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Both an American Detroit-based hard rock band and the adopted name of its singer and main creative force Vincent Damon Furnier (b Detroit, MI, 4 Feb 1946). Cooper was the son of a minister and the nephew of the storyteller Damon Runyon, after whom he was named. He moved to Arizona, where he attended high school and formed the Nazz. This band eventually took the name Alice Cooper and developed an over-the-top, theatrical shock-rock style that influenced a host of other rock performers.

With snide and clever lyrics, Alice Cooper’s style was mainly hard rock, but some tunes were psychedelic and others would be suitable in a Broadway musical. After moving to Michigan, the band scored numerous hits in the early 1970s. Many of the songs were rebellious youth-focused anthems, including “Eighteen” (Warner, 1971) and “School’s Out” (Warner, 1972). Others centered on ghoulish menace or mere gothic gruesomeness like “Dead Babies” (Warner, ...

[Myra Ellen]

(b Newton, NC, Aug 22, 1963). American alternative-rock singer-songwriter, pianist, and record producer. She emerged in the early 1990s amid a resurgence of female singer-songwriters and has been one of the few well known alternative-rock artists to use the piano as her primary instrument. She attended the preparatory division of the prestigious Peabody Conservatory but left the school at the age of 11. She began to play her own music in nightclubs at 14, chaperoned by her father, who was a preacher. After Amos moved to Los Angeles in her late teens to pursue a recording career, her band Y Kant Tori Read released a self-titled album (Atl., 1987). Although this was unsuccessful, Atlantic Records retained her six-album contract.

Amos’s debut solo album, Little Earthquakes (Atl., 1992), earned her critical acclaim for her vocal expressivity, pianistic virtuosity, and fearless exploration of a wide range of personal themes, notably female sexuality, personal relationships, religion, sexual violence, and coming of age. The album ...

[Delois Barrett and the Barrett Sisters]

Gospel trio. Its members were Delores [Delois] (soprano), Billie (alto), and Rhodessa (high soprano) Barrett. Hailing from the Southside of Chicago, they grew up with seven other siblings and were members of the Morning Star Baptist Church where they sang in a choir directed by their aunt. As the Barrett–Hudson Singers, Delores and Billie had performed in a group with a cousin, whom Rhodessa later replaced to form the Barrett Sisters. Delores, the eldest and the group’s leader, started singing at the age of six. Her professional career began in earnest after graduating from Englewood High School, when she became the first female to join the Roberta Martin Singers (1944; see martin, Roberta ). Billie and Rhodessa received some formal training, but it was through the Roberta Martin Singers that Delores learned technique and honed her individual style, along with the unique ensemble quality known as the Roberta Martin sound. Delores continued to sing with Martin from time to time, even as the Barrett Sisters took shape. Getting their start as an African American gospel trio, the Barrett Sisters first recorded with the label Savoy (...

American hip-hop group. It was formed in 1995 in Los Angeles by will.i.am (William James Adams, Jr.; b Inglewood, CA, 15 March 1975; rapping, vocals, various instruments), apl.de.ap (Allan Pineda Lindo, Jr.; b Angeles City, Philippines, 28 November 1975; rapping, drums), and Taboo (Jaime Luis Gómez; b Los Angeles, CA, 14 July 1975; rapping, keyboard). The group grew out of Atban Klann (1991–5), a Los Angeles-based group signed for a time to Eazy-E’s Ruthless Records. The Black Eyed Peas developed an approach that fused elements of global pop, jazz-rock, funk, soul, noise music, and a variety of hip-hop styles. Initially considered somewhat of an underground phenomenon, the Black Eyed Peas achieved worldwide commercial success after being joined by Fergie (Stacy Ann Ferguson; b Hacienda Heights, CA, 27 March 1975; rapping, vocals) in 2003. The group’s third and fourth albums, Elephunk (2003) and Monkey Business (2005...

