http://www.rhapsody.com/charts?cat=artist&category=genre&genreId=43&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rssTop British Invasion Artists on Rhapsody OnlineBritish Invasionen720Fri, 27 Nov 2009 14:47:51 -0800 http://static.realone.com/rotw/images/logo_rhapsody_113x22.gif http://www.rhapsody.com/charts?cat=artist&category=genre&genreId=43&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Top British Invasion Artists on Rhapsody Online http://www.rhapsody.com/goto?rcid=art.978&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Classic Rock Fri, 27 Nov 2009 10:25:06 -0800 Top British Invasion Artists on Rhapsody Online art.978 art.978 The Rolling Stones art.978 http://www.rhapsody.com/goto?rcid=art.978&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.978&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss
In the 1964 British Invasion they were promoted as bad boys, but what began as a gimmick has stuck as an indelible image, and not just because of incidents like Brian Jones’ mysterious death in 1969 and a violent murder during their set at Altamont later that year. In their music, the Stones pioneered British rock’s tone of ironic detachment and wrote about offhand brutality, sex as power, and other taboos. In those days, Mick Jagger was branded a “Lucifer” figure, thanks to songs like “Sympathy for the Devil.” In the ’80s the Stones lost their dangerous aura while still seeming “bad” — they’ve become icons of an elegantly debauched, world-weary decadence. But Jagger remains the most self-consciously assured appropriator of black performers’ up-front sexuality; Keith Richards’ Chuck Berry–derived riffing defines rock rhythm guitar (not to mention rock guitar rhythm); the stalwart rhythm section of Bill Wyman and Charlie Watts holds its own; and Jagger and Richards continue to add to what is arguably one of the most significant oeuvres in rock history.

Jagger and Richards first met at Dartford Maypole County Primary School. When they ran into each other 10 years later in 1960, they were both avid fans of blues and American R&B, and they found they had a mutual friend in guitarist Dick Taylor, a fellow student of Richards’ at Sidcup Art School. Jagger was attending the London School of Economics and playing in Little Boy Blue and the Blue Boys with Taylor. Richards joined the band as second guitarist; soon afterward, he was expelled from Dartford Technical College for truancy.

Meanwhile, Brian Jones had begun skipping school in Cheltenham to practice bebop alto sax and clarinet. By the time he was 16, he had fathered two illegitimate children and run off briefly to Scandinavia, where he began playing guitar. Back in Cheltenham he joined the Ramrods, then drifted to London with his girlfriend and one of his children. He began playing with Alexis Korner’s Blues, Inc., then decided to start his own band; a want ad attracted pianist Ian Stewart (b. 1938; d. December 12, 1985).

As Elmo Lewis, Jones began working at the Ealing Blues Club, where he ran into a later, loosely knit version of Blues, Inc., which at the time included drummer Charlie Watts. Jagger and Richards began jamming with Blues, Inc., and while Jagger, Richards, and Jones began to practice on their own, Jagger became the featured singer with Blues, Inc.

Jones, Jagger, and Richards shared a tiny, cheap London apartment, and with drummer Tony Chapman they cut a demo tape, which was rejected by EMI. Taylor left to attend the Royal College of Art; he eventually formed the Pretty Things. Ian Stewart’s job with a chemical company kept the rest of the group from starving. By the time Taylor left, they began to call themselves the Rolling Stones, after a Muddy Waters song.

On July 12, 1962, the Rolling Stones — Jagger, Richards, Jones, a returned Dick Taylor on bass, and Mick Avory, later of the Kinks, on drums — played their first show at the Marquee. Avory and Taylor were replaced by Tony Chapman and Bill Wyman, from the Cliftons. Chapman didn’t work out, and the band spent months recruiting a cautious Charlie Watts, who worked for an advertising agency and had left Blues, Inc. when its schedule got too busy. In January 1963 Watts completed the band.

Local entrepreneur Giorgio Gomelsky booked the Stones at his Crawdaddy Club for an eight-month, highly successful residency. He was also their unofficial manager until Andrew Loog Oldham, with financing from Eric Easton, signed them as clients. By then the Beatles were a British sensation, and Oldham decided to promote the Stones as their nasty opposites. He eased out the mild-mannered Stewart, who subsequently became a Stones roadie and frequent session and tour pianist.

In June 1963 the Stones released their first single, Chuck Berry’s “Come On.” After the band played on the British TV rock show Thank Your Lucky Stars, its producer reportedly told Oldham to