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<title>Top Mod Revival Artists on Rhapsody Online</title><link>http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=405&amp;rws=%2Falt-punk%2Fpower-pop%2Fmod-revival%2Fartist-chart.rss</link><description>Top Mod Revival Artists on Rhapsody Online</description><category>Mod Revival</category><language>en</language><ttl>720</ttl><pubDate>Wed, 16 Dec 2009 05:06:09 -0800</pubDate><image>
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<title>Top Mod Revival Artists on Rhapsody Online</title>
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<title>Of Montreal</title>
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<category>Baroque Pop</category>
<pubDate>Wed, 9 Dec 2009 10:55:01 -0800</pubDate>
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<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>
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<title>Paul Weller</title>
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<category>Brit Rock</category>
<pubDate>Fri, 4 Dec 2009 13:20:29 -0800</pubDate>
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<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>
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<title>The Jam</title>
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<category>Old School Punk</category>
<pubDate>Fri, 4 Dec 2009 13:20:22 -0800</pubDate>
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<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>
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<title>The Truth</title>
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<category>Mod Revival</category>
<pubDate>Tue, 24 Nov 2009 09:38:30 -0800</pubDate>
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<description><![CDATA[Pink Floyd fan with some synthesizers creates New Wave. Droning beats would encourage depressed girls with lots of eye makeup to do something that looked a little bit like dancing back in 1983.
- Rosemary Pepper]]></description>
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<title>The Loved Ones</title>
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<category>Chicago Blues</category>
<pubDate>Sat, 18 Jul 2009 11:12:12 -0700</pubDate>
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<title>The Lambrettas</title>
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<category>Mod Revival</category>
<pubDate>Thu, 22 Oct 2009 13:23:54 -0700</pubDate>
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<title>The Adored</title>
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<category>Post-Punk</category>
<pubDate>Tue, 17 Mar 2009 20:29:59 -0700</pubDate>
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<title>Sideways</title>
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<category>Mod Revival</category>
<pubDate>Fri, 11 Dec 2009 11:41:13 -0800</pubDate>
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<title>Squire</title>
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<category>Mod Revival</category>
<pubDate>Sun, 4 Oct 2009 09:42:49 -0700</pubDate>
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<title>Amen Corner</title>
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<category>Mod Revival</category>
<pubDate>Sun, 11 Jan 2009 11:30:25 -0800</pubDate>
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<title>Chisel</title>
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<category>Mod Revival</category>
<pubDate>Sun, 18 Oct 2009 10:44:28 -0700</pubDate>
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<description><![CDATA[Much more than the Mod Revival band they're often pigeonholed as, Chisel were one of the best pop bands of the 1990s. With snappy guitar chords ringing with a crispness not heard since the Jam called it quits, they wore their influences on their sleeve. Coming from D.C.'s post-Hardcore scene, Chisel's audience was often left scratching their heads as they tapped their feet, for the band created a sound many kids hadn't yet heard. With tightly pegged pants, Ted Leo (who has since struck out on his own) led the band through buzzing, feisty hooks resonating with mature, bouncy rhythms. Most use the Jam as a reference point, but Chisel's bright sound reaches back further to the Mod bands of the '60s, and even to the R&B groups that inspired the original Mods -- indeed, they'd done their homework. If you listen closely, there's even a touch of Wire brimming in their songs. With a knack for lacing superbly-crafted pop songs with dangerous hooks, Chisel brought some fresh air and an igniting energy to a scene that was growing stale before their arrival.
- Mark Murrmann]]></description>
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