(b Columbia, SC, 1918; d Philadelphia, PA, Sept 4, 1967). American gospel singer. She studied music at Temple University and subsequently became a school teacher. In 1938 she heard Willie Mae Ford Smith sing gospel music in Washington, DC, and decided to adopt the style. She began singing in towns in the Washington area, where she soon became known as the “Sweetheart of the Potomac,” a title that remained with her throughout her career. She began recording in the early 1950s and by 1953 was one of the major gospel stars, specializing in the “song and sermonette” (where the first half of the song is delivered as a sermon and the second half is sung). Her most popular recordings, all made during the 1950s, include “Amen,” “Evening Sun,” and “Stop Gambler.” She performed most often with the support of a male quartet, beginning a song softly and subtly, then building in volume and drama as the song progressed....

Girl group formed in Coney Island, New York, in 1954. Dorothy Jones, (Ethel) Darlene McCrea, and Jones’s cousin Beulah Robertson won third place in the Apollo Theater’s amateur contest. This led to their first single, “All Night Mambo/Don’t let go” (Lamp Records, 1954). The songwriter and manager Jesse Stone got them signed to Atlantic Records, where they recorded during the period 1955–6; their second single, “In Paradise/Passing Time” (1956) was written by Neil Sedaka. The Cookies also backed other artists on the Atlantic roster, with Margie Hendricks replacing Robertson in 1956. Two years later, McCrea and Hendricks accepted Ray Charles’ offer to be part of the Raelettes.

In 1960 Jones assembled another trio, with McCrea’s sister Earl-Jean and cousin Margaret Ross. They undertook studio work with Sedaka and subsequently with Carole King and Gerry Goffin. The Cookies scored their own hits with “Chains” (Dimension) and “Don’t say nothin’ bad (about my baby)” (Dimension). They continued backing other singers and recording demos for Goffin and King, and between ...

[Mighty Dells, the]

The group collectively grew up in Harvey, Illinois, and initially performed under the name the El-Rays. They recorded an unsuccessful single in 1954 for Chess Records before transferring to Vee-Jay the following year. Their first hit “Oh What A Night” (1956) came soon thereafter. It hit the top five of the R&B singles chart, sold over a million copies, and was awarded a gold record. Their commercial ascendance was interrupted when a member was severely injured in a car accident in 1958. The Dells re-formed in 1960 and initially served as backup singers to other stars including Dinah Washington, Ray Charles, and Barbara Lewis. They rejoined Chess Records in 1966 and a year later released the album There Is, the title track of which was a Top 20 pop hit. Successive achievements on the label include their first Top 10 Pop Hit, “Stay in My Corner” (1968...

Rock group. Formed in California in 1970, its original members were Tom Johnston (vocals and guitar), John Hartman (drums), Patrick Simmons (vocals and guitar), and Dave Shogren (bass guitar). Johnston and Simmons have remained with the group for more than four decades. The reference to marijuana in the band’s name did not prevent them from landing a contract with Warner Bros. in 1971, and their second album, Toulouse Street (1972), produced their first hit single, “Listen to the Music.” During this early period the band’s membership shifted often, and they changed their country-rock sound to include a fuller rhythm section and piano to support their distinctive vocal harmonies. They produced a string of successful singles, including “Black Water” (1975), and well received albums, including The Captain and Me (1973), What were once vices are now habits (1974), and Stampede (1975). The addition of the lead singer and principal songwriter Michael McDonald transformed their sound once again, leading to hit singles built around his soulful voice such as “Takin’ it to the Streets” (...

