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<title>Top '60s Oldies Artists on Rhapsody Online</title><link>http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link><description>Top '60s Oldies Artists on Rhapsody Online</description><category>'60s Oldies</category><language>en</language><ttl>720</ttl><pubDate>Tue, 22 Dec 2009 14:00:14 -0800</pubDate><image>
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<title>Top '60s Oldies Artists on Rhapsody Online</title>
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<title>The Rolling Stones</title>
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<category>Classic Rock</category>
<pubDate>Mon, 21 Dec 2009 09:57:31 -0800</pubDate>
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<description><![CDATA[Few partnerships in rock 'n' roll have been as productive as the collaboration between Mick Jagger and Keith Richards, and of course having wunderkind Brian Jones along did nothing to hinder the Rolling Stones' popularity. From the get-go, the band played the raunchy, gritty doppelganger to the Beatles' dandified Merseybeat pop. They ventured a heavier, bluesier sound than their British Invasion counterparts, taking their cues from Muddy Waters and Howlin' Wolf. The band's greatest strength, besides Charlie Watts, has always been their ability to add stylistic touches drawn from their interests in Eastern music, psychedelia, country and even disco to a blues rock chassis. It's difficult to listen to the trippy <I>Their Satanic Majesties Request</I>, the down-and-out honky-tonk of <I>Exile On Main Street</I> and the clean modernist surfaces of <I>Bridges To Babylon</I> and believe they were recorded by the same band. Of course, in some ways they weren't; the lineup changes that have dogged the Stones account for much of their musical diversity. Jagger's famous slur and Richards' sloppy guitar elegance are the two constants in the band's many life cycles that make every Stones song instantly recognizable.
- Chad Driscoll]]></description>
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<title>Elvis Presley</title>
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<category>'50s Rock 'n' Roll</category>
<pubDate>Sun, 20 Dec 2009 09:42:42 -0800</pubDate>
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<description><![CDATA[Elvis Presley is rock 'n' roll. He sang like a dream, he was sexy enough to send girls swooning, and he exuded enough cool not to have the boys resent him. Adults worried about his rebellious nature, but they were eventually comforted by his polite, courteous manner. Yet as perfect as Presley's 1950s rock recordings are, he excelled at so much: down-home country crooning, raucous R&B belting, enraptured Gospel singing, and classic pop balladeering. Elvis wasn't a vocal chameleon: these styles seeped out of him naturally, allowing his own personality to shine through. Despite his high level of talent and achievement in his craft, it was Elvis who made rock 'n' roll the international language of pop and inspired countless kids around the world to pick up a guitar or step up to a microphone. That said, Elvis didn't have a faultless career: he starred in plenty of bad movies, sang dozens of lame songs, got fat, and wore a kitschy white suit. But so what? He forever changed pop music, recording acres of perfect material over two short decades. Elvis (deservedly) remains the King.
- Nick Dedina]]></description>
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<title>Bob Dylan</title>
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<category>Singer-Songwriter</category>
<pubDate>Fri, 18 Dec 2009 12:08:50 -0800</pubDate>
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<description><![CDATA[Bob Dylan is on the short list of the most influential artists of the 20th century. He coupled a love for all forms of American popular and folk music with a personal and poetic songwriting style instead of relying on professional craftsmen or standard tunes. Influenced by Woody Guthrie, Dylan proved that you didn't have to be a technically perfect singer or musician to make brilliant pop music. The songs on 1963's <I>The Freewheelin' Bob Dylan</I> catapulted the artist to stardom but he was already burning to get away from acoustic backing and match his unique vision to rock, country and blues. Dylan's music influenced a whole new generation of musicians -- such as the Beatles and Stevie Wonder -- to start crafting songs about what was important to them. While Dylan kick-started folk and country rock in his '60s studio work, the ragged home recordings he made with the Band showed that not even poorly placed microphones could stifle brilliance. Dylan still tours these days and records less often then he used to, but as albums such as 1997's <I>Time Out of Mind</I> and 2006's <I>Modern Times</I> prove, the man still has a lot to say and continues to do it in a way that no one else can.
- Nick Dedina]]></description>
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<title>The Beach Boys</title>
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<category>'60s Oldies</category>
<pubDate>Mon, 21 Dec 2009 09:57:31 -0800</pubDate>
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<description><![CDATA[In the early 1960s, the Beach Boys' Brian Wilson fused innovative chord arrangements with elastic-ranged vocal harmonies onto a foundation of Chuck Berry-inspired rock 'n' roll. The resulting music, set against a backdrop of surfing, girls, and cars, was unfortunately panned by the media as America's answer to Beatlemania. By the end of 1964, Wilson had retired from live performances to focus on composing and producing the band's recordings. Desperately trying to get the sounds from his head onto tape, the Beach Boys released the epic <i>Pet Sounds</i> in May of 1966. In the liner notes of this orchestrated pop masterpiece, Wilson admits that his aim was to write a "teenage symphony to God." Generally hailed as the greatest rock 'n' roll album ever, <I>Pet Sounds</I> struggled to attain the commercial success of the band's earlier suburban hymns. Although the Beach Boys (as well as Brian Wilson) went on to make many more successful albums, they never came close to approximating the innovative genius and transcendent, childlike innocence that was <i>Pet Sounds</i>.
- Eric Shea]]></description>
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<title>Stevie Wonder</title>
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<category>Soul</category>
<pubDate>Mon, 21 Dec 2009 09:57:30 -0800</pubDate>
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<description><![CDATA[At any given hour, on any college campus anywhere, it is possible to hear "Superstition" blaring out of a fresh-faced funk newcomer's dorm room. Despite other artists' attempts at appropriating his style, Wonder is undoubtedly one of the most individual and astounding songwriters of our time, composing on such a grand scale that albums flow with harmonious ease, incorporating jazz, reggae, fusion, rock, funk and soul. He may have seemed like just a singles artist when performing his Motown hits during his teens, but on albums like <I>Talking Book</I>, <I>Innervisions</I> and <I>Songs in the Key of Life</I> Wonder proved to be a complex and complete artist, painting colorful political, spiritual and soulful journeys with a variety of guest artists and his own multi-instrumental skills. His voice, harmonica and keyboards are as instantly recognizable as his trademark sway, able to make you laugh and boogie with joy, or cry over the unbridled emotion of his compositions. In late 2005, he released <i>A Time To Love</i>, his first new album in ten years. It was praised by critics and fans alike, further cementing his status as a musical legend who still has more magic to share.
- Jessy Terry]]></description>
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<title>The Jackson 5</title>
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<category>Motown</category>
<pubDate>Mon, 21 Dec 2009 09:57:29 -0800</pubDate>
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<description><![CDATA[The Jackson 5's bubblegum-flavored soul helped Motown usher in the 1970s with a string of chart toppers that included hits such as "ABC," "I Want You Back" and "The Love You Save." Raised in Gary, Indiana by devout Jehovah's Witnesses, the brothers endured the kind of strict upbringing that groomed them perfectly for the "Motown machine." And what a well-oiled machine it was! The Jackson 5's likenesses could be found on everything from lunchboxes to dolls to Saturday Morning cartoons. But by 1974, the machine showed signs of wear and tear: songs weren't charting as highly as they had previously, and demand for Jackson 5 merchandise was drying up. The machine broke down completely when, frustrated by Motown's refusal to allow the brothers to write or choose their own material, the Jackson 5 parted ways with the label and signed with Epic. Motown won a breach of contract suit, thus retaining the rights to the name Jackson 5. The brothers changed their named to the Jacksons. The Jackson 5 were inducted into the Rock and Roll hall of Fame in 1997.
