Space-age pop percussionist Harry Breuer was created in Brooklyn, NY about October 21, 1901; he in the beginning analyzed violin but shifted to xylophone — after that still a novelty device — during senior high school, and continued to try out with early radio favorites the Cliquot Golf club Eskimos and a amount of vaudeville functions. Stints using the stage rings at New York’s Roxy Movie theater and Radio Town Music Hall implemented before Breuer spent the battle years doing work for Warner Bros. and Fox, not merely contributing music towards the studios’ productions but additionally making appearances in a number of short topics and educational movies; through the mid-’40s, he agreed upon on as an employee musician with NBC radio, staying using the network for over three years. In 1958, Breuer produced his record debut with Mallet Magic, a assortment of percussion instrumentals documented for the Sound Fidelity label being a community forum for demonstrating stereo system technology; that same season he released a sequel, Mallet Mischief, that was afterwards featured within the cover from the publication Incredibly Unusual Music, Vol. 1, along the way becoming one of the most sought-after produces among latter-day space-age pop aficionados. Almost a decade later on, Breuer also teamed with digital pioneer Jean-Jacques Perrey to record The Happy Moog for Pickwick. Inducted in to the Percussive Arts Culture Hall of Popularity in 1980, Breuer continuing carrying out until his last years, in 1986 actually releasing a fresh LP, Mallets in Wonderland; he passed away in NEW YORK on June 27, 1989.