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<title>Top Power Pop Artists on Rhapsody Online</title><link>http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link><description>Top Power Pop Artists on Rhapsody Online</description><category>Power Pop</category><language>en</language><ttl>720</ttl><pubDate>Sun, 29 Nov 2009 22:39:17 -0800</pubDate><image>
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<title>Wilco</title>
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<category>Indie/Alternative</category>
<pubDate>Tue, 17 Nov 2009 09:07:22 -0800</pubDate>
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<description><![CDATA[Following the 1994 breakup of alt country pioneers Uncle Tupelo, co-founder Jeff Tweedy immediately formed Wilco. Over the next three albums, the band recorded the rootsy <i>A.M.</i>, veered toward the orchestral pop of <i>Being There</i>, and earned a Grammy nomination for <i>Mermaid Avenue</i> (an album of Woody Guthrie lyrics for which the band and Billy Bragg wrote music), before running toward a sunny, West Coast-inspired pop utopia of complex introspection with <i>Summer Teeth</i>. Upon parting ways with founding member Jay Bennett, Wilco independently released (after some wrangling with Warner Bros.) </i>Yankee Hotel Foxtrot</i>. It was with <i>Foxtrot</i> that Wilco succeeded at leaving any alt country vestiges behind, venturing into more moody, dislocated songwriting tangled up inside noise experiments and amputated guitar leads. Wilco's fifth album <i>A Ghost Is Born</i> continued to help the band search for their sound somewhere between sonic gambles and innovative production. Their sixth, <i>Sky Blue Sky</i>, came in the spring of 2007, sounding like a return to simplified guitar pop with sing-along songs that unfold and unleash stormy guitar solos courtesy of Nels Cline. Some songs even hint at a slight return to the band's twangy roots.
- Eric Shea]]></description>
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<title>Weezer</title>
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<category>Power Pop</category>
<pubDate>Sat, 28 Nov 2009 09:38:30 -0800</pubDate>
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<description><![CDATA[Since coming together in Los Angeles in 1992, the members of Weezer have lived an especially capricious existence: In the course of a decade, they went from dorky alt-rock outsiders to absentee cult figures to arena-filling megastars. The band's original lineup &#8212; lead singer and songwriter Rivers Cuomo, bassist Matt Sharp, drummer Patrick Wilson and guitarist Brian Bell &#8212; looked uncomfortable from the get-go, posing for the cover of their 1994 self-titled debut as though they were waiting to be noogied. Produced by ex-Cars frontman Ric Ocasek, <I>Weezer</I> (Number 16), which came to be known as the Blue Album, could not have sounded more antithetic to the grunge-rock and pop-punk that was dominating modern-rock radio at the time; Cuomo was neither as cynical as Kurt Cobain nor as charmingly infantile as Billie Joe Armstrong, and the unapologetic riffs made it clear that he was more influenced by the likes of <I>Heaven Tonight</I> than <I>Raw Power</I>. Songs like "Undone - The Sweater Song" (Number 57, 1994) and "The World Has Turned and Left Me Here" sound like handwritten notes found at the bottom of a locker &#8212; the early musings of a colossally self-aware nerd. And while the album's best-known song, "Buddy Holly" (Number 2 Modern Rock, 1994) was bolstered by Spike Jonze's nostalgia-tripping <I>Happy Days</I> video, its success was due less to the Fonz and more to the song's chimerical young-and-in-love chorus: "Wooh-e-oooh, I like just like Buddy Holly/Oh-oh, and you're Mary Tyler Moore." <I>Weezer</I> would sell more than 3 million copies, and a 2004 reissued edition includes several worthy B-sides.
<br><br>
Cuomo had originally intended for <I>Weezer</I>'s follow-up to be a sci-fi rock opera called <I>Songs from the Black Hole</I>, but after recording a series of tracks by himself, he shelved the project in favor of <I>Pinkerton</I> (Number 19, 1996). Though it's since become a fan favorite and a bellwether for he late-'90s emo boom, <I>Pinkerton</I> was initially seen as a downer: Cuomo had undergone a painful leg operation after the Blue Album, and the new LP was packed with brutally honest songs about falling in love with lesbians and teenage fans living oceans away; the opening track, tellingly, was "Tired of Sex," and songs like "El Scorcho" (Number 19 Modern Rock, 1996), and "The Good Life" (Number 32 Modern Rock, 1996) were rife with frustration. The album takes its name from a character in <I>Madame Butterfly</I>, and the record is peppered with references to the opera. After a tour in support of the album &#8212; which failed to reach platinum &#8212; Sharp left the band to spend more time with his new-wave side project, the Rentals, while Cuomo dropped out of view altogether, prompting rumors that he had begun a Brian Wilson-like retreat from society (Cuomo left Harvard but returned again, earning his English degree in June 2006). Between 1997 and 2000, the band released only a handful of songs, including a cover of "Velouria" for a Pixies tribute album. But the band retained an ardent following on the Internet, as evidenced by the numerous threads about <I>Pinkerton</I>, which was quickly becoming a cult favorite.
<br><br>
In 2000, the band reformed for a string of shows on the Warped Tour, where Sharp was replaced by bassist Mikey Welsh, a former member of Juliana Hatfield's backing band. The live dates were a success, prompting a sold-out mini-tour and a new album, titled <I>Weezer</I> (2001), which debuted at Number 4 on the Billboard charts and retuned the band to its power-chord grandeur. With Ocasek returning as producer, the so-called "Green album" gave the band two of the biggest hits of its career: "Hash Pipe" (Number Two Modern Rock), and "Island in the Sun" (Number 11 Modern Rock), a lulling ballad that later wound up being covered for a tropical-resort ad. A few months after the Green Album's release, Welsh experienced a psychotic breakdown, and was replaced by bassist Scott Shriner.
<br><br>
Almost exactly a year after the release of the Green Album, Weezer delivered <I>Maladroit</I> (Number Three, 2002). Due in part to Cuomo's abundant songwriting output, many of the self-financed <I>Maladroit</I> tracks had already appeared in demo form on the band's Website, and the songs' early release spurred a public battle between the band and its label, Interscope Records. But neither the controversy &#8212; nor the inclusion of singles "Dope Nose" (Number 8 Modern Rock) and "Keep Fishin'" (Number 15 Modern Rock) &#8212; could prevent <I>Maladroit</I>, an album that paid homage to several of Cuomo's metal influences, from becoming a commercial misfire.
<br><br>
Weezer teamed with Rick Rubin for 2005's <I>Make Believe</I> (Number Two), an album that gave the band its biggest single to date: the Grammy-nominated "Beverly Hills" (Number 10, 2005) a sarcastic anti-fame rant that was misinterpreted by some as an ode to luxury branding. Longtime fans lamented that the Weezer responsible for <I>Pinkerton</I> was long gone, but "Beverly Hills" and the piano-plunking anthem "Perfect Situation" (Number 51, 2006) helped <I>Make Believe</I> sell more than a million copies in the U.S., and prompted an arena tour with the Foo Fighters.
<br><br>
In 2007, Cuomo released <I>Alone: The Home Recordings of Rivers Cuomo</I> (Number 163), a collection of demos that included songs originally intended for the long-jettisoned <I>Songs from the Black Hole</I> album. Weezer's sixth album, once again produced by Rick Rubin &#8212; and once again titled <I>Weezer</I> &#8212; was released June 3rd, 2008. The Red Album, as it's known, spawned the single "Pork and Beans," which came with a clever video featuring many YouTube stars. The band is reportedly prepping another album produced by Jacknife Lee for 2009.