- Linda Ryan]]></description>
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<title>Neil Diamond</title>
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<category>Adult Contemporary</category>
<pubDate>Fri, 18 Dec 2009 12:08:50 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<description><![CDATA[OK, Neil Diamond is an easy target for parody -- voice straight outta Brooklyn, bespangled shirt straight outta Vegas. But this ex-Brill Building tunesmith crafted a batch of excellent songs during the 1960s (hits such as "Solitary Man" for himself and "I'm a Believer" for the Monkees) before emerging as a stadium superstar. His bombastic, ubermelodramatic work from the 1970s has earned him an enormous, if aging, female following who feel that Diamond tells them what their tight-lipped, big-bellied husbands never will. Today, a new generation of ironic hipster fans have swelled their ranks. Both these groups know that underneath the florid orchestrations and over-the-top emotion lies the truth. Who doesn't feel that love can go on the rocks? Who hasn't experienced a great September morning? Be it a longtime fan in too-snug polyester trousers or a smug 25-year-old in his dad's leisure suit -- both pump their fists in unison during "America." Neil Diamond, an undeserving nation thanks you for trying to put some feeling (however unsubtle) into our bored, numbed lives.
- Nick Dedina]]></description>
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<title>Bee Gees</title>
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<category>Disco</category>
<pubDate>Thu, 17 Dec 2009 10:45:08 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<description><![CDATA[The Bee Gees made whiney falsetto hip, wide polyester collars the height of high-rolling fashion, and defined cool for an entire generation. A '70s supergroup who actually began as a brothers act in 1959, the Bee Gees have proven remarkably versatile throughout their long career, unafraid to experiment with everything from country to R&B to straight pop balladry. They scored a number of hits during the 1960s and early '70s with shimmering hits like "I've Got to Get a Message to You" and "How Can You Mend a Broken Heart." Some of the Bee Gees' most memorable tracks stemmed from the height of the disco era, culminating in 1977's <i>Saturday Night Fever</i> soundtrack with tunes like "Night Fever," "How Deep is Your Love," and of course, "Stayin' Alive." Lush harmonies, symphonic arrangements, and a tendency to reinvent themselves when the going gets tough have made this band one of the longest-running pop acts around.
- Sarah Bardeen]]></description>
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<title>Marvin Gaye</title>
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<category>Soul</category>
<pubDate>Mon, 21 Dec 2009 09:57:30 -0800</pubDate>
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<description><![CDATA[Perhaps the pervasive element of tragedy that ruled Marvin Gaye's life accounts for the profound intimacy found in his songs. He scored dozens of hits for Motown in the 1960s both as a solo act ("How Sweet It Is (To Be Loved by You)," "I Heard it Through the Grapevine") and singing duets ("Ain't No Mountain High Enough"). A late-decade period of depression and solitude ended with <I>What's Going On?</I> (1971). That album eschewed the pop frivolity of Gaye's earlier work, grappling with such issues as the Vietnam War, poverty and the ecology. Its success allowed him to create increasingly personal records. <I>Let's Get It On</I> was perhaps the most explicitly sexual album of its era; the double LP <I>Here My Dear</I> recounted the disintegration of his marriage in such detail that his wife considered suing for privacy invasion. Gaye's final chart topper was "Sexual Healing" (1983), a luscious ballad that simmered erotically beneath Gaye's velvet-lined vocals. His unexpected death in 1984 at the hands of his father renewed interest in his life, music and legacy.
- Kali Holloway]]></description>
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<title>The Temptations</title>
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<category>Motown</category>
<pubDate>Mon, 21 Dec 2009 09:57:27 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<description><![CDATA[The Supremes may have moved more product, but it was the Temptations who showed that a Motown act could do anything they set their pitch-perfect pipes to. Who else but the Temptations could release the peerless teen love ballad "My Girl" and the cinematic, psychedelic funk of "Papa Was a Rolling Stone"? They could be soft and sensual, gruff and grounded, or raw and rocking -- and pull each off beautifully. The grim reaper and drugs have not been kind to the Temptations, and only one original member carries on in their name. Their last few recordings can't match the brilliance of their 1960s to mid-1970s releases, but the band's sound remains more soulful than any young, ultraslick vocal group out there.
- Nick Dedina]]></description>
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<title>Simon &amp; Garfunkel</title>
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<category>Folk Pop</category>
<pubDate>Thu, 17 Dec 2009 10:44:45 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<description><![CDATA[With a bubbly guitar sound and hesitant, hushed vocals, Simon & Garfunkel became a defining folk duo of the '60s and '70s. Paul Simon and Art Garfunkel began collaborating in the mid-1950s. By 1965 they had their first hit with "Sounds of Silence."]]></description>
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<title>Aretha Franklin</title>
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<category>Soul</category>
<pubDate>Mon, 21 Dec 2009 09:57:27 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Aretha Franklin</rhap:artist>
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<description><![CDATA[More than any other Soul performer (or such Jazz-Blues belters as Dinah Washington), Aretha Franklin brought impassioned Gospel singing to American popular music. Never as subdued as the subtler Sam Cooke, Franklin belts out profane R&B songs with enough sacred lung power to send the sound waves all the way up to the heavens. Franklin doesn't go over the top, though, always staying in the realm of good taste and sensitive delivery. As she proved during her greatest period, the late '60 Atlantic Recordings, Franklin blows the roof off your house with so much class that you don't want her to stop until she has reduced your love shack to a pile of splinters. Who else could outdo Otis Redding and turn "Respect" into an eternal anthem of racial and sexual pride that even middle-class white men embrace? Franklin's voice has weathered the decades very well but her arrangements and material are often beneath her. You can't go wrong with any of her recent Gospel recordings and 1998's <i>A Rose is Still A Rose</i> embraced hip-hop production with great success. Aretha Franklin remains a vital part of the modern music scene.
- Nick Dedina]]></description>
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<title>Otis Redding</title>
<link>http://www.rhapsody.com/goto?rcid=art.69253&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Soul</category>
<pubDate>Mon, 21 Dec 2009 09:57:32 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Otis Redding</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.69253&amp;variant=data&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Probably <I>the</I> voice of Southern Soul music and one of the greatest vocalists of all time, Otis Redding was, and continues to be, an inspiration to any musician with a desire to move people with music (and any listener not made out of stone). Neither as smooth as Marvin Gaye or Sam Cooke nor as funky as James Brown, Redding was a big, sweaty man who put every ounce into his performances: you can hear every mistake he ever made in his voice when he cries and screams his way through "I've Been Loving You Too Long" and virtually every other song he recorded. Backed by a top form Booker T. and the MG's, his Stax recordings still crackle with the energy and fire of the South. The sad justice in his passing, shortly after leaving a sea of flush-faced hippies gawking at the Monterey Pop Festival, is that he had just unwittingly cemented his status in both the rock and Soul worlds. His passing, at a criminally young twenty-six years of age, managed to both seal the end of the Soul singer era and leave a vacant space in music that has yet to be filled.