Rock group. It formed in Vancouver, British Columbia, in 1973. Heart is composed of Seattle-born sisters Ann (b San Diego, CA, 19 June 1950) and Nancy (bSan Francisco, CA, 16 March 1954) Wilson supplemented bya changing lineup of side musicians. The two collaborate as songwriters, with older sister Ann serving asthe lead vocalist on the majority of the group’s recordings and Nancy as the group’s primary rhythm and lead guitarist. They were among the first women in rock to both write and play their own songs. The band achieved major success in the mid-1970s with their first two albums, Dreamboat Annie (1976) and Little Queen (1977), which spawned a number of top ten singles, including “Dreamboat Annie,” “Crazy on You,” “Magic Man,” and “Barracuda.” After a decline in popularity in the early 1980s, Heart again achieved chart success in 1985 with a self-titled album including the top ten hits “What About Love,” “Never,” “These Dreams,” and “Nothin’ at All.” Their band’s sound has ranged from hard rock and metal numbers (“Barracuda”) to folk-influenced ballads (“Dreamboat Annie”). In ...

Hawaiian falsetto singers and musicians. Of no direct relation to steel guitarist Sol Ho‘opi‘i, Solomon (b Maui, HI, 28 March 1935; d Maui, HI, 2 March 2006) and Richard (b Maui, HI, 15 March 1941) Ho‘opi‘i grew up in Kahakuloa on the remote northwest coast of Maui. From an early age they developed a virtuoso style of duet leo ki‘eki‘e (falsetto) marked by open, robust timbre, and a variety of vocal ornaments. Among these are traditional techniques from Hawaiian chant plus adapted practices such as yodeling, echoing, and percussive effects. Both brothers could sing all four voice parts and complex interplay was common, as on “Kupa Landing” and “I Ali‘i No ‘Oe.” The duo often modulated to higher keys as songs progressed, as in “Haleakala Hula.” Himeni (Hawaiian hymns) were another specialty. Discreet elements of early rock and roll also filtered into their sound, especially when performing at parties....

Hawaiian vocal and instrumental trio. Formed in 1969, Hui Ohana (family group) comprised Ledward Kaapana (b Kalapana, HI, 25 Aug 1948), Nedward “Nicky Boy” Kaapana (b Kalapana, HI, 25 Aug 1948), and Dennis Pavao (b Kalapana, HI, 11 July 1951; d Maui, HI, 18 Jan 2002). They were one of Hawaii’s leading bands in the 1970s, attracting fans of both traditional and popular music. Their popularity extended to other parts of Polynesia, especially Samoa and Tahiti. The trio’s soaring falsetto leads by Dennis Pavao, bright harmonies and prominent slack key guitar by Ledward Kaapana, embodied the spirit of the era, a time when artists were seeking to revive Hawaiian music and perpetuate it in a manner conducive to modern musical contexts.

All three grew up in Kalapana village on Hawai’i’s remote southeast coast. There was no electricity. While there was some radio, Kalapana was a hotbed of homemade music. Parties lasted for days and families were full of excellent musicians, especially the Kaapana clan with slack key master Fred Punahoa and vocalist Tina Kaapana, mother of Ledward and Nedward. Hui Ohana added discreet elements of country and rock to their music. However, most of their style and repertoire came from performing with older family members as typified by “Sweet Lei Mokihana,” “Ku‘u Ipo Onaona,” and “God Bless My Daddy.” They also performed a few newer compositions, such as “Hanalei Moon” and the enormously successful hit “Kona Moon.”...

Vocal group. One of the most influential black vocal harmony groups, the Ink Spots recorded over 70 hit recordings over a career that lasted, through various permutations of personnel, for seven decades. The Ink Spots first assembled in 1932 in Indianapolis, Indiana, and initially performed under the names the Four Riff Brothers, the Percolating Puppies, and King, Jack, and Jester. They appeared at New York’s celebrated Apollo Theatre in 1934 and were reputedly influenced by Paul Whiteman to change their name so as not to collide with that of his vocal ensemble, the King’s Jesters. The group signed with RCA Victor in 1935, but did not achieve commercial success, and switched to Decca the following year. The inimitable Ink Spots sound used a format whereby a track opened with a guitar riff, followed by the tenor lead singer’s rendition of the song’s lyric, after which the bass would pronounce that same material in the form of an oral recitation and then conclude with a repetition of the lead vocalist’s performance. That format first took hold of the public consciousness in ...