]]></description>
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<title>Electric Light Orchestra</title>
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<category>Classic Rock</category>
<pubDate>Sat, 28 Nov 2009 09:38:30 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<description><![CDATA[No band better represents the pros and cons of overproduction than ELO. In an era of excess, ELO had no equal for sheer audio opulence. Singer Jeff Lynne frosted his voice in so many coatings of studio sugar that it hardly sounded natural. Singing at the helium-huffing apex of the human voice, he dusted off notes not heard since cherubs gamboled in mythological clouds. Bringing in entire symphonies for heart-fluttering arpeggios on fairy-dusted strings, the band's songs fill the air like mirage waves of sound so glossy, you can almost see your reflection in them. "Can't Get It Out of My Head" and "Telephone Line" roll gently along like long, lonesome walks on the beach while the Disco/rock hybrids "Turn to Stone" and "Livin' Thing" still set the mood for fans working on their night moves. It's just physiologically impossible not to get high from inhaling so much production varnish. For some, it will cause euphoria -- for others, altitude sickness.
- Mike McGuirk]]></description>
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<title>Ben Folds</title>
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<category>Adult Alternative</category>
<pubDate>Tue, 24 Nov 2009 09:38:15 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<description><![CDATA[As the leader and main songwriter behind Ben Folds Five, Ben Folds made a name for himself in the mid to late 1990s as the post-grunge era's piano man. After the group disbanded in 2000, Folds released his solo debut, <I>Rockin' The Suburbs</I>, in 2001. Continuing in a vein similar to his work with the trio, Folds excels at writing smart, slightly ironic pop songs with a love of melody, conjuring up memories of peak period Joe Jackson or even Todd Rundgren's less progressive pop moments. That Folds manages to sell truckloads of records without even touching a guitar might be his most remarkable achievement.
- Jon Pruett]]></description>
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<title>Cheap Trick</title>
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<category>Power Pop</category>
<pubDate>Sun, 1 Nov 2009 12:39:52 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<description><![CDATA[Emerging from the Chicago suburbs in the mid/late 1970s, Cheap Trick's fuzzy Power Pop stood out amidst a rock/pop field of aging dinosaurs (the Who, Zeppelin), nihilistic punks (the Pistols) and cheesy Disco (the Bee Gees). Combined with singer Robin Zander's sex appeal and careening vocals, guitarist Rick Nielsen's penchant for loud guitar hooks have written the quartet some gigantic checks over the years, particularly after the multi-platinum live record <i>At Budokan</i> made them superstars around the end of the '70s. Legendary hits such as "Southern Girls" and "I Want You To Want Me" bounced, rocked and rolled with electrifying fervor, helping to jump-start an American Power Pop scene that had stalled in the mid-'70s with the demise of Big Star and the Raspberries. Cheap Trick took those bands' supreme sense of melody and cranked the amps up louder than they ever did: "Surrender" remains the loudest catchy song -- and the catchiest loud song -- this side of the Replacements. The band has continued in the decades since, enduring a fallow, big-haired period in the '80s and widespread reverence in the '90s from younger bands wishing to carry on the Power Pop flame.
- Eric Shea]]></description>
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<title>Spoon</title>
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<category>Indie/Alternative</category>
<pubDate>Fri, 13 Nov 2009 12:39:06 -0800</pubDate>
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<description><![CDATA[The Austin, Texas-based Spoon began as an indie rock band heavily influenced by the jarring melodic dissonance and loud-soft dynamics of the Pixies, but by the early 2000s had developed its own sound and style owing as much to angular British punk-era bands like Wire and Gang of Four as to the music of the Nineties alternative boom. The band is known as much for its heroic perseverance in the face of major-label abandonment when it became a mainstream success after moving back to an independent record label.
<br><br>
Singer, guitarist and primary songwriter Britt Daniel formed Spoon &#8212; named for a song by the German experimental band Can &#8212; in 1993 along with drummer Jim Eno, guitarist Greg Wilson and bassist Andy McGuire. The following year, the band released a seven-inch EP, <I>Nafarious</I>, on the small indie label Fluffer Records. Spoon caught the attention of the larger indie label Matador Records, on which the band released its first full-length disc, <I>Telephono</I>, in 1996. The album was hailed by critics and fans of indie rock, and the band soon found itself being courted by the major label Elektra Records. The group’s 1998 Elektra debut, <I>A Series of Sneaks</I>, was an artistic leap for the band and that album, too, was championed by critics. But Sneaks didn’t sell as quickly as Elektra wanted, and the label abandoned Spoon just four months after the album’s release. Disheartened by Elektra executives Ron Laffitte, who had signed the band, and CEO Sylvia Rhone, Spoon wrote two songs questioning their ethics: “The Agony of Laffitte” and “Laffitte Don’t Fail Me Now.”
<br><br>
Spoon’s major-label woes didn’t stop Daniel and company from continuing to write and record, and in 2001 the band signed with North Carolina indie label Merge Records. Spoon’s first Merge album, <I>Girls Can Tell</I> (Number 46 Top Independent Albums, 2001), and its follow-up, <I>Kill the Moonlight</I> (Number 23 Top Independent Albums, 2002), both outsold the band’s previous two discs. When one of <I>Moonlight</I>’s tracks, “The Way We Get By,” appeared in the popular teen TV show <I>The O.C.</I>, Spoon got a measure of mainstream attention. <I>Gimme Fiction</I> (Number 44 pop, 2005), the group’s highly anticipated follow-up, was three years in the making and wound up selling 160,000 copies. The next year, Daniel co-wrote the soundtrack for the Will Ferrell comedy <I>Stranger than Fiction</I>. Also that year, Merge reissued the group’s first album together with its 1997 EP, <I>Soft Effects</I>. When <I>Ga Ga Ga Ga Ga</I> (Number Ten pop, 2007) came out to raves, Spoon went on the late-night TV circuit, including an appearance on <I>Saturday Night Live</I> where they performed the single “The Underdog” (Number 26 Modern Rock, 2007) and “You Got Yr. Cherry Bomb.” A second single, “Don’t You Evah,” reached Number 33 on the Modern Rock chart in 2008.
]]></description>
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<title>Metro Station</title>
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<category>Alt Dance</category>
<pubDate>Thu, 12 Nov 2009 09:55:12 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<description><![CDATA[In 2006, guitarist Trace Cyrus (who just happens to be Miley Cyrus's brother and Billy Ray's son) sent a keyboardist he didn't know named Blake Healy a MySpace message and asked him if he or any keyboardist he knew would be interested in playing in a band or maybe just messing around and recording some stuff together. With the addition of Mason Musso on lead vocals and guitar and Anthony Improgo on drums, the Los Angeles foursome became Metro Station. A year's worth of very intensive gigging and 1.7 million MySpace plays later (all the while keeping Trace's rather famous lineage quiet in the interest of making it on their own), Metro Station was being featured in <I>Alternative Press</I> and <I>Teen Vogue</I> and releasing their debut album on Red Ink.
- Rachel Devitt]]></description>
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<title>Todd Rundgren</title>
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<category>Art &amp; Progressive Rock</category>
<pubDate>Thu, 26 Nov 2009 11:28:27 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<description><![CDATA[An eclectically accomplished musician and studio virtuoso, Todd Rundgren has been recording for more than three decades. His musical career has gone from simple pop that never brought the success some critics felt he deserved (only one gold LP, <i>Something/Anything?</i>) to the more complex progressive rock of Utopia, which did gain Rundgren a devoted cult following. Through it all, this multi-instrumentalist has maintained a prolific sideline career as a producer; he must also be regarded as a pioneer of rock video, interactive CD, and Web-based music.