- Jon Pruett]]></description>
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<title>Frankie Valli &amp; The Four Seasons</title>
<link>http://www.rhapsody.com/goto?rcid=art.7515017&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>'60s Oldies</category>
<pubDate>Tue, 15 Dec 2009 10:31:00 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Frankie Valli &amp; The Four Seasons</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.7515017&amp;variant=data&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[In 1965, when Frankie Valli left the Four Seasons to embark upon a solo career, he took the most recognizable aspect of the group with him -- his unmistakable falsetto voice. Though the Four Seasons had a number of hits throughout the 1960s, they never earned the respect other bands from the era have garnered. This trend continued with Valli's solo career. Shortly after releasing his debut solo album in 1967, Valli rejoined the Four Seasons until the early '70s, when he again broke off on his own. Though he had minor hits throughout the decade, his career more or less leveled off. Valli's '70s songs survive as prime AM radio fodder -- slow-paced, easily digestible numbers ideal for those moments in the dentist's chair while you're waiting for the Novocain to kick in.
- Mark Murrmann]]></description>
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<title>Diana Ross</title>
<link>http://www.rhapsody.com/goto?rcid=art.4195&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Motown</category>
<pubDate>Mon, 21 Dec 2009 09:57:34 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Diana Ross</rhap:artist>
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<description><![CDATA[Thanks in part to a voice that could compete with Dionne Warwick on the level of pop appeal -- and let's not forget Berry Gordy's loving adoration for her -- Diana Ross not only became the lead singer of the Supremes, she became the quintessential image of the band in the public eye. What might have been had she remained part of the Supremes' backing vocal section will never be known, but the end result of Ross' being placed center stage was a later ascent to uber-diva as a solo artist. Within a year of taking leave of the Supremes in 1969, Ross already had a No. 1 song; within two years, she'd starred in a movie (<i>Lady Sings The Blues</i>) and secured an Academy Award nomination. Not bad for an acting novice and singer on her own for the first time. Over the years, Diana Ross has continued to earn film roles, chart placements, and the undying respect and admiration of drag queens the world over.
- Kali Holloway]]></description>
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<title>James Brown</title>
<link>http://www.rhapsody.com/goto?rcid=art.38470&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Funk</category>
<pubDate>Mon, 21 Dec 2009 09:57:27 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">James Brown</rhap:artist>
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<description><![CDATA[The interlocking drum and bass brilliance of "Funky Drummer," the exactly synchronized horns of "Cold Sweat," and the socially conscious "I'm Black and I'm Proud" all have one thing in common: repetitive perfection. The Godfather of Soul may have let loose with raw squeals, doo-wop moans, plaintive wails and commanding grunts, but the bands he led never missed a note. Intense raw energy has never been compressed as succinctly as the vacuum-sealed package making up James Brown's band. Over the years, Brown has served as a university for many of the tightest performers around -- his musical graduates include Maceo Parker, Clyde Stubblefield, Bernard Purdie, Jimmy Nolen, Fred Wesley, Bobby Byrd, Pee Wee Ellis and Bootsy Collins. His songs have crucially influenced genres like jazz (Herbie Hancock, Miles Davis), reggae (Lee Perry, Sly and Robbie) and hip-hop (hasn't every DJ sampled James Brown at one point or another?). Music hasn't been the same since. James Brown died in Atlanta, GA on Dec. 25th, 2006, at the age of 73.
- Jessy Terry]]></description>
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<title>Carole King</title>
<link>http://www.rhapsody.com/goto?rcid=art.653&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Singer-Songwriter</category>
<pubDate>Sun, 20 Dec 2009 09:42:19 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Carole King</rhap:artist>
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<description><![CDATA[No self-respecting 1970s co-ed dorm was without a copy of Carole King's <i>Tapestry</i>, a mondo hit that did for female singer-songwriters what Paul Simon did for the guys. One of the main consequences of this key album was that the public got clued into all the great songs King had written -- often with Jerry Goffin -- for other artists when the Brill Building ruled '60s pop. Such wonders as "Will You Still Love Me Tomorrow" and "You've Got a Friend" are ultra-catchy, yet have a depth that is sorely missing in today's market of disposable singles. King's career was the inspiration behind the movie <i>Grace of My Heart</i>.
- Nick Dedina]]></description>
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<title>Smokey Robinson</title>
<link>http://www.rhapsody.com/goto?rcid=art.1524&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Motown</category>
<pubDate>Sat, 19 Dec 2009 10:51:06 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Smokey Robinson</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.1524&amp;variant=data&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[People all over the world recognize Smokey Robinson's sweet voice within a bar or two. His deceptively light sound defines soulful romance, and it helped place his band the Miracles at the top of the charts throughout the 1960s. Robinson is also an exceptional songwriter (with such credits as the Temptations' "My Girl" under his belt) and a businessman who helped Berry Gordy build the Motown juggernaut. During the sex-mad '70s, Robinson shifted into contemporary crooner mode and his excellent hit album <I>A Quiet Storm</I> provided the name and musical template for the simmering urban love genre that has helped keep our nurseries and daycare centers full.
- Nick Dedina]]></description>
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<title>The Commodores</title>
<link>http://www.rhapsody.com/goto?rcid=art.2959&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Motown</category>
<pubDate>Sun, 20 Dec 2009 09:42:37 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Commodores</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.2959&amp;variant=data&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Led by Lionel Richie, the Commodores continued Motown's hold on popular music in the late '70s. With their mix of Funk ("Brick House") and ballad ("Three Times a Lady") hits, they were as much a part of that decade as pet rocks and guest spots on <i>Three's Company</i>.