Rock-and-roll male vocal duo. The singer, songwriter, and producer Jan Berry (b Los Angeles, CA, 3 April 1941; d Brentwood, CA, 26 March 2004) had his first success with the singer Arnie Ginsberg in the hit song, “Jennie Lee” (1958) which was recorded in Berry’s garage. He then formed a permanent partnership with the singer Dean Torrence (b Los Angeles, CA, 10 March 1941), and until 1966, when Berry was disabled in an automobile accident, Jan and Dean represented rock and roll as mindless fun, following and exploiting every new pop trend; their songs were based on doo-wop harmony and celebrated aspects of southern Californian hedonism such as surfing (“Surf City,” 1963, no.1) and fast cars (“Drag City,” 1963, no.10). Although Berry’s vocal abilities were not up to par and Torrence was little better, each managed to make at least one classic rock recording—Berry on Jan and Dean’s brilliantly orchestrated melodrama “Dead Man’s Curve” (...

Gospel vocal quartet. It was formed by the brothers Bill (tenor; 1948–51) and Monty (baritone; 1948–52) Matthews as the Melodizing Matthews in 1948 in Springfield, Missouri, but the group has subsequently seen a number of personnel changes. Longtime members include Gordon Stoker (first tenor, manager, from 1950), Hoyt Hawkins (second tenor, baritone, 1952–82), Neal Matthews Jr. (second tenor, 1953–2000), Ray Walker (bass, from 1958), and Duane West (baritone, 1982–99). The white gospel group’s recording career began in the early 1950s with Decca covering black gospel songs and spirituals; they later worked for RCA Victor and Capitol. Their reputation grew when they began to back such country singers as Red Foley (“Just a Closer Walk with Thee”) and made television appearances on The Eddy Arnold Show and NBC’s The Grand Ole Opry. The group reportedly met Elvis Presley in Memphis while touring with Eddy Arnold in ...

(b Olomouc, 3 May 1967). Czech violinist. Raised in a musical family, she studied at the People’s School of Art in Opava with Marcela Kuvíková, then at the Ostrava Conservatory with Vítězslav Kuzník and at the Academy of Performing Arts in Prague (AMU) with the professors Jiří Vlach, Jiří Novák, and Ivan Štraus. She also took part in master classes with Josef Gingold in Greensboro, NC and with Wolfgang Marschner in Weimar. In 1990 she received a scholarship to the International Menuhin Music Academy in Gstaad, Switzerland, where she studied with Alberto Lysy.

In 1997, she became a laureate of the Prague Spring International Violin Competition. She has also received the Gideon Klein Prize, the Bärenreiter Prize, the Supraphon Prize, the Prize of the City of Prague, and the Prague Spring Foundation Prize. In 2005 she represented the Czech Republic at the World Exhibition in Aichi, Japan, together with the Prague Philharmonic....

Slovenian music group formed in 1980 in the mining town of Trbovlje in what was at the time multinational communist Yugoslavia. The band was strongly influenced by the persecution of punks by the police in the country. Their provocative political attitudes (their use of the German word, associated with the Nazi occupation of Ljubljana, as the name for their group; their use of quasi-military uniforms as part of their image; their use of totalitarian discourse in communication with the media; etc.) can be understood as a critique of the authoritarian regime. The dislike was mutual, as Laibach were banned from performing in Slovenia until they changed their name. Musically, Laibach started as an industrial group (influenced by groups like Throbbing Gristle). They became more eclectic with time. Influences were diverse – from electronic music groups like Kraftwerk, to new wave groups like Joy Division, with elements of avant garde classical music and disco. Laibach is a postmodern group, best known for recycling already existing musical works of other artists. They have made cover versions of songs by Opus, Europe, Queen, Beatles, Rolling Stones, Status Quo, Andrew Lloyd Webber and Tim Rice, Richard Wagner, among others. After more than three decades they still perform, though their line-up has changed often over the years....