<br><br>
Rundgren began playing in a high-school band, Money, then went on to play with Woody's Truckstop in the mid-'60s (a tape recording of the latter makes a brief appearance on <i>Something/Anything?</i>). In 1967 he formed the Nazz [see entry], which, contrary to then-prevailing West Coast psychedelic trends, tried to replicate the look of Swinging London in its clothes, Mod haircuts, and Beatles-ish pop sound. In some ways the Nazz was ahead of its time, especially in terms of Rundgren's studio facility and the band's musical sophistication. But the quartet remained a local Philadelphia phenomenon, with one minor hit single, the original version of "Hello It's Me." The Nazz broke up in 1969, at which point Rundgren formed the studio band Runt and hit the Top 20 in 1971 with the single "We Gotta Get You a Woman."
<br><br>
By this time Rundgren had become associated with manager Albert Grossman, who let him produce for his new Bearsville label. By 1972 Rundgren had taken over production of Badfinger's <i>Straight Up</i> LP from George Harrison (who was involved with his Bangla Desh concerts) and had engineered the Band's <i>Stage Fright</i> and Jesse Winchester's self-titled 1971 LP, as well as produced records by the Hello People, bluesman James Cotton, the Paul Butterfield Blues Band, and Halfnelson (who later became Sparks). In 1973 he would produce the New York Dolls' debut LP, Grand Funk Railroad's <i>We're an American Band</i>, and Fanny's <i>Mother's Pride</i>.
<br><br>
For many, <i>Something/Anything?</i> (Number 29, 1972) is the high-water mark of Rundgren's solo career. On it he played nearly all the instruments, overdubbed scores of vocals, and managed to cover pop bases from Motown to Hendrix, from the Beach Boys to the Beatles. The album yielded hit singles in "I Saw the Light" (Number 16, 1972) and "Hello It's Me" (Number 5, 1973).
<br><br>
<i>A Wizard/A True Star</i> (Number 86, 1973), while in much the same vein, was more of a critical than commercial success. However, Rundgren's cult following was growing. In <i>Wizard</i>'s liner notes he asked fans to send their names to him for inclusion in a poster to be contained in his next LP. As promised, 1974's Todd included that poster - with some 10,000 names printed on it in tiny type.
<br><br>
That same year Rundgren unveiled his cosmic/symphonic progressive-rock band Utopia, which gradually expanded his following to mammoth proportions. Utopia was a more democratic band, in which Rundgren shared songwriting and lead vocals with other members (from 1977 on: Roger Powell, Kasim Sulton, and Willie Wilcox). In the mid-'70s Utopia played bombastic suites with "cosmic" lyrics and used pyramids as a backdrop, but in the 1980s it returned to Beatles/new wave–style pop (<i>Faithful</i> [Number 54, 1976]). Despite some excellent music, the quartet never placed a single in the Top 40 or saw any of its 11 albums go gold. One of their songs, "Love Is the Answer," was a 1979 Top 10 hit for England Dan and John Ford Coley.
<br><br>
In 1975 Rundgren produced Gong guitarist Steve Hillage's L, on which Utopia played backup. A trip to the Middle East in 1978 led Rundgren to a brief flirtation with Sufism; that same year <i>Hermit of Mink Hollow</i> (Number 36, 1978) produced his first hit single in several years in "Can We Still Be Friends?" (a minor hit for Robert Palmer a year later). Rundgren also produced Meat Loaf's monstrously successful <i>Bat Out of Hell</i>. In 1979 alone he produced Tom Robinson's <i>TRB Two</i>, the Tubes' <i>Remote Control</i>, and Patti Smith's <i>Wave</i>; in 1980 he produced Shaun Cassidy's <i>Wasp</i>.
<br><br>
By that time Rundgren had taken a strong interest in the emerging field of rock video. By 1981 he had built his own computer-video studio in Woodstock, New York, and was making technically advanced surrealistic videotapes. In 1982 Rundgren embarked on a one-man tour, playing sets that were solo-acoustic as well as those in which he was backed by taped band arrangements, with his computer-graphic videos being shown also. He still concentrated on production (with the Psychedelic Furs, among others) and video art.
<br><br>
Utopia took an indefinite sabbatical in 1985. Sulton, in addition to recording on his own, has played with Joan Jett, Hall and Oates, Patty Smyth, and Cheap Trick. Powell, designer of a shoulder-strap keyboard called the Powell Probe, now engineers software for a computer-graphics firm, while Wilcox writes and produces. In 1992 the four reunited for a tour of Japan, captured on <i>Utopia Redux '92</i>.
<br><br>
The following year Rundgren went back out on the road as a high-tech one-man band to perform his unique new album <i>No World Order</i>. The world's first interactive music-only CD (available on Philips), it allowed listeners to reshape the 10 songs into an infinite number of versions. To hear the same version of a song twice, Rundgren claimed, users would have to play the disc 24 hours a day, seven days a week "well into the next millennium." Continuing in a similar vein, he then released <i>The Individualist</i>, an enhanced CD which paired each song with its lyrics, graphics, and video. At about that time he came up with the monicker TR-i (Todd Rundgren–interactive), to be used for his multimedia work. In typical fashion, though, his next move was to rerecord several of his old songs in bossa-nova arrangements on 1997's <i>With a Twist...</i>(which also featured Utopia bassist Sulton). That same year he was one of the few Westerners invited to play the Shanghai Festival.
<br><br>
Consistently fascinated with new technological developments, Rundgren created PatroNet, a Web-based service in which subscribers could purchase new songs after paying a yearly fee, in 1998. The 2000 release <i>One Long Year</i> collected some of the songs sold through PatroNet. That year he embarked on a tour in which he performed material from his entire catalogue in a power-trio formation that also included Sulton and drummer Trey Sabatelli. Rundgren toured solo and with Ringo Starr's All-Starr Band in the late-90s as well as produced Bad Religion's <i>The New America</i> and Splender's <i>Halfway Down the Sky</i> in 2000. An ongoing compilation, <i>Todd Archive Series</i>, included 11 different sets: <i>The King Biscuit Flower Hour Presents in Concert</i>, numerous full concerts, demos, and outtakes while Rundgren was alone, with Nazz, and Utopia, and a collection of Japanese-only rarities. In 2001 Rundgren played in the Beatles tribute tour, A Walk Down Abbey Road. In 2004, Rundgren released the political <i>Liars</i> on Sanctuary, making it his first rock album in thirteen years. In 2006, he assumed Rick Ocasek's duties in the Cars, henceforth named the New Cars. In September of 2008 Rundgren released <I>Arena</I>, which, with a surfeit of guitar-based rock and bombast, was something of a return to form.
]]></description>
</item><item>
<title>Rick Springfield</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.4434&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>AOR</category>
<pubDate>Sun, 15 Nov 2009 11:04:05 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.4434&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Sydney-born Springfield was once caught in the precarious position of juggling careers as a heartthrob doctor on <i>General Hospital</i> and the chart-topping singer of "Jessie's Girl," proving that juggling is a difficult sport best left to professionals.