- Rosemary Pepper]]></description>
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<title>Janis Joplin</title>
<link>http://www.rhapsody.com/goto?rcid=art.38144&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Blues &amp; Boogie Rock</category>
<pubDate>Tue, 8 Dec 2009 09:16:46 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Janis Joplin</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.38144&amp;variant=data&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[In one of her trademark tunes, "Piece of My Heart," Janis Joplin proclaimed, "I'm gonna show you, baby, that a woman can be tough," and she went on to prove it in her life, playing by men's rules and exercising her rather varied appetites -- musical and otherwise -- whenever the spirit moved her. Perhaps that allowed her to feel things that few white women would admit to, let alone express. <br><br> A fifth generation Texan, born in the deep water anchorage town of Port Arthur, Joplin always had one of her tiny high-heels firmly placed on the open road. A noisy and wildly talented harbinger of the burgeoning cultural revolution, she turned her back on small town life and hitchhiked to San Francisco with the equally atavistic impresario Chet Helms. With Helms' help, she hooked up with bluesy folk rock combo Big Brother and the Holding Company, sharpening their rather soft psychedelic edges and transforming the group into a firebrand outfit that would make a huge mark on the 1960s' musical landscape. <br><br> Joplin took her cues from the blues greats, grafting the sensual rhythms of Bessie Smith and the defiance of Willie Mae Thornton to a pulsating rock beat. The world noticed what the wild-haired chanteuse was up to when Big Brother performed at 1967's Monterey Pop Festival, bringing her rare and bombastic talent to that infamous stage and holding her own with Jimi Hendrix and The Who. Big Brother's second album, 1968's <I>Cheap Thrills</I>, found Joplin helping to midwife a new mode of musical expression for "chick" singers. Being a refined looker who could actually carry a tune (think Mary Hopkin, Marianne Faithfull) was no longer enough once Janis started belting with authority from her heart and deepest soul. <br><br> Unfortunately, her massive talent did not bring the peace and self-acceptance she craved. She used to bemoan her sense of isolation, remarking sadly, "Every night I make love to 25,000, but I go home alone." Ironically, she was adored by millions but had apparently lost her capacity to recognize real love when it was offered. She tried to fill the void with drugs and alcohol, and ultimately died of a heroin overdose on October 4, 1970. She looms as large in death as she did in life, encouraging subsequent generations to feel without holding back. Joplin left behind a small but tremendous legacy, including two albums with Big Brother, and two solo albums (<I>I Got Dem Ol' Kozmic Bules Again, Mama!</I>, recorded with the Kozmic Blues Band, and <I>Pearl</I>, with the Full Tilt Boogie Band, which came out a month after her death).
- Jaan Uhelszki]]></description>
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<title>The Kinks</title>
<link>http://www.rhapsody.com/goto?rcid=art.38141&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>British Invasion</category>
<pubDate>Mon, 21 Dec 2009 09:57:28 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<description><![CDATA[Led by singer-songwriter Ray Davies, the Kinks recorded countless songs that have proven to be both timeless and highly influential. Their slew of early singles -- from the Hard Rock prototype "You Really Got Me" to the whimsical, lackadaisical and humorous "Sunny Afternoon" -- made them one of the most popular bands of the British Invasion. However, it was Davies' singular, distinctively noncommercial vision that made their superstardom a relatively brief part of an otherwise lengthy career. Tensions between the musicians didn't help matters, as onstage fights between Ray and his guitar-playing brother Dave were notorious. Although they ostensibly mastered the singles format, the Kinks became an album-oriented band in the truest sense: between 1968 and 1977, the band released numerous concept albums that varied wildly in quality and subject matter. The most famous, and perhaps the finest of the lot, is <I>Lola vs. the Powerman & the Money-Go-Round, Part One</I> (1970). The record is a cutting, acerbic look at the music industry, and the song "Lola" put the band back on top -- and what a song to do so, as it's become the most famous song in the rock 'n' roll oeuvre to deal with gender-swapping and/or transvestism. The Kinks continued to record powerful singles and solid albums, but their fame rests firmly on their utterly unique early material.
- Eric Shea]]></description>
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<title>The Four Tops</title>
<link>http://www.rhapsody.com/goto?rcid=art.1311&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Motown</category>
<pubDate>Mon, 21 Dec 2009 09:57:28 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.1311&amp;variant=data&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Who could have predicted that high-school vocal group the Four Aims would become one of the most beloved groups on the legendary Motown label? It took the Four Tops a good ten years of near misses before they hit with 1964's "Baby I Need Your Loving," but once the quartet got rolling, they were nearly impossible to stop. They racked up an incredible number of chart hits, including such Number 1 smashes as "I Can't Help Myself (Sugarpie Honeybunch)" and "Standing In the Shadows of Love." Levi Stubbs' soulful vocals were the perfect complement to the rich, seamless backing of the other Tops, and combined with the songwriting prowess of Holland-Dozier-Holland, the Four Tops were at the peak of their game throughout their seven-year tenure on Motown Records. The group continued to find pockets of chart success throughout the 1970s and '80s, including such post-Motown smashes as "Ain't No Woman Like the One I've Got" and the disco-flavored "When She Was My Girl." Under Stubbs' leadership, the band didn't have a single change in personnel during its 40-year career -- a rarity for the Motown roster -- and was inducted into the Rock 'N' Roll Hall of Fame in 1990. In 1997, Lawrence Payton died of liver cancer and, after a short stint as a trio, the surviving members recruited Temptation Theo Peoples to take his place. Because of illness, the group saw a handful of other Motown vets shuffle through the line-up in subsequent reunions. In October of 2008, Levi Stubbs died in his sleep in his Detroit home at the age of 72.
- Linda Ryan]]></description>
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<title>Sly &amp; the Family Stone</title>
<link>http://www.rhapsody.com/goto?rcid=art.1105&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Funk</category>
<pubDate>Mon, 21 Dec 2009 09:57:32 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Sly &amp; the Family Stone</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.1105&amp;variant=data&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[People these days ask too many questions like, "Where is Sly Stone?" or "What has Sly Stone done for me lately?" The real question someone should ask is: "What was Sly Stone doing in 1968 that makes his music just as heavy to experience today, as it did back then?" Truth be told, Sly wasn't doing anything too complicated. He just wanted to take us higher, literally and musically. Sly and the Family Stone were formed in 1967 in San Francisco, California, where bands have a history of incorporating a multitude of cultural influences into their own rock 'n' roll melting pot. The Family Stone was no exception; their band was a sonic brew of male and female members who made psychedelically-charged political soul tempered with an intergalactic hard funk. It was this heady combination, seen best in the outrageous outfit's live shows, that helped them thrust themselves into the mainstream. From 1967's <I>Whole New Thing</I> to 1969's <I>Stand!</I>, Sly and the Family Stone sounded like they were having a party that the whole world was invited to. Outrageous horn arrangements, power soul anthems and bionic funk took the band up in the stratosphere until 1971's epic <I>There's a Riot Goin' On</I>, an album that was labeled too dark and political by critics, but respected as honest and gutsy by fans. Sly continued to record with the Family Stone until the late 1970s when his problems with substance abuse consumed him. To this day, Sly Stone has managed to stay out of the public eye except for the rare television appearance and occasional "blue moon" sighting at San Francisco's Brother-In Law's Barbecue Ribs.
- Eric Shea]]></description>
</item><item>
<title>The Mamas &amp; The Papas</title>
<link>http://www.rhapsody.com/goto?rcid=art.49644&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>'60s Oldies</category>
<pubDate>Thu, 17 Dec 2009 10:44:39 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Mamas &amp; The Papas</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.49644&amp;variant=data&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[The Mamas & the Papas were one of many bands to capture the zeitgeist of the 1960s counter-culture movement. Formed in New York by folkie John Phillips, the quartet moved from New York to Los Angeles in the mid-'60s, and promptly caught the ear of MCA's Lou Adler. The band's airy harmonies, supplied by Mama Cass, Michelle Philips and Denny Doherty, shimmered around John Phillips' poetic lyrics, adding just the right glow to what would become the group's signature sound. Songs such as "California Dreaming" acted like beacons in the night to disenfranchised youths, who came to the Haight-Ashbury district of San Francisco in droves. But the group's Flower Power-inspired lifestyle would contribute to their downfall, as drugs, alcohol and too much "free love" tripped its members up. The Mamas & Papas called it quits in 1971.
