SEARCH RESULTS FOR: Steely Dan
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(Vocal group, 1972–81, 1993–present) This critically acclaimed New York outfit was formed around the nucleus of songwriters of Walter Becker (bass, vocals) and Donald Fagen (keyboards, vocals). Drummer Jim Hodder and guitarists Denny Dias and Jeff ‘Skunk’ Baxter completed the line-up along with vocalist David Palmer, recruited because Fagen was not sufficiently confident in his own ...

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

The government-enforced isolation of Native Americans in the United States has fostered cultural independence, in contrast to the marked musical acculturation between the Hispanic-speaking and Amerindian societies in South America. But in modern times, North American groups have tended to set aside tribal differences and seek a pan-tribal cultural unity. The ‘Ghost Dance’, a religious cult led by Jack ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

Jazz and fusion guitarist Stanley Jordan (b. 1959) caught listeners’ attention with his touch technique, an advanced form of two-handed tapping, for playing guitar. By quickly tapping (or ‘hammering’) his finger down behind the appropriate fret with varying force, Jordan produced a unique legato sound not usually associated with tapping. Jordan was born in Chicago, Illinois. He ...

Source: The Illustrated Encyclopedia of Guitar Heroes, consultant editor Rusty Cutchin

Dancing is as old as time, and its one constant is music that you can do it to. And while not all music is designed for dancing, some revolutionary dance music has been produced since records began. Some of it is intentionally disposable, but it is surprising just how much of the dance music made in the last ...

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

The Afro wig. The mirror ball. Platform heels. A pair of lurid flares. The enduring iconography of the mass-market disco era might seem laughable now, but to reduce such a revolutionary social force, and creative musical explosion to a few items of fashion tat would be very short-sighted indeed. As has happened with many other musical forms, the ...

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

Disco had successfully been portrayed in the backlash as un-American, of questionable sexuality, lacking the substance and resonance of rock. In underground clubs, however, house music constituted a mutation of the sound, concentrating its energies on the synthetic noises and elements of repetition that were common in many disco cuts. House music derived its name from ...

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

In the mid-1980s, the Chicago DJ Pierre was fiddling around with a new piece of technology, the Roland TB 303 machine. Tampering with its bass sound produced all sorts of squiggly, complex patterns. Pierre and the DJ/producer Marshall Jefferson gave a 12-minute tape of these doodlings to a local DJ, Ron Hardy, who played it at ...

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

Drums are the basis of tribal house. While the percussion may be simple and repetitive, its appeal lies in a certain primal, driving energy, stemming from the rhythmical drumming antics of tribespeople in pre-industrialized societies. From Middle Eastern prayer call to Brazilian batucada rhythms, many musical styles are culture-specific. However, the West often lumps together this ...

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

As the 1990s began, dance music was really only subdivided into house or techno. However, another genre was forming alongside the explosion of big outdoor raves – hardcore, where extreme hedonism met a kind of underclass desperation. Hardcore has meant different things at different times. In the early 1990s, different parts of Europe had different words for ...

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

In the UK, hardcore split into two camps in the early 1990s. One half would lead to jungle, but within breakbeat hardcore, a faction of DJs and ravers felt that the music was getting too gloomy. Producers and DJs such as Slipmatt, Seduction, Vibes, Brisk and Dougal effectively led an exodus of white ravers away ...

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

Effectively a hybrid of Tangerine Dream-style cosmic synth-rock and Giorgio Moroder Euro-disco, trance began to crystallize out of turn-of-the-decade trippy techno at the end of the 1980s (although disco records such as Grace’s ‘Not Over Yet’ or Donna Summer’s ‘I Feel Love’, produced by Moroder and Pete Bellotte, could lay claim to being earlier trance cuts). It was Hardfloor’s ...

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

Jungle was a reaction against happy rave’s crossover commercialism. The music did not so much die as go back underground, becoming darker and more sinister in order to reflect the prevailing, early 1990s mood. By this time in dance music, there had been plenty of media scare stories about ecstasy fatalities. As drug use spiralled for some clubbers ...

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

In the early 1980s, Derrick May was one of a triumvirate of techno pioneers in Detroit who began providing a soundtrack for the future. May was friends with Kevin Saunderson and Juan Atkins at junior high school in Belleville. Atkins turned them on to music by the likes of Giorgio Moroder, Kraftwerk and the sprawling Clinton/Parliament/Funkadelic funk beast. The ...

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

Growing out of Belgian ‘Hoover’ tracks (seemingly featuring the sounds of insanely trumpeting harmonic vacuum cleaners) by the likes of T99, and old hardcore tunes such as Beltram’s ‘Energy Flash’, a Dutch strain of rave added an absurdly fast Roland 909 drum machine to the music. This shuddering, rapid kick-drum sound took off in Rotterdam, which was attempting ...

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

The breakbeat is, literally, the percussion-only segment of a funk or disco track, where the dancers would cut loose. Finding that this was often the segment they most wanted to play, disco DJs would cut between two copies of the same record to create a funky drummer mélange. In the mid-1970s, too, Kool Herc invented ...

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