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This enduring British cult dance scene takes its name from the post-mod discos in the north-west of England where it developed, rather than the geographical location of the music-makers. Legendary disco venues like Manchester’s Twisted Wheel, Blackpool’s Mecca and The Wigan Casino, are still spoken about in reverential tones by soul and dance connoisseurs. The reason northern soul ...

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

Rock and jazz guitarist Neal Schon, son of a jazz saxophonist and composer, was born in Oklahoma in 1954. A precocious talent, he learned guitar at the age of 10 and joined Santana at 15, turning down an invitation to join Eric Clapton in Derek and the Dominos. Schon made two albums with the band, Santana ...

Source: Rock Guitar Heroes, consultant editor Rusty Cutchin

Few blues guitarists had more style and presence than Albert King (1923–92). At 6ft 4in (1.93m) and 250lbs (113kg), he cut an imposing figure onstage. Equally distinctive was his Gibson Flying V guitar, a right-handed instrument that King played left-handed and upside down. This gave him an unusual, tormented sound when he bent the strings on his fretboard. ...

Source: Rock Guitar Heroes, consultant editor Rusty Cutchin

Soul jazz stood out from other previous jazz forms. Its melodies were simpler and more rhythmic compared to hard bop, and influences from gospel and R&B were evident. In more traditional jazz forms, soloists would follow walking basslines or metric cymbal rhythms. In soul jazz, they followed a whole groove, which encouraged a different style of phrasing. ...

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

In 1949, two apparently small events took place, which in hindsight were to have monumental significance for popular culture. The first of these saw Billboard magazine change the name of its ‘Race Records’ chart to the more relevant and politically correct ‘Rhythm & Blues’ chart, reflecting the success of the American dance music of the moment. Meanwhile, ...

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

The story of soul’s Golden Age is linked with the story of two American record labels: Berry Gordy’s Motown and Jim Stewart & Estelle Axton’s Stax. They discovered artists, wrote songs and developed recording and marketing methods that would irrevocably change popular music, and have a profound effect on the perception of race all over world. Motown’s base in ...

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

Since the dawn of the jazz era, the appeal of pop music had become increasingly intertwined with the demands of the dancefloor. As 1960s rock and soul became ever tougher and more orientated towards youth and hedonism it was only a matter of time before someone would come up with the ultimate dance groove. That someone was soul’s greatest innovator ...

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

By the 1970s, the new sound of funk dominated Afro-American music. Jazzers such as Miles Davis and Herbie Hancock scored their biggest commercial successes by incorporating its hip-grinding rhythms into what became known as fusion or jazz funk, while soul acts enjoyed a second wave of popularity as funk provided the bridge between the soul and disco eras. Fuelled ...

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

Although the 1960s Golden Age established soul as the foundation of Afro-American pop, the 1970s and 1980s saw soul’s supremacy challenged and ultimately ended by, in turn, funk, disco, electro, dance-rock, hip hop and house. In hindsight, the soul music of the 1980s went into a form of stasis, waiting for a ...

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

Although contemporary R&B prefers to align itself with its ruder and more street-credible cousins in hip hop, the roots of its mainstream practitioners lie firmly in manufactured pop. In a throwback to the Motown era, R&B has become a global phenomenon by combining producer-led factory formula with a high level of musical innovation and adventure. This balance of pop ...

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

(Vocal/instrumental group, 1992–present) Formed in Georgia, USA by Ed Rowland (guitar, vocals), brother Dean Rowland (guitar), Ross Childress (guitar), Will Turpin (bass) and Shane Evans (drums). Helped by the ripple effect of the Seattle grunge movement, their hook-laden 1994 single ‘Shine’ became an American hit securing a willing audience for the band’s intense but melodic rock. Hints ...

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

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

(Vocals, b. 1946) Motown’s first West Coast signing (in 1963), charted with ‘Every Little Bit Hurts’ and supported The Beatles on their 1965 US tour. Deeply religious, she retired in 1968, overlooked at Motown and concerned about pop’s hedonism. UK northern soul fans never forgot her rich, sensuous voice, and from 1987 she recorded new material ...

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

(Vocal/instrumental group, 1990–present) The brainchild of Manchester DJ and scene-maker Mike ‘M’ Pickering who recruited Heather Small (vocals) and Paul Heard (keyboards, electronics) to form the band. Mixing impeccable melody with beats and influences ranging from northern soul to pop the band were soon scoring UK hits like ‘How Can I Love You More ?’ and ‘One Night In ...

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

(Vocal/instrumental group, 1989–99, 2007–09) Founded in Wigan, Richard Ashcroft (vocals), Nick McCabe (guitar), Simon Jones (bass) and Peter Salisbury (drums) enjoyed critical indie success after the masterfully arranged A Northern Soul (1995). After a brief split they re-formed for Urban Hymns (1997) which, propelled by ‘Bittersweet Symphony’, transformed them into international stars. Ashcroft’s charisma and passionate vocal ...

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