- Linda Ryan]]></description>
</item><item>
<title>The Monkees</title>
<link>http://www.rhapsody.com/goto?rcid=art.36786&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Bubblegum</category>
<pubDate>Sun, 20 Dec 2009 09:42:24 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Monkees</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.36786&amp;variant=data&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[They may have been prefabricated to steal pocket change from the pockmarked teen masses, but the Monkees were the best darn prefab rock band ever created by cynical cigar chompers (and counterculture director Bob Rafelson). Who cares if "Last Train to Clarksville" is an inferior rewrite of the Beatles' "Day Tripper," or if the Monkees were just an inferior, third-generation pastiche of the Fab Four? Their songs were fantastic -- from the hard-rocking drive of "(I'm Not Your) Steppin' Stone" to the dreamy Psychedelic splendor of "Porpoise Song." Could any of today's teenybopper confections release anything as brilliant as the Kinks-esque "Randy Scouse Git," which goes from sunny, British music hall to slamming Pre-Punk and back again? Despite all the nattering nabobs of negativity who say the Monkees never wrote their own tunes, they did pen a considerable number of their songs. They also relied on the talents of proven Brill Building scribes such as Goffin/King, Neil Diamond and Boyce/Hart. The TV show they were created to front remains a fun time capsule, and their bizarre, acid-drenched movie <I>Head</I> is still a creative tour de (unfocused) force. What does it say about modern pop music that the Prefab Four made better music than today's "uncompromising" artistic geniuses?
- Nick Dedina]]></description>
</item><item>
<title>Dionne Warwick</title>
<link>http://www.rhapsody.com/goto?rcid=art.3952&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Vocal-Pop</category>
<pubDate>Sat, 19 Dec 2009 10:51:09 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Dionne Warwick</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.3952&amp;variant=data&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[The Burt Bacharach resurgence proves that what the world needs now is Dionne Warwick. She was one of the links between classic pop, rock and R&B in the '60s, with hits like "Walk on By," "I Say a Little Prayer," and "Do You Know the Way to San Jose." Warwick was the singer who could handle Bacharach's deceptively complex material and make it seem simple. The rock, disco, and rap generations knew her as the host to <i>Solid Gold</i>, as Whitney Houston's aunt, and then as the mouthpiece for the Psychic Friends Network. Now these people are rediscovering her roots as a great vocalist.
- Nick Dedina]]></description>
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<title>Gladys Knight</title>
<link>http://www.rhapsody.com/goto?rcid=art.3910&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Motown</category>
<pubDate>Sun, 20 Dec 2009 09:42:40 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Gladys Knight</rhap:artist>
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<description><![CDATA[Gladys Knight had plenty of R&B hits during the first half of the '60s. Accompanied by her brother Bubba and cousins William and Edward, Gladys Knight took the reins with her husky voice, leading the way through the group's 1960s and '70s hits, and belting out lyrics while the Pips subtly harmonized and occasionally provided sound effects (woo! woo!). Her powerful, Gospel-enriched vocals meshed perfectly with the Pips' sophisticated soul-rock sound, but it wasn't until they signed with Motown that they crossed over to pop superstardom. Their '70s work on Buddha is just as rewarding, with "Midnight Train to Georgia" being the first in a string of big hits. Some of that magic was lost when she became a solo Adult Contemporary singer, but Knight has been re-energized recently. Whether singing her new politically-charged Gospel material or "I Heard it Through the Grapevine," her voice still sizzles.
- Nick Dedina]]></description>
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<title>The Supremes</title>
<link>http://www.rhapsody.com/goto?rcid=art.896&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Motown</category>
<pubDate>Mon, 21 Dec 2009 09:57:27 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Supremes</rhap:artist>
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<description><![CDATA[The Supremes basically ruled the pop charts in the 1960s and don't try to let those Beatles fans tell you otherwise. No other act on the Motown roster was as consistently brilliant on the charts or releasing such sublime pop gems. The key word here is "pop," since that's what Motown did best and that's most certainly what the juggernaut songwriting combo of Holland/Dozier/Holland did like no one before or since. There was nothing especially thought-provoking in their music, but within that glassy back-beat, aerodynamic production and Diana Ross pouring on the vocals like maple syrup, there was total perfection.
- Jon Pruett]]></description>
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<title>Bobby Darin</title>
<link>http://www.rhapsody.com/goto?rcid=art.56835&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Brill Building Pop</category>
<pubDate>Thu, 17 Dec 2009 10:45:34 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Bobby Darin</rhap:artist>
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<description><![CDATA[Beginning as a '50s teen idol, Bobby Darin kept his musical life afloat through the '60s and '70s by swinging from pop, rock and folk, while hitting the Las Vegas lounge circuit along the way. Darin helped immortalize rock 'n' roll's earliest years with songs such as "Splish Splash" and "Dream Lover." By the end of the '50s, Darin marked his style change with an album of pop standards. Among the songs on this 1959 album was the most enduring version of Brecht-Weill's "Mack the Knife." The '60s saw Darin trapse through the Vegas circuit then morphing into a politically active, Dylan-influence folk singer with a number of Rolling Stones covers rounding out his set. As the '70s rolled around, Darring again donned his tuxeudo and returned to the world of the Vegas nightclubs and even briefly hosted a television show. In 1973, at the age of 37, Darrin died during open-heart surgery, leaving behind a wonderfully eclectic collection of music. In 1990 Darrin was inducted into the Rock 'n' Roll Hall of Fame.
- Jaan Uhelszki]]></description>
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<title>The Ventures</title>
<link>http://www.rhapsody.com/goto?rcid=art.60013&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Surf</category>
<pubDate>Wed, 16 Dec 2009 11:55:15 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Ventures</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.60013&amp;variant=data&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[These days, cop show "Hawaii Five-O" may seem cheesy so far from its '70s heyday but its title tune by the Ventures hasn't aged a day. The Ventures are the biggest selling instrumental rock group of all time: they created albums rather than just collections of songs and were able to adapt their "surf guitar" sound to a wide range of styles. The solid body Fender guitar sound of the Ventures' Bob Bogle and Don Wilson worked with surf, country, spy, and psychedelic music. Who but the Ventures could pull this off? Few have even tried. Busloads of rock guitarists profess the Ventures' influence (like the Who's Pete Townshend). With well over forty million albums sold, they are the definitive (and first) "big in Japan" act. Though their following is slightly more modest everywhere else, the Ventures will be cool forever.
- Nick Dedina]]></description>
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<title>The Righteous Brothers</title>
<link>http://www.rhapsody.com/goto?rcid=art.3947&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Blue-Eyed Soul</category>
<pubDate>Fri, 11 Dec 2009 11:41:02 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Righteous Brothers</rhap:artist>
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<description><![CDATA[They may not be brothers and only the lord above can say if they are truly righteous, but there is no denying that the Righteous Brothers have recorded some of the finest melodramatic, soul-drenched ballads in history. Two of the many songs they recorded with Phil Spector remain on heavy radio rotation: "You've Lost That Lovin' Feelin'" and the operatic, intense "Unchained Melody." Their blonde good looks and dusky R&B voices are believed to have led an intrepid <i>sociologue</i> to coin the term "Blue-Eyed Soul."