- Jessy Terry]]></description>
</item><item>
<title>Crowded House</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.1124&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Adult Alternative</category>
<pubDate>Wed, 18 Nov 2009 13:05:45 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Crowded House</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.1124&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.1124&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Crowded House combined a serious Beatles fixation with a strong sense of Catholic guilt to make the best guitar pop of the late 1980s and early '90s. Singer and chief songwriter Neil Finn was a one-man Lennon/McCartney, combining beautiful melodies, bright hooks, and multilayered production with often surreal lyrics that were oddly innocent or sweetly cynical. Brilliant live performers (CH were exceptional comedic improvisers, kind of like the Monkees recast as Monty Python), their first album was their only U.S. hit, but 1991's <i>Woodface</i> made them as big in Europe as they were all along Down Under. While such lyrics as "the excess of fat on your American bones will cushion the impact as you sink like a stone" didn't endear them to the incoming Grunge generation, their music has held up over the years. Neil Finn has gone on to an equally rewarding solo career.
- Nick Dedina]]></description>
</item><item>
<title>Old 97's</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.5614&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Alt Country</category>
<pubDate>Sun, 29 Nov 2009 09:28:13 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Old 97's</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.5614&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.5614&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[With all the energy and chaos of a stampede, the Old 97's play hyperactive Cowpunk. From 1992's <i>Hitchhike to Rome</i> to 1995's <i>Wreck Your Life</i> and 1997's <i>Too Far to Care</i>, this quartet of <i>No Depression</i> poster boys have recorded and played countrified Power Pop so fast and tightly wound-up, their music could give anxiety attacks to cowboys. Their <i>Fight Songs</i> LP took a detour from their usual rodeo clown soundtracks toward a more heartfelt and introspective collection of songs. These tunes juxtapose heavier emotional lyrics with the same up-tempo pace and speed of their previous efforts, although the hillbilly punk aesthetic of their first three records has almost vanished into thin air.
- Eric Shea]]></description>
</item><item>
<title>Of Montreal</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.7681&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Baroque Pop</category>
<pubDate>Tue, 10 Nov 2009 10:13:18 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Of Montreal</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.7681&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.7681&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Like that proverbial fat guy who gets nicknamed "Tiny," the band Of Montreal is,
naturally, neither from Montreal nor (at various times in its decade of existence) even exactly a band per se. After a failed romance with a woman from Montreal, in the late 1990s singer/guitarist Kevin Barnes found himself with a broken heart -- and a great name for a band -- so he "formed" Of Montreal, which at that point consisted only of Barnes. Embarking on a quest for other members, he moved to Florida, Cleveland and Minneapolis (but not Montreal) before returning to his native Athens, Ga., to collaborate with bassist Bryan Helium and drummer Derek Almstead on the band's Beatles-biting, neo-psychedelic debut <i>Cherry Peel</i>. Over the next ten years and as many incense-and-peppermint-fueled albums, Of Montreal vacillated between a band and a Barnes solo project as it weathered the dissolution of its label, Kindercore, and a near-revolving door lineup as band members left, came back and got married. In 2007, Of Montreal released <i>Hissing Fauna, Are You the Destroyer?</i> and in 2008, <i>Skeletal Lamping</i>.
- Rachel Devitt]]></description>
</item><item>
<title>Squeeze</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.1424&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>New Wave</category>
<pubDate>Sun, 22 Nov 2009 10:09:54 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.1424&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[During Squeeze's early 1980s heyday, their music epitomized the word "catchy." Led by the masterful songwriting team of Chris Difford and Glenn Tilbrook, the group established itself with the quirky, hyperactive pop of such future New Wave classics as "Pulling Mussels (From the Shell)" and "Cool for Cats." <I>East Side Story</I> (1981), produced by Elvis Costello, found the lads stretching out into country, Rockabilly, orchestrated pop, and Brit-soul -- the last of which led to their signature tune "Tempted," sung by then-keyboardist Paul Carrack. Things turned a bit sour from there, with the darkly experimental <I>Sweets from a Stranger</I> receiving mixed reviews and leading the group to temporarily disband. Since reforming in 1985, they've continued to crank out new albums which, despite having their moments, have lacked both the bite and the shelf life of their earlier work.
- Will York]]></description>
</item><item>
<title>The Maine</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.18290241&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Alt/Punk</category>
<pubDate>Sat, 17 Oct 2009 12:40:23 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.18290241&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[While their peers had their faces buried in textbooks and lab manuals, the teenaged members of the Maine were busy composing tunes that would eventually lead to MySpace stardom. After forming in January, 2007, the band quickly created a stir in their hometown of Tempe, Ariz., creating a buzz that led over 600 people to show up to their very first show. By December of that year, they signed to Fearless Records and released <i>The Way We Talk</i>, a debut EP of catchy power pop influenced by '90s mainstream rockers. During the summer of 2008, the Maine found themselves neck-deep in the music business when they released their first full-length <i>Can't Stop, Won't Stop</i> while simultaneously partaking in the Vans Warped Tour and as openers on The Soundtrack of Your Summer tour.
- Richard Iwanik-Marques]]></description>
</item><item>
<title>We The Kings</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.16527917&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Power Pop</category>
<pubDate>Tue, 24 Nov 2009 09:39:30 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.16527917&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.16527917&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Hailing from Bradenton, Florida, We The Kings is a power pop band whose success can largely be attributed to websites like MySpace and PureVolume. Travis, Hunter, Drew and Danny originally met at Martha B. King Middle School (the inspiration for the name We The Kings), but didn't write music together until they were in high school. Influenced by the sounds of pop-punk forerunners Blink-182 and New Found Glory, they add their own flavor to the genre with punchy intros, rickety guitars and big beat drums backed by big harmonies. Signed to S-Curve Records, their self-titled debut was produced by Sam Hollander (Gym Class Heroes, Boys Like Girls, Coheed and Cambria) and dropped in October 2007. Since then, WTK has toured extensively -- including headlining stints on the Long Hair, Don't Care and Warped tours -- sharing the stage with acts that include Metro Station, Boys Like Girls, Cute Is What We Aim For and Paramore.
- Richard Iwanik-Marques]]></description>
</item><item>
<title>Matthew Sweet</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.127&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Power Pop</category>
<pubDate>Thu, 29 Oct 2009 10:54:30 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.127&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.127&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[With a name like Matthew Sweet, it's hard not to pigeonhole the guy as a sugary popster and leave it at that; but to do so is to unfairly ignore the range of Sweet's abilities and the extent of his influence on Power Pop in the 1990s. Sweet, after all, is a redoubtable guitar player. On his best record, <I>Girlfriend</I> (1991), he turned loose two of the most innovative players to ever put pick to string, Robert Quine of the Voidoids and Richard Lloyd of Television. Looking over their shoulders, Sweet rounded out his own mastery of the instrument, subsequently playing all the guitar parts on his sixth full-length <I>Blue Sky on Mars</I> (1997). Sweet's concerts often feature the performer flanked by an arsenal of guitars -- using a different one for nearly every song, he evokes moods from jubilation to sorrow with pinpoint precision. With a deft hand and confessional lyrics, he scrupulously renders into song the entire spectrum of human emotion, from gushy sentimentality in "Girlfriend" to bottomed-out exasperation in "Sick of Myself."
