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(Musicians, producers, writers, 1984–91) Mike Stock, Pete Waterman and Matt Aitken joined forces in 1984 to manufacture pop gold. Waterman had already produced hits for Nik Kershaw and Tracey Ullman. The team’s first chart-topper was Dead or Alive’s ‘You Spin Me Round (Like A Record)’. They then updated classic girl-group pop with Bananarama, Mel and Kim ...

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

Across the centuries and around the globe, many different forms of music have enjoyed mass appeal for a limited period of time. None, however, have been able to match the widespread influence of the popular music that erupted in America during the mid-1950s and, by the second half of the decade, was exerting its grip over ...

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

‘Pump Up The Volume’, 1988 If you are going to release only one song, make sure it is a good one. ‘Pump Up The Volume’ is one of the most influential one-hit wonders of all time. A major milestone in British house music and sampling culture, it marked many people’s first point of contact with the underground dance scene. ...

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

(Vocal/instrumental group, 1978–81, 2009) As frontrunners of the ska revival, this superb Coventry band released the genre’s finest single, ‘Ghost Town’ (1981), on their own 2Tone label. Terry Hall and Neville Staples (both vocals), Lynval Golding and Roddy Radiation (both guitar), Jerry Dammers (keyboards), Horace ‘Gentleman’ Panter (bass) and John Bradbury (drums) also had hits with ‘Rat ...

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

The term ‘manufactured pop’ is, in many ways, a red herring. Despite the changes in our perception of pop talent brought about by The Beatles, much mainstream pop has been based on the ‘Tin Pan Alley’ tradition, in which teams of producers, composers and music-business moguls find young, attractive performers (mainly singers) to front potential ...

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

Camp. Trashy. Lightweight. Throwaway. Exploitative. Fraudulent. Europop has drawn all those insults and more, and remains, after 30 years, most popular among those with a love of kitsch. Nevertheless, the danceable pop of early 1970s mainland Europe has had an enormous influence on manufactured pop, as well as all house and disco-derived dance music. Throughout the ...

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

This was a decade when the impact of dance culture on rock and vice versa sometimes led to exciting results: it opened with ‘Thriller’ and closed with the Madchester scene of Happy Mondays. Punk had subsided to become the less threatening new wave movement, which, along with the new romantics, dominated the early days of the decade. As ...

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

Contemporary music whose ancestry lies in the Western classical tradition finds itself in a curious position. Nothing illustrates this better than the fact that we are not entirely sure what to call it. The label ‘classical’ seems anachronistic, especially when applied to composers who have challenged some of the fundamental assumptions of the classical tradition. ‘Concert music’ is similarly problematic ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

The late Baroque era (1700–50) was a time of major political change throughout Europe, involving a shift in the balance of power between sovereign states. Across the continent it was a period of almost continuous warfare, the effects of which were later felt in other parts of the world as a result of conflicting ambitions among the various trading ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

By the beginning of the eighteenth century, opera was established in some form in most major European centres. The basic types of serious and comic opera in both Italian and French traditions shared similarities, although the content and style of an operatic entertainment could vary according to whether it was intended to flatter a private patron, resound with ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Although the art of the classical singer has traditionally been perceived as the pursuit of technical perfection and tonal beauty, the twentieth century enabled a re-evaluation of what that art should be. Due in part to the technological advances and harrowing events of the times, much of the music was innovative, challenging, moving, powerful and, ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

The bagpipe principle is simple: instead of the player blowing directly on a reed pipe, the air is supplied from a reservoir, usually made of animal skin, which is inflated either by mouth or by bellows. The result is the ability to produce a continuous tone, and the possibility of adding extra reed-pipes to enable a single ...

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

A type of xylophone, the marimba is a percussion instrument. The percussionist strikes a row (or two rows) of wooden blocks – laid out like a keyboard – beneath which are attached a series of echo chambers that resonate the sound. The compass of the instrument varies, but generally covers three or four chromatic octaves from the C below ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

In comparison to Manon, Werther is the romantic dreamer, totally lost as he sees his beloved Charlotte marry another man. But his music – a seductive, rocking melody where he and Charlotte at once express the strength of their love and the necessity to deny it in the face of social pressure – etches itself on the audience’s ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

(Trumpet, cornet, guitar, 1915–76) After Bobby Hackett was praised in Down Beat by Boston critic George Frazier in 1937, he headed to New York and settled into a group of neo-traditional players loosely associated with Eddie Condon. Although a lifelong fan of Louis Armstrong, Hackett’s gentle, fluid lyricism made him a more logical descendent of ...

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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