- Nick Dedina]]></description>
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<title>Harry Nilsson</title>
<link>http://www.rhapsody.com/goto?rcid=art.50378&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Singer-Songwriter</category>
<pubDate>Sat, 12 Dec 2009 11:17:07 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Harry Nilsson</rhap:artist>
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<description><![CDATA[By the time his first LP, <I>Pandemonium Shadow Show,</I>appeared in 1967, Harry Nilsson was a music-industry veteran. He'd quit his bank job, the story went, after hearing the Monkees' version of his "Cuddly Toy" on the radio. Soon, his inventive medley of Beatle tunes, "You Can't Do That," had caught the group's ear, if not the world's. Despite his rich variety of self-penned classicist pop gems, it wasn't until Nilsson's cover of Fred Neil's "Everybody's Talkin'" was used in the film <I>Midnight Cowboy</I> that he scored a hit. He carried his gorgeous, vaguely precious style, rife with overdubbed voices (all his), through two more albums and the beloved kids' TV special <I>The Point!</I> before leaping in another direction. Hooking up with producer Richard Perry, he recorded <I>Nilsson Schmilsson,</I> a state-of-the-art pop-rock disc that still retained every bit of the artist's strange charm. Filled with oddball touches from a solo version of Louis Jordan's "Early in the Morning" to the mock-Caribbean "Coconut" and the thunderous rock 'n' roll of "Jump Into the Fire," it ultimately became best known for its most conventional track. Badfinger's "Without You" became a standard in Nilsson's version, which spent four weeks at No. 1. A bona fide superstar for the moment, Nilsson set off on the path of self-destruction. His excesses while recording 1974's <I>Pussy Cats</I> with John Lennon at the board led to his permanently damaging his voice. He continued to make occasionally striking music afterward -- most interestingly for the soundtrack to Robert Altman's <I>Popeye</I> -- but he never had another hit. Released around the time of his death in 1994, the two-CD anthology <I>Personal Best</I> did much for Nilsson's profile. His was suddenly a hip name to drop again in circles that revered the Beach Boys' and the Zombies' artier moments. He'd no doubt appreciate the irony of being at once an easy-listening oldies staple and a favorite of twentysomething indie rockers.
- Jaan Uhelszki]]></description>
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<title>The 5th Dimension</title>
<link>http://www.rhapsody.com/goto?rcid=art.60399&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>'60s Oldies</category>
<pubDate>Sun, 22 Nov 2009 10:09:56 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<description><![CDATA[The 5th Dimension are responsible for some of the most readily identifiable songs you'll come across on oldies radio stations any day of the week -- "Up, Up and Away," "Aquarius (Let the Sun Shine In)," and "Wedding Bell Blues" to name a few. They typified the pop Soul sound of the mid-1960s, along with "Grazin'" types Friends of Distinction and early Dionne Warwick songs, not to mention the people who sang the <i>Sesame Street</i> theme song. Fun, light and satisfying, everybody should have a copy of <i>Stoned Soul Picnic</i>.]]></description>
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<title>The Everly Brothers</title>
<link>http://www.rhapsody.com/goto?rcid=art.4254&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>'50s Rock 'n' Roll</category>
<pubDate>Thu, 17 Dec 2009 10:44:45 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<description><![CDATA[The Everly Brothers represent a lot of different things musically. They are the spiritual and literal forefathers of Country Rock, the epitome of Close Harmony singing, the antecedent to the boy band hysteria of today, and the embodiment of every troubled sibling relationship in pop music, from the Louvin Brothers to the Gallagher brothers (Oasis). Phil and Don Everly started out as part of a family act singing on the radio in Iowa, and eventually recorded straight country material that went nowhere. When they hooked up with the husband and wife songwriting team of Boudleaux and Felice Bryant, they went straight to the top of the charts with "Bye Bye Love" and a slew of other songs including "All I Have to Do is Dream" and "Wake Up Little Susie." The brothers' career at the top of the charts was over by the early 1960s -- at least in the United States. The strain of a life together took its toll on them and they split up in 1973. They reformed in the 1980s and remain an extremely popular concert attraction at home and abroad. The group was enormously influential on groups including the Beatles, the Rolling Stones and the Hollies.
- Tom Heyman]]></description>
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<title>The Association</title>
<link>http://www.rhapsody.com/goto?rcid=art.4731&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>'60s Oldies</category>
<pubDate>Thu, 17 Dec 2009 10:44:25 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<description><![CDATA[The Association's place in rock history is an interesting one. Nowadays, the band is considered nothing more than an oldies act forever associated with AM pop. However, along with the Byrds and the Mamas and the Papas, the sextet emerged from Los Angeles' folk-rock scene of the mid-'60s. The Association sounded a bit more saccharine than their contemporaries, yet they gained instant street cred with their second single, "Along Comes Mary," a British Invasion-inspired nugget that sparked controversy when more than a few squares claimed the song extolled the virtues of cannabis (aka Mary <i>Jane</i>). In an attempt to cement their rep in the burgeoning underground, the Association played the Monterey International Pop Music Festival in the summer of 1967. At the same time, the group shared little in common with Janis and Jimi. Scoring one <i>Billboard</i> smash after another, including the radio staples "Cherish" and "Windy," the Association favored a mix of smooth harmonies, lush strings and punchy brass, a sound that would prove influential on soft-rock acts like Bread and Air Supply. By the early '70s the band's glory days were behind it, yet it continues to record and tour to this day.
- Justin Farrar]]></description>
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<title>The Animals</title>
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<category>British Invasion</category>
<pubDate>Thu, 17 Dec 2009 10:44:39 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.6300&amp;variant=data&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Before moving to San Francisco and turning into a hippie, and also before he "spilled the wine," Eric Burdon led one of the most powerful live British R&B acts around. Although their recordings of "House of the Rising Sun" and "We Gotta Get Outta This Place" assure them eternal permanent rotation on every Oldies station from here to Mars, the Animals were more steadfastly based in the Blues. Their blistering live performances showed Burdon had the spirit of the old blues-hollerers when he tore through songs like "See See Rider" and "Please Don't Let Me Be Misunderstood." As the decade wore on, Burdon and Co. became more lyrical and experimental as their audience grew more distant.