- Chad Driscoll]]></description>
</item><item>
<title>Josh Rouse</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.43993&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Baroque Pop</category>
<pubDate>Wed, 18 Nov 2009 13:05:58 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.43993&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.43993&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Josh Rouse follows in the footsteps of such pivotal Midwestern singer-songwriters as Paul Westerberg and Freedy Johnston, crafting penetrating, melancholy vignettes akin to the former's sober solo material and the latter's <i>This Perfect World</i>. His work has drawn rave reviews from a variety of critical circles for its honest take on contemporary singer-songwritership, as well as for its relaxed, yet quietly edgy musical roundup of steady tempos, melodically supportive trumpet lines, gentle acoustic guitar strumming, and Rouse's wonderfully everyday vocals. Furthermore, his collaboration with Lambchop's Kurt Wagner proves his malleability -- their 1999 EP <i>Chester</i> saw the Nashville pair co-write five songs to excellent results. Fifteen years from now, Rouse could very well wield the same stylistic importance on the next generation of folky singer-songwriters that his influences have had upon his own work.
- Charles Hodgkins]]></description>
</item><item>
<title>Fountains of Wayne</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.243&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Power Pop</category>
<pubDate>Thu, 29 Oct 2009 10:54:26 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.243&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.243&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Most suburban teens today worry about love while listening to abrasive rock or rap about poverty and revolution -- presumably to put a little drama into their lives. Fountains of Wayne, on the other hand, make ultra catchy pop music <i>about</i> guys who live in the suburbs and worry about love. Their self-titled debut was a breath of fresh air, sounding completely contemporary while making classically structured pop rock -- think of a sunnier Matthew Sweet. Their 1999 album <I>Utopia Parkway</I> takes you on a tunnel-of-love tour through strip malls and highway off-ramps with songs that manage to fall somewhere between vitriol and sweetness. In fact, Fountains of Wayne pour a lot of smarts into their dumb pop songs. Key member Adam Schlesinger is also a member of the equally poppy but more melancholy Ivy.
- Nick Dedina]]></description>
</item><item>
<title>The Smithereens</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.1025&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Power Pop</category>
<pubDate>Sun, 13 Sep 2009 09:19:47 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.1025</guid>
<rhap:rcid xmlns:rhap="rhap">art.1025</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">The Smithereens</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.1025</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.1025&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.1025&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Mention the Smithereens to anyone familiar with late '80s/early '90s Power Pop, and they'll probably start humming "A Girl Like You," "Blood and Roses," or "House We Used to Live In," three perfect pop tunes that are ample evidence of this New Jersey quartet's influence and songwriting ability. Pat Dinizio and company haven't gone away since their heyday, either touring and/or recording new material regularly.
- Charles Hodgkins]]></description>
</item><item>
<title>Soul Asylum</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.5698&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Adult Alternative</category>
<pubDate>Sun, 22 Nov 2009 10:09:56 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.5698</guid>
<rhap:rcid xmlns:rhap="rhap">art.5698</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Soul Asylum</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.5698</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.5698&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.5698&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Pegged for years as the most underrated live band in the US, Soul Asylum worked their trademark sound -- a messy, melodic blend of Punk rock and '70s album-oriented radio -- on the club circuit for years. Their rise to fame was a long time coming, and their decline from that high perch came a lot quicker. Formed in Minneapolis, Minn., in 1981, the group -- originally named Loud Fast Rules -- soon changed their name to Soul Asylum, and began to release records on the famed indie label Twin Tone. The group recorded a number of LPs for Twin Tone until they were signed by A&M Records. Their work with A&M fell short of the label's sales expectations, and it wasn't until the group signed to Columbia and released <i>Grave Dancers Union</i> in 1993 that they started to find the national fame for which they had so long worked. The band's hit singles -- "Someone to Shove," "Runaway Train," and "Misery" -- rode the pop charts for a brief window, but were somewhat overshadowed by lead vocalist Dave Pirner's relationship with actor Winona Ryder. The group continues to tour, recently releasing <i>Candy from a Stranger</i>. The tracks offered here are from the band's arguably strongest period, its mid-ÃÂÃÂ80s tenure on Twin Tone. At that time, the Minneapolis triumvirate of Husker Du, Soul Asylum and the Replacements seemed almost unbeatable in the "alternative" pantheon.]]></description>
</item><item>
<title>Hey Monday</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.23319079&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Power Pop</category>
<pubDate>Thu, 24 Sep 2009 09:49:13 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.23319079</guid>
<rhap:rcid xmlns:rhap="rhap">art.23319079</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Hey Monday</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.23319079</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.23319079&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.23319079&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>The Cardigans</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.705&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Adult Alternative</category>
<pubDate>Fri, 4 Sep 2009 17:19:20 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.705</guid>
<rhap:rcid xmlns:rhap="rhap">art.705</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">The Cardigans</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.705</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.705&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.705&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Maybe the biggest band to come out of Sweden since Abba, The Cardigans' 1996 mega-hit "Lovefool" was instantly recognizable for the distinctive cotton candy vocals of Nina Persson. The band made penning melodies that were as eternally fresh and instantly consumable as Twinkies sound easy. It's not easy, of course -- at least not always. In the case of the Cardigans, there is evidence of carefully refined talent beneath the whimsy.
- Chad Driscoll]]></description>
</item><item>
<title>Sondre Lerche</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.55667&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Indie Pop</category>
<pubDate>Sat, 21 Nov 2009 13:42:38 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.55667</guid>
<rhap:rcid xmlns:rhap="rhap">art.55667</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Sondre Lerche</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.55667</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.55667&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.55667&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[This unassuming Boy Wonder from Bergen, Norway, (whose name is pronounced
"Sonder Lerkay") wrote the songs for what would become his first album,
<I>Faces Down, </I> when he was just 16. Often compared to the orchestral
pop stylings of such masters as Burt Bacharach, Lerche's music manages to
bend string orchestrations into a whole new indie realm, especially with the
addition of his warm and beguiling Scandinavian-accented vocal chords. After
touring with Beth Orton (and appearing onstage with boyhood idols A-ha), he
released his debut in the U.S. to much acclaim -- <I>Rolling Stone</I>
placed it in their 50 Best Records of 2002. He fulfilled the promise of his
debut with 2004's <I>Two Way Monologue</I>, a work of lush baroque pop
featuring the High Llamas' Sean O'Hagan, who contributed much of the string
and horn section charms. At age 25, Lerche surprised everyone with his third
album, <I> Duper Sessions</I>, a collection of straight-ahead jazz standards
(and a few originals) backed up by the Faces Down Quartet. Like his previous
blend of '60s pop, the record is another innovative example of how a
Norwegian indie crooner successfully smooches the hand of a cool classic
sound. For 2007's <i>Phantom Punch</i>, Sondre Lerche toughened up with a lean, garage rock sound yet his melodic songs still held centerstage.
- Michele K-Tel]]></description>
</item><item>
<title>Paul Weller</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.69211&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Brit Rock</category>
<pubDate>Fri, 27 Nov 2009 10:25:37 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.69211</guid>
<rhap:rcid xmlns:rhap="rhap">art.69211</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Paul Weller</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.69211</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.69211&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.69211&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Paul Weller hasn't achieved the same level of fame in the U.S. as he has throughout the rest of the world, but still remains a major force in rock 'n' roll. Now a revered elder statesman in Britain, Weller is the musical equivalent of Martin Scorsese and Steven Spielberg. A rabid student of rock and soul, he transformed a love of 1960s British Invasion and American R&B into highly personal music that pays homage to his influences while transforming them at the same time. A professional since the age of 14, Weller led his outfit, The Jam, to the top of the U.K. charts throughout the late 1970s and early '80s. Weller went on to form The Style Council, a pop act that embraced retro soul, jazz, lounge music, and folk. The act initially found great success (even in the States), but Weller entered the 1990s as a solo act without a record deal and a reputation as yesterday's man. Forging ahead, his first self-titled solo album was a heartfelt affair that embraced 1960s rock and early '70s psychedelic soul to excellent effect. When Weller released <I>Wild Wood</I> in 1993 his career and reputation rebounded, he was re-embraced by the fickle British public and press, and he's only strengthened his position with such fine albums as <I>Stanley Road</I> (1995), <I>Illumination,</I> (2002), and the acoustic career retrospective <I>Days of Speed</I> (which includes updates of Jam and Style Council cuts). Driven, hardworking, and undeniably talented, Paul Weller has released consistently strong and relevant material over the course of four decades. It's hard to think of another artist in pop with a similar track record over an equal span of time.
