Grimes. Swallow hears that a boat is sinking far out at sea. Auntie says it is just a rumour. Recommended Recording: Peter Grimes, Orchestra of the ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

at Sun, Petty had developed his own echo technology. Buddy had apparently been talking about their future fame, and Allison, quoting from the recent film, The Searchers, had answered with the catchphrase of John Wayne’s character – ‘That’ll be the day…’. This became the title of The Crickets’ first hit, released in its demo form ...

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

(Guitar, vocals, b. 1941) Of Mexican and Irish extraction, Baez was the surprise hit of 1959’s Newport Folk Festival. With her pure soprano and deft way with an acoustic six-string, she was thus well-placed to become one of North America’s leading folk music ambassadors via ongoing international tours and albums that appealed initially to an intellectual fringe. ...

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

Friends (1970) album, on which a controlled, melodic vein of heavy metal underlined a witty if gruesome lyricism. Styles & Forms | Sixties | Rock Personalities | The Searchers | Sixties | Rock ...

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

, The Daily Worker, 7 September 1963 Leading Exponents The Beatles The Big Three The Fourmost Gerry & The Pacemakers Billy J. Kramer & The Dakotas The Merseybeats The Searchers The Swinging Blue Jeans The Merseybeat Style A thick strumming guitar and a lyrical melody line was just one style of Merseybeat, as epitomized by The Searchers. More energetic ...

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

invaded America the following year, sweeping away most of the previously established acts like so much dust. Outfits such as The Beatles, Gerry & The Pacemakers, The Searchers, Freddie & The Dreamers, Billy J. Kramer & The Dakotas, Herman’s Hermits and The Dave Clark Five exuded youthful cheer and vitality by way of their vivacious ...

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

at the vanguard of the British – and subsequently international – rock scene of the 1960s: The Who, The Hollies, The Kinks, The Moody Blues, The Searchers, Procol Harum…. These and many more all had band members who cut their musical teeth on a skiffle-inspired acoustic guitar, washboard or tea-chest basis. In fact, Lonnie ...

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

that English – accent. In 1963, while the UK pop charts were swamped by so-called Mersey sound acts such as The Beatles, Gerry & The Pacemakers, The Searchers, The Swinging Blue Jeans and Billy J. Kramer & The Dakotas, only three British singles managed to crack the US Top 40. In 1964, this paltry number ...

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

, their home town of Liverpool and the club that launched them, the Cavern, momentarily became the epicentre of the pop world. Fellow Liverpool acts such as The Searchers, Gerry and The Pacemakers and The Swinging Blue Jeans led the way, and most of the big cities in the UK would be rocked by the ensuing beat ...

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

Jazz and blues are rooted in the enormous technological and social transformations affecting the USA and Western Europe at the turn of the twentieth century. The most striking changes were the advent of easier and cheaper travel; better communications; electric lighting; improvements in audio recording and moving pictures; increased urbanization; and the rise of the US, concurrent with the fall ...

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

Country music is identified with the American South and West, but its roots were established on the Atlantic seaboard, from Cape Breton to New England, then filtered into the lower-central USA through the 2,400-km 1,500-mile) Appalachian mountain range. Eventually it proliferated everywhere. And if such a reach seems so vast as to defy a single culture ...

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

Although researchers continue to make discoveries about the way music was performed in the Middle Ages and the Renaissance, little is known about one of its most crucial aspects: how did singers actually sound ? Many medieval theorists and writers mention performers with voices ‘like those of angels’, and words such as ‘sweetness’ occur again and again; equally, the ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie
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