- Jon Pruett]]></description>
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<title>The Lovin' Spoonful</title>
<link>http://www.rhapsody.com/goto?rcid=art.63385&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Folk-Rock</category>
<pubDate>Sun, 20 Dec 2009 09:42:36 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<description><![CDATA[For a New York band, The Lovin' Spoonful sure sounded like a California act. For one thing, they blended folk rock with country rock and threw in come cascading vocal harmonies a la Buffalo Springfield or The Byrds. They also peppered their songs with themes about peace, love and beautiful girls. Their first single "Do You Believe in Magic?" seemed to compete with the flood of British invasion acts that were saturating the airwaves and "Summer in the City," hinted at psychedelic rock, but by "Nashville Cats" it was obvious that the Spoonful were at home in the country. But instead of becoming another chambray shirt clad country rock act they leaned more toward folk and the down home blues found in pastoral jug bands. Singer John Sebastian (who got his start playing harmonica on Fred Neil recordings) was hardly ever seen without his autoharp in hand and they seemed to prefer writing songs about "going fishing" to singing about "life in the fast lane." After a few lineup changes, Sebastian parted ways to start a solo singer-songwriter career, breaking up the band in 1968. He had a hit in 1976 with "Welcome Back," the theme song for the television sitcom <I>Welcome Back Kotter.</I>
- Eric Shea]]></description>
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<title>Burt Bacharach</title>
<link>http://www.rhapsody.com/goto?rcid=art.61677&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Easy Pop</category>
<pubDate>Mon, 7 Dec 2009 10:13:43 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<description><![CDATA[Even a quick glance at Rhino Records' three-CD box set <I>The Look of Love: The Burt Bacharach Collection</I> gives an overview of how wide-reaching the composer/arranger's work has been. Besides his best-known material, on Dionne Warwick's long run of supper-club soul hits ("Walk on By," "I Say a Little Prayer"), there are important, career-defining records made with the likes of Dusty Springfield, Herb Alpert, Jackie DeShannon and B.J. Thomas. Deeply influenced by Ravel and Dizzy Gillespie, Bacharach made his earliest splash as musical director for Marlene Dietrich; he kept the gig going on and off even as his star rose with Warwick and others. By 1957, he'd met lyricist Hal David, with whom he partnered for the next 15 years; in fact, most of his great songs carry the Bacharach-David tag. While pushing his muse further with film work (he wrote <I>What's New Pussycat?</I> for Woody Allen's first movie, which also featured "My Little Red Book" in a nightclub scene), Bacharach recorded a series of mood music albums under his own name. These were mostly instrumental, or graced with "girl" session vocalists, but occasionally the <I>auteur</I> would open his own pipes. Though the results were shaky, they were friendly and likable. After a troubled break with David, Bacharach scored fewer hits. His name appeared on "Arthur's Theme" by Christopher Cross, "On My Own" by Patti LaBelle and Michael McDonald, and the star-studded Warwick single "That's What Friends Are For." It wasn't until the 1990s revival of interest in lounge music and similar styles, however, that his artistic profile was reassessed. Omnivorous music hound Elvis Costello teamed up with Bacharach on <I>Painted From Memory</I>, a dazzling 1998 album in the old style. Since then, Bacharach has continued to work, showing up on TV and in another inspired partnership, with Ron Isley on 2003's <I>Here I Am.</I>
- Jaan Uhelszki]]></description>
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<title>The Beatles</title>
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<category>British Invasion</category>
<pubDate>Thu, 17 Dec 2009 10:45:15 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.61025&amp;variant=data&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[The Beatles cast such a large shadow over their contemporaries -- even the most popular of them -- that sometimes it's difficult to distinguish what they actually contributed to the world of pop music and what they simply popularized. Something they definitely did do was open the floodgates for the British Invasion of the '60s, beginning, for all intents and purposes, with Ed Sullivan's portentous introduction in the beginning of 1964: "Ladies and gentlemen, the Beatles." Popular music has never been the same; at least that's definite. They were also one of the first bands to take rock 'n' roll and merge it with other forms like popular standards, folk (with a little help from Bob Dylan), blues, etc. And although they are often derided for their weaknesses as a true-blue, hard-living, hard-rocking, parent-frightening, cooler-than-all band, one need only compare the versions of "I Wanna Be Your Man" as done by the Fab Four and by the Rolling Stones; their early days in Hamburg taught them well the rules of blistering rock 'n' roll. At least their retreat from the stage was matched by a wealth of awesome material -- everything from the "Penny Lane" / "Strawberry Fields Forever" single to what was to be the band's death knell, "The End" off of <I>Abbey Road</I>, was arguably the most advanced popular music of the time. They had the resources, the talent, the producer ("fifth Beatle" George Martin) and the desire to push the boundaries of their music. Even more amazing is that it has maintained such a grip on the public's ear and imagination.
- Will Lerner]]></description>
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<title>Blood, Sweat and Tears</title>
<link>http://www.rhapsody.com/goto?rcid=art.4072&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Jazz Rock</category>
<pubDate>Sun, 13 Dec 2009 10:14:07 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<description><![CDATA[The Acid Jazz kids of today are discovering the jazz-soul-blues-rock of Blood, Sweat and Tears. They sold over thirty-five million albums in the '70s before being overshadowed by Steely Dan's bitter irony.
- Rosemary Pepper]]></description>
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<title>Grass Roots</title>
<link>http://www.rhapsody.com/goto?rcid=art.8713&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>'60s Oldies</category>
<pubDate>Sat, 19 Dec 2009 10:51:06 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<description />
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<title>The Rascals</title>
<link>http://www.rhapsody.com/goto?rcid=art.1109&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>'60s Oldies</category>
<pubDate>Tue, 15 Dec 2009 10:31:02 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.1109&amp;variant=data&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[The post-twist New York and Long Island club scenes bred the (Young) Rascals, an outfit whose sound grew more sophisticated as time went on but stayed rooted in the blue-eyed soul that was its first reason for being. At first a hard-hitting band reminiscent of the early Animals, the Rascals drew from the same well that fed the then-burgeoning garage rock scene. Their first single, "I Ain't Gonna Eat Out My Heart Anymore," began with a fearsome rumble that opened out into a tough but subtle R&B performance. It wasn't a huge national hit, but the next one was. "Good Lovin'," a cover of an Olympics ("Western Movies") tune, became the first of three No. 1s for the group. "Groovin'" came after Top 20 hits with "You Better Run" and "I've Been Lonely Too Long," and spent an entire month at the top. Its softer sound also helped pick up a number of remakes, including one by fellow Atlantic recording star Aretha Franklin. By now, of course, the Rascals were relying on their own material, mostly written by singers Felix Cavaliere and Eddie Brigati. They continued their run of hits with lush records, including "A Girl Like You," "How Can I Be Sure" and "A Beautiful Morning, and dropped the word "Young" from their name at this time. They went on to release the psychedelic-tinged "It's Wonderful" and their biggest 45, the gospel-influenced "People Got to Be Free." After that, singles seemed more of an afterthought; like tracks pulled from increasingly ambitious LPs rather than songs designed for maximum impact on their own. Brigati and guitarist Gene Cornish left in 1971, and the new lineup of Rascals packed it in the following year. Their great records -- featured on a number of excellent CD collections -- still ring out. The Rascals were inducted into the Rock and Roll Hall of Fame in 1997.