- Nick Dedina]]></description>
</item><item>
<title>Semisonic</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.2040&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Adult Alternative</category>
<pubDate>Fri, 30 Oct 2009 12:04:54 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.2040</guid>
<rhap:rcid xmlns:rhap="rhap">art.2040</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Semisonic</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.2040</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.2040&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.2040&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[This Minnesota band rose out of the ashes of folk rockers Trip Shakespeare and had a huge radio hit with their sentimental last call, quick-find-a-date pop/rock ode "Closing Time."
- Tom Heyman]]></description>
</item><item>
<title>Coconut Records</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.13989839&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Indie Pop</category>
<pubDate>Thu, 23 Jul 2009 13:15:59 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.13989839</guid>
<rhap:rcid xmlns:rhap="rhap">art.13989839</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Coconut Records</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.13989839</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.13989839&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.13989839&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Coconut Records is Jason Schwartzman. Yep, that would be the actor best known for his roles in Wes Anderson flicks like <i>Rushmore</i> and <i>The Darjeeling Limited</i>. But even before making it in Hollywood, Schwartzman was the drummer and songwriter for California indie band Phantom Planet. Forming a one-man-band was therefore a natural transition for the budding performer. As Coconut Records, he brings a similar carefree stoicism that has made his characters on screen thrive. Influenced by '60s Beach Boys, the Beatles and modern West Coast indie popsters like Weezer, Schwartzman plays nearly every instrument on his self-written and -recorded 2007 debut <i>Nighttiming</i>. He followed it up with by 2009's <i>Davy</i>.
- Stephanie Benson]]></description>
</item><item>
<title>Hot Hot Heat</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.40330&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Indie/Alternative</category>
<pubDate>Sat, 20 Jun 2009 09:07:12 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.40330</guid>
<rhap:rcid xmlns:rhap="rhap">art.40330</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Hot Hot Heat</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.40330</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.40330&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.40330&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Hot Hot Heat formed in 1999 around keyboardist/vocalist Steve Bays, starting out as a synth punk outfit in Victoria, British Columbia. Drummer Paul Hawley and bassist Dustin Hawthorne formed the group's backbone through this period (the fruits of which can be heard on <I>Scenes One Through Thirteen</I>), but things changed for Hot Hot Heat when guitarist Dante DeCaro joined in early 2001, at which point they dropped the synths and moved towards a more stripped down rock 'n' roll -- if persistently pop -- sound. "We've basically brought together four categories of influences: classic Beatles and Stones; punk-rock; the whole singer/songwriter era, and anything contemporary worth listening to," explains Bays. This change of direction was followed by the release of debut EP <I>Knock Knock Knock</I> on Sub Pop in 2002 and, later the same year, LP <I>Make Up The Breakdown</I>, produced by Jack Endino (the knob-twiddler on Nirvana's <I>Bleach</I>). Shortly after the album's release, the band signed with Warner Music. In 2004, having completed the recording of their second album proper, <I>Elevator</I>, DeCaro left Hot Hot Heat to be replaced by Luke Paquina, formerly of San Francisco's the Stradlers. The band went on to release <i>Happiness LTD.</i> in 2007.
- Jamie Dolling]]></description>
</item><item>
<title>New Pornographers</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.39305&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Indie Pop</category>
<pubDate>Sat, 28 Nov 2009 09:38:28 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.39305</guid>
<rhap:rcid xmlns:rhap="rhap">art.39305</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">New Pornographers</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.39305</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.39305&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.39305&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[The New Pornographers formed in 1997 in Vancouver, British Columbia, and became one of the most critically and popularly cherished indie pop bands of the next decade for displaying a keen affection for great power pop icons of the '70s. The rotating membership is overseen by primary songwriter Carl Newman, though it has included a number of other marquee collaborators including Chicago alt country darling Neko Case and Dan Bejar who fronts his own cultishly popular act, Destroyer. If the main influences sighted by the band were Burt Bacharach and Brian Wilson, the quick melodic turns, clever lyrics, and structural complexity evoke other modern power pop bands like Sloan and Superdrag.
- Nate Cavalieri]]></description>
</item><item>
<title>Badfinger</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.5836&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Power Pop</category>
<pubDate>Fri, 13 Nov 2009 12:39:16 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.5836</guid>
<rhap:rcid xmlns:rhap="rhap">art.5836</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Badfinger</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.5836</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.5836&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.5836&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Badfinger's music has often been referred to as "drunken Beatles," a slower, more rock 'n' roll-influenced take on <I>Let It Be</I>-era Fab Four. Guitarist Pete Ham's bluesy tones underscored his vocal harmonies, sung in a passionately English timbre with bassist Tom Evans and guitarist Joey Molland. Paul McCartney discovered the band in 1968, and promptly signed them to the Beatles' Apple Records label. Their first hit came in 1969, the memorably catchy "Come And Get It." The two Badfinger hits featured here came from the band's third LP, <I>Straight Up</I>, produced by George Harrison and Todd Rundgren. Ham took his life in 1975, Evans took his in 1983. Molland continues to tour under the Badfinger name.
- Eric Shea]]></description>
</item><item>
<title>Dr. Dog</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.7240206&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Indie Pop</category>
<pubDate>Thu, 1 Oct 2009 11:36:01 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.7240206</guid>
<rhap:rcid xmlns:rhap="rhap">art.7240206</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Dr. Dog</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.7240206</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.7240206&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.7240206&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[In the early 21st century, America has produced two truly great pop bands: Animal Collective and Dr. Dog. But where the former takes Brian Wilson's sound into a global psychedelic future torn from the pages of a sci-fi novel, the latter drives it further into the annals of pop history. In fact, it's hard to even call Dr. Dog indie, which is how music critics generally describe their music. Even on early, homemade releases like <I>Toothbrush</I> and <I>Easy Beat</I>, the Philadelphia outfit exhibited a knack for refined melodies and classic composition that's far more in debt to Tin Pan Alley and the Brill Building than, say, the rudimentary hooks of the Velvet Underground's third and fourth records (indie pop's double helix). By 2007's <I>We All Belong</I>, the Dog had shed all those nagging comparisons to Beachwood Sparks and all those Elephant 6 acts, crafting a funky fusion of blue-eyed soul (hey, they're from Philly) and intricate, multilayered harmonies. "My Old Ways" even sounds like a Broadway tune. Indie kids simply don't emote like <I>this</I>. The band grooves and bubbles and loves and romances the way pop groups used to. Blatant nostalgia never sounded so darn sweet.