(b Plovdiv, 19 Dec 1937). Bulgarian composer, pianist, conductor, arranger, and bandleader. He was internationally acknowledged for his innovative ideas, cross-cultural experiments, and contribution to the concept of fusion and free improvisation. Classically trained at the Bulgarian State Conservatory (1955–60) under Pancho Vladigerov (composition) and Andrey Stoyanov (piano), he is the author of numerous compositions in styles and genres including jazz, pop, symphony, chamber, film, and theatrical music. He conducted the Radio and Television Big Band in Sofia (1962–6) and led his own avant-garde quartet, Jazz Focus’65 (1965–8), which won the Critic’s Prize at the Montreux Jazz Festival in 1967. In 1970 he left Bulgaria for political reasons and moved to the USA where he joined the Don Ellis Orchestra (1971–8), and later collaborated with the classical/jazz quartet Free Flight. He also played with outstanding jazz musicians including Art Pepper, Billy Cobham, and Dave Holland, among many others....

American bluegrass duo. “Bea” or “B” Lilly (Mitchell Burt Lilly; b Clear Creek, WV, Dec 15, 1921; d Duxbury, MA, Sept 18, 2005) sang lead and played guitar, and Everett (Charles Everett; b Clear Creek, WV, 1 July 1924; d Clear Creek, WV, 8 May 2012) sang tenor and played mandolin. Together with banjoist Don Stover (b White Oak, WV, 6 March 1928; d Brandywine, MD, 11 Nov 1996), the Lilly Brothers played a principal role in disseminating bluegrass and old-time music in New England.

The Lilly Brothers were influenced by the traditional sacred and secular music of their childhood community as well as popular brother duets of the mid-1930s, including the Monroe Brothers, the Callahan Brothers, and the Blue Sky Boys. Honing their musically solid, assertive sound toward the end of the 1930s, they increased their exposure through radio appearances on WJLS in Beckley, West Virginia and WCHS in Charleston, West Virginia. After collaborations with Molly O’Day and Lynn Davis during the 1940s, the Lilly Brothers began appearing on the WWVA ...

(María Mendoza and Juanita Mendoza)

American Tejano singers and sisters of the popular singer Lydia Mendoza. María Mendoza (b Monterrey, Mexico, 1922; d San Antonio, TX, 1990) and Juanita Mendoza (b Monterrey, Mexico, 1927) began their professional careers touring with the Mendoza family, led by their mother, Leonora, and featuring their sister, Lydia. María and Juanita formed the first female dueto in Texas after Lydia went into temporary retirement to look after her new family upon the outbreak of World War II. They were incredibly popular in the southwest where they toured and performed at various theaters and nightclubs, accompanied by their own guitars or sometimes a piano. Following in the popular repertoire performed by the Mendoza family, they sang many genres including canción rancheras and corridos. The dueto toured with the rest of the family as part of the larger variety act in theaters and carpas (tent shows). They recorded extensively for Discos Azteca in Los Angeles; Discos Ideal in Alice, TX; Columbia; and Falcon, and often recorded with accordion ...

British heavy metal band. The vocalist and bass guitarist Lemmy (Ian (Fraser) Kilmister; b Stoke-on-Trent, England, Dec 24, 1945; d Los Angeles, Dec 28, 2015) formed the group as a power trio in 1975, a time when both punk and heavy metal were coming into their own. Motörhead took the best musical qualities from both rising genres and was fast, loud, and heavy. The band expressed Lemmy’s clear-eyed realist and defiantly moralistic vision, his prominent bass guitar, his bawling growl of a voice, and his fascination with what he saw as “the abominations”—the two world wars. Motörhead’s peak of mass popularity came around 1980 with four albums: Overkill (Bronze, 1979), Bomber (Bronze, 1979), Ace of Spades (Bronze, 1980), and the live recording No Sleep ’til Hammersmith (Bronze, 1981) which charted at number one in the UK. The band’s lineup, with Mikkey Dee (Micael Kiriakos Delaoglou; ...