- Jaan Uhelszki]]></description>
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<title>Tommy James and the Shondells</title>
<link>http://www.rhapsody.com/goto?rcid=art.9811&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>'60s Oldies</category>
<pubDate>Fri, 11 Dec 2009 11:41:04 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.9811&amp;variant=data&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</rhap:data-href>
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<title>Nancy Sinatra</title>
<link>http://www.rhapsody.com/goto?rcid=art.5914&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>'60s Oldies</category>
<pubDate>Thu, 17 Dec 2009 10:45:20 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<description><![CDATA[Frank Sinatra's offspring never inherited their father's galaxy-sized talent, but daughter Nancy has had the most interesting career and her work has been consistently strong in its own right. Nancy Sinatra started off having a nice run as a go-go crazed pop/rock singer and got hooked up with the eccentric, off-kilter songsmith Lee Hazelwood in 1966. Together, they released a whole slew of oddly tough and sexy singles, including the immortal chart-topper "These Boots Were Made For Walking" and the theme to one of the best of the James Bond pictures, <i>You Only Live Twice</i>. Considered kitsch in its day, Sinatra and Hazelwood's dramatic, Technicolor recordings have aged very well and are now widely covered and imitated by many of today's musical acts. Tan and curvaceous, Sinatra was the PG-rated, American version of Brigitte Bardot (and Nancy could at least carry a tune), but her career faded during the later half of the Nixon years. She made headlines in the '90s by proudly appearing in Playboy at more than twice the age of the average playmate and the stunt worked -- Nancy Sinatra is recording and touring once again, even recording songs written especially for her by fans such as Morrissey and Pulp's Jarvis Cocker. Sinatra has also written two massive, coffee-table-sized tomes about her father and has acted in numerous films and TV shows over the years.
- Nick Dedina]]></description>
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<title>Connie Francis</title>
<link>http://www.rhapsody.com/goto?rcid=art.2994&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Brill Building Pop</category>
<pubDate>Sun, 20 Dec 2009 09:42:24 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<description><![CDATA[Born Constance Franconero, Connie Francis is a key figure in the era that saw the transition of pop music sung by vocalists to pop music sung by rock 'n' rollers. MGM had Francis try everything under the sun, and this New Jersey native's vocal style always leaned towards crossover country. Her Nashville work is fairly decent, but she also recorded nightclub standards, jazzy swingers and somewhat bleached Italian folk tunes. Francis has had her share of personal tragedies (which adds poignancy to her old teen tragedy tunes), but her career has nevertheless lasted for decades. She also co-starred in the ever-popular <i>Where the Boys Are</i>, and her most enduring hit -- a lightly R&B-ish reading of "Who's Sorry Now" -- still gets considerable airplay on oldies stations.
- Nick Dedina]]></description>
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<title>Ben E. King</title>
<link>http://www.rhapsody.com/goto?rcid=art.4311&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Soul</category>
<pubDate>Thu, 17 Dec 2009 10:45:29 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Ben E. King</rhap:artist>
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<description><![CDATA[Even deaf desert dwellers have heard "Stand by Me" thousands of times, but don't let that keep you from listening to the rest of Ben E. King's classic work. King was a soulful crooner who had much of the uptown class of Sam Cooke. He first came to prominence as the (second) lead singer of the Drifters, but he quickly broke out on his own. His hit "Spanish Harlem" shows the sophisticated feel and dreamy production of his '60s recordings. King recorded through out 1970s and '80s and even returned to the top of the charts in 1975 with "Supernatural Thing." The film <i>Stand by Me</i> exposed a new generation to King's music. King still records, often with great jazz and blues musicians.
- Nick Dedina]]></description>
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<title>Neil Sedaka</title>
<link>http://www.rhapsody.com/goto?rcid=art.7090&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Brill Building Pop</category>
<pubDate>Sat, 12 Dec 2009 11:17:10 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Neil Sedaka</rhap:artist>
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<description><![CDATA[Neil Sedaka was the first songwriter from the famous Brill Building bunch to strike out on his own and have a series of hits in the late 1950s. His career has weathered the decades, with No. 1's in the early '60s with "Breaking Up is Hard to Do," and the mid-'70s with "Laughter in the Rain." Sedaka's real strength has always been as a songwriter (usually with Howard Greenfield), so it is a little odd to hear him attempt to croon standards such as "Moonlight in Vermont." A message for today's teen sensations -- if you ever feel the need to sing an actual song, give Mr. Sedaka a call. He'd be glad to write one for you.
- Nick Dedina]]></description>
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<title>Johnny Rivers</title>
<link>http://www.rhapsody.com/goto?rcid=art.4896&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>'60s Oldies</category>
<pubDate>Sun, 6 Dec 2009 09:55:35 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Johnny Rivers</rhap:artist>
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<description><![CDATA[Southern-born, Los Angeles-based Rivers is the living embodiment of the swinging Sunset Strip scene of the mid-1960s. In 1964 the singer/guitarist had a record-breaking residency at the famed Whiskey A-Go-Go, where he and his very tight, rocking band would pack them in for night after night of Chuck Berry-inspired rock and southern soul. Rivers held his own against the British invasion, having a huge hit with Berry's "Memphis," and later with his signature "Secret Agent Man". As well as having a long string of hit singles to his name, Rivers is a quintessential music business insider in the best sense. He was instrumental in supporting the early career of songwriter Jimmy Webb, and he founded the influential Dunhill Records, the home of the Mammas & the Papas, Steppenwolf, and others.
- Tom Heyman]]></description>
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<title>The Turtles</title>
<link>http://www.rhapsody.com/goto?rcid=art.62089&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>'60s Oldies</category>
<pubDate>Sat, 12 Dec 2009 11:17:00 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Turtles</rhap:artist>
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<description><![CDATA[The Turtles' founding members Howard Kaylan and Mark Volman were members of Los Angeles High School 's a cappella choir. But these two vocal savants joined forces in an <i>instrumental</i> surf group dubbed the Nightriders. The Nightriders morphed into the Crossfires, then the Tyrtles, in homage to the Byrds, to whom they are often compared. "Happy Together," a song they found in a batch of demos, put them in the No. 1 spot. It was written by Gary Boner and Alan Gordon, and the Turtles (they dropped the "y") had the duo pen more songs for them. "She'd Rather Be with Me," "You Know What I Mean" and "She's My Girl" all landed them in the Top 20. A flirtation with psychedelic music yielded "Sound Asleep," the band's first song not to ease into the Top 40, which caused their record company to demand that they hire a producer that would report to the label. The result was "The Story of Rock and Roll," which flopped, but the follow-up "Elenore," written by the band, redeemed them -- briefly. After their label attempted to add Kaylan's and Volman's vocals to backing tracks, they rebelled and left the label in a huff, recording as Phlorescent Leech & Eddie, later shortened to Flo & Eddie.
- Jaan Uhelszki]]></description>
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<title>Ike and Tina Turner</title>
<link>http://www.rhapsody.com/goto?rcid=art.3085&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss</link>
<category>Classic R&amp;B</category>
<pubDate>Mon, 21 Dec 2009 09:57:30 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=441&amp;rws=%2Foldies%2F60s-oldies%2Fartist-chart.rss">Top '60s Oldies Artists on Rhapsody Online</source>
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<description><![CDATA[Don't let Ike Turner's bad press keep you away from the greatest music Tina Turner ever sang. This highly charged blues-soul-rock duo could rock the house better than any act around. The music is so liberating, you won't even notice that Ike Turner helped create rock 'n' roll.
- Nick Dedina]]></description>
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