- Justin Farrar]]></description>
</item><item>
<title>Blitzen Trapper</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.5015819&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Indie Pop</category>
<pubDate>Tue, 3 Nov 2009 11:24:59 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.5015819</guid>
<rhap:rcid xmlns:rhap="rhap">art.5015819</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Blitzen Trapper</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.5015819</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.5015819&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.5015819&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>OK Go</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.38615&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Power Pop</category>
<pubDate>Thu, 12 Nov 2009 09:55:12 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">OK Go</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.38615&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[OK Go are four guys from Chicago who write songs that don't seem to have much deep meaning yet are jam-packed with whiz kid hooks. They might appear as a fun-loving college band without serious intentions, but that's not exactly true. They were signed to a major label right after forming in 1998. They've had hit singles played on the radio ("Get Over It" from their debut) but to their credit, they don't engage in pretentious rock star posing (except for their recent tongue-in-cheek pimped out fashion sense) going so far as to make fun of themselves by learning a complicated 1980s-era dance routine (choreographed by a band member's sister) for the sake of their live show. This resulted in a fall-on-the-floor hysterical music video for "A Million Ways," which was recorded in a suburban backyard. It was never intended for public release, but like the Tommy Lee and Pamela video, it caught on in an online whirl, and they were forced to release it as their next single. But despite all signs indicating that they are carefree funsters, OK Go are also NPR-loving brainiacs and perfectionists who compose scores for underground indie flicks and worked closely with producer Tore (Franz Ferdinand) Johansson on their sophomore album recording scores of songs, only to abandon many of them when they didn't seem worthy of release. OK Go just make it look like they're effortlessly churning out power pop when in truth they work hard and relentlessly -- even moving to Los Angeles to help further their prodigious career goals.
- Michele K-Tel]]></description>
</item><item>
<title>The Jam</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.1180&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Old School Punk</category>
<pubDate>Sun, 22 Nov 2009 10:09:52 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Jam</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.1180&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.1180&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Formed by Paul Weller at the tender age of fourteen, the Jam started out as a mod-influenced punk band and quickly evolved into the biggest rock band in late 1970s and early '80s Britain. Their bracing, often lyrically bleak, explorations of modern English life ensured that they wouldn't find the same success in America as they did in the rest of the world but the Jam enjoyed a huge cult following on both sides of the Atlantic. A tight, blistering trio that was initially influenced by the early Who, the Jam also openly embraced and celebrated the work of the Kinks, Beatles, Small Faces, and classic soul at a time when most punk bands were pretending to be disdainful of everything that came before them. The band was renown for its high-energy live sets, the sound of which was captured on their first two albums -- <I>In the City</I> and <I>This is The Modern World</I>. Even on these early albums the band was displaying a stronger melodic quality than most acts linked to the punk scene but Paul Weller's songwriting took a giant leap forward with 1978's classic <I>All Mod Cons</I>. The album earned a rabid critical reception and went Top Ten throughout Europe, a fate shared by the vastly more sophisticated <I>Setting Sons</I> (1979) and <I>Sound Effects</I> (1980), a vivid merging of '60s psychedelia and punk. The Jam kept up a hectic touring and recording schedule as they kicked off an extended string of No. 1 U.K. pop singles with "Going Underground." The band's final full-length effort, <I>The Gift</I> (1982), combined spiky rock with elements of classic soul and contained the Motown-etched, kitchen sink drama of "A Town Called Malice," which became an alternative radio staple in the U.S. The trio was at their peak of popularity when Weller broke up the band in 1982 (reportedly because he didn't want the band to end up like the Who and the Stones). Weller went on to have great success with the Style Council and a solo career but the Jam continue to be so popular in Britain that a costly retrospective box set of their work reached the U.K. Top Ten in 1997, fifteen years after the band called it a day.
- Nick Dedina]]></description>
</item><item>
<title>Rhett Miller</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.50027&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Adult Alternative</category>
<pubDate>Sat, 17 Oct 2009 12:40:19 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Rhett Miller</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.50027&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.50027&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Pretty as a picture and wont to tug at the alt cowgirls' heartstrings, it's little wonder that singer and songwriter Rhett Miller had a long and public feud with Ryan Adams. Miller has successfully juggled a solo career with his leadership of Dallas-based alt country act Old '97s, with which he rose to prominence in the No Depression vogue of the mid-1990s. Though Old '97s have steadily released a slew of records during their 15-year run, Miller's first venture as a solo artist came in 1989 with <i>Mythologies</i>, and he waited 13 years for the follow-up, an Elektra-issued set of decidedly poppy tunes called <i>The Instigator</i>. He found some success placing songs in television and commercial spots and released a third LP in 2006, <i>The Believer</i>.
- Nate Cavalieri]]></description>
</item><item>
<title>Nick Lowe</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.156&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Pub Rock</category>
<pubDate>Sat, 24 Oct 2009 12:06:23 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Nick Lowe</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.156&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.156&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Name anything good about Indie rock -- chances are Nick Lowe did it first. He's been writing witty and literate pop ditties since the early 1970s. He was helping young punks do it themselves decades before Lo-Fi existed. And he latched on to country music when Jeff Tweedy was still in junior high. (Lowe's take on Alt-Country is so authentic, he was actually Johnny Cash's son-in-law for a little while.) Maybe he'd be a superstar if he could stop amusing himself with clever puns (he named one EP <I>Bowi</I> in a convoluted take-off of that artist's <I>Low</I>), but it's more likely that a talent like Lowe's was doomed to cult-dom from the beginning. If you like your music smart, idiosyncratic and deceptively simple, give him a chance.
- Tim Quirk]]></description>
</item><item>
<title>Big Star</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.4966&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Power Pop</category>
<pubDate>Wed, 25 Nov 2009 11:49:23 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Big Star</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.4966&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.4966&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Decades after their breakup in 1975, Memphis' Big Star still remain one of the most influential cult bands in the United States. The music of Big Star -- which featured songwriters Alex Chilton and the late Chris Bell, as well as drummer Jody Stephens and bassist Andy Hummell -- is built around a studied purist's pop foundation. Much like the Beatles, Big Star's upbeat pop/rock songs are filled with soaring harmonies, addictive hooks and guitar riffs that still baffle the virtuosos. Big Star's classic, sometimes difficult <i>Third/Sister Lovers</i> LP boasted a departure from the classic pop/rock formula into a much darker, drug-fueled realm of heartache and loss mixed with over-the-top studio innovation. Many musicians have said that Big Star were to the 1970s what the Velvet Underground were to the 1960s.
- Eric Shea]]></description>
</item><item>
<title>The Romantics</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.61776&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Power Pop</category>
<pubDate>Fri, 13 Nov 2009 12:37:25 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Romantics</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.61776&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.61776&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[The Romantics may be most famous for "That's What I Like About You," and that songwriting formula is certainly utilized throughout their set. Their version of Power Pop is built on hooks, harmonies, and that classic Rickenbacker, "Paperback Writer" tone.
- Eric Shea]]></description>
</item><item>
<title>Ludo</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.5120264&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Power Pop</category>
<pubDate>Sun, 20 Sep 2009 09:10:48 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Ludo</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.5120264&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.5120264&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description />
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<title>Donnie Iris</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.48425&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Power Pop</category>
<pubDate>Sun, 11 Oct 2009 10:09:12 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Donnie Iris</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.48425&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.48425&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description />
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<title>The Lemonheads</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.6078&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Indie/Alternative</category>
<pubDate>Thu, 12 Nov 2009 09:55:00 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Lemonheads</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.6078&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[These days you can't mention Evan Dando's name in front of people without hearing an exhale of breath and someone starting a "This one time he..." story. The Lemonheads began in '87 with the post-hardcore pop of <i>Hate Your Friends</i>. A cover of Suzanne Vega's "Luka" got them airplay in '89. Critical support followed, but it was <i>It's a Shame About Ray</i> in '92 that found them the widest audience. Their focus had now turned to summery pop like "Confetti" and "Rudderless," which were a perfect blend of Dando's laid-back earnest vocals and strummed guitar. His Indie beefcake looks found him socializing with kids in Hollywood and making sheepish movie appearances. There were the appearances with Oasis, the odd cover songs, the less-catchy new songs and the wearing of dresses. The Lemonheads were eventually dropped from Atlantic, and Evan Dando ran away with the spoon.
- Jon Pruett]]></description>
</item><item>
<title>Rooney</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.64231&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Power Pop</category>
<pubDate>Thu, 1 Oct 2009 11:36:01 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Rooney</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.64231&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Like Rilo Kiley or Jonathan Fire Eater, Rooney is the name of a band, not a person. But if you happen to watch Fox's <I>The OC</I>, you may already know this: there was an episode in the first season revolving around the kids attending a Rooney show with a sketchy cocaine dealer. Not that the band, one of L.A.'s A-list alternative acts, needed the product placement (although it certainly didn't hurt). Rooney's sound comprises a healthy chemistry of power pop influences that pull from a balanced diet of the old (Electric Light Orchestra, the Beach Boys) and the new (Blur, Superdrag) to create infectious melodies dressed up in twangy Fender guitars, retro Moog licks and waves of West Coast soul. Rooney are often mentioned in the same breath as the band Phantom Planet: Rooney's singer/guitarist Robert Carmine is the younger brother of actor Jason Schwartzman, who played Max Fischer in the Wes Anderson film <I>Rushmore</I> and who used to play drums in Phantom Planet, which provided the theme song to <I>The OC</I>. See how incredibly incestuous Hollywood can be?
- Eric Shea]]></description>
</item><item>
<title>Brendan Benson</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.4834&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Power Pop</category>
<pubDate>Fri, 27 Nov 2009 10:25:37 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Brendan Benson</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.4834&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.4834&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Sugary pop ditties about tying up women in chairs, drinking tea, and being attracted to cross-eyed girls. Brendan Benson's sugar-sweet music (some of which was co-written by Jason Falkner) sounds like a cross between glittery Glam rock and endearingly nerdy Indie pop. Bonus points for working with the Waxwings as well as the multi-talented Topper Heyland Rimel who played in bands such as The Deeds, Robots In Disguise, The Blindig Boozers and The Origin.
- Eric Shea]]></description>
</item><item>
<title>The Knack</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.61274&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Power Pop</category>
<pubDate>Thu, 26 Nov 2009 11:27:32 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Knack</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.61274&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.61274&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[The Knack's debut album sold an astounding eleven million copies and spun off the hits "My Sharona" and "Good Girls Don't." Their propulsive Power Pop may have been bested by the Plimsouls, but their catchy tunes sound great on the radio during any era.
- Nick Dedina]]></description>
</item><item>
<title>The Feeling</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.11039641&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Brit Rock</category>
<pubDate>Fri, 20 Nov 2009 12:50:52 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Feeling</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.11039641&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.11039641&amp;variant=data&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>Buzzcocks</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.4005&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Punk</category>
<pubDate>Fri, 27 Nov 2009 10:25:01 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Buzzcocks</rhap:artist>
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<description><![CDATA[Led by the perenially heart-broken Pete Shelley, the Buzzcocks took the angst and anxiety that punk thrived on and, instead of aiming their fully loaded guitars at everything around them, made implicitly self-mocking songs cut with a heavy dose of wry wit. Backed by the ringing guitars of Steve Diggle, the frenetic drumming of John Maher and the even-keeled bass of Steve Garvey, Shelley made light of adolescent troubles and adult love woes, offering self-deprecating lyrics to unrequited loves and explicitly frank tales of teenage sexual discovery. "Ever Fallen In Love (With Someone You Shouldn't've?)," and "Everybody's Happy Nowadays" expressed the desperation of failed relationships and disillusionment with love, while "Orgasm Addict" needs no explanation. And on "I Don't Mind," a nasal-voiced Pete Shelley remarked, "...Everything I see/Just makes me feel you're putting me down/And if it's true this pathetic clown'll/Keep hanging around/That's if you don't mind/I don't mind." The Buzzcocks are one of the smartest, most influential bands in punk, and their music sounds as relevant and impossibly perfect now as it did 20 years ago.
- Kali Holloway]]></description>
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<title>Sloan</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.4219&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Power Pop</category>
<pubDate>Wed, 4 Nov 2009 12:14:21 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Sloan</rhap:artist>
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<description><![CDATA[When it comes to perfect pop songs -- the kind that make you want to hum along and nod agreeably with each tantalizing chord -- Sloan have produced some of the best this side of the Beatles. Over the course of their evolution, they've made modest forays into noise pop (<i>Smeared</i>); produced hooky, true-blue classic pop (<i>One Chord to Another</i>); and delivered classic rock-influenced, slightly dirtied power pop (<i>Navy Blues</i>) with the same satisfying end results. Once their secret gets out, maybe Sloan will achieve the success they so deserve outside of their native Canada. Until then, they remain Halifax's most wonderful, engaging secret.
- Kali Holloway]]></description>
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<title>Dance Gavin Dance</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.12410128&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Power Pop</category>
<pubDate>Sat, 10 Oct 2009 10:13:29 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Dance Gavin Dance</rhap:artist>
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<title>Strung Out</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.6130&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Skate Punk</category>
<pubDate>Fri, 25 Sep 2009 10:14:33 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Strung Out</rhap:artist>
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<description><![CDATA[As time has passed, Strung Out have gone from a typical NOFX-clone band, complete with tight harmonies and blazing chords to a slower band pushing into Weezer-like Power Pop. Their songs have matured in sound, ditching the simple fast and loud formula for well-written solos and stunning riffs.
- Mark Murrmann]]></description>
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<title>Tinted Windows</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.27202961&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Power Pop</category>
<pubDate>Fri, 29 May 2009 09:36:16 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Tinted Windows</rhap:artist>
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<title>Veruca Salt</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.1118&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss</link>
<category>Grunge-Pop</category>
<pubDate>Fri, 30 Oct 2009 12:04:14 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=397&amp;rws=%2Falt-punk%2Fpower-pop%2Fartist-chart.rss">Top Power Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Veruca Salt</rhap:artist>
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<description><![CDATA[The well-nigh incessant rotation of Veruca Salt's massive hits was a burden on many a radio listener back in 1994. But perhaps all the critical hostility directed at this band was something of a backlash to the still-recent success of Nirvana and resultant transition of Grunge from an underground phenomenon to the sort of thing played over the speaker system at K-Mart. But today their music is easier to take. Their Cheap Trick-meets-Pistols formula, no longer bogged down by any perceived sellout baggage, is lean and mean, with the added bonus of sounding best when turned up very loud. The fact of their talent with Punk-damaged AOR hooks cannot be disputed, and the bad-ass Chrissie Hynde tone of their vocals is fun now that nobody cares about the credibility of Grunge anymore. After a long hiatus, Veruca Salt have returned with an even tougher sound that appears to pick up where L7 left off.
- Eric Shea]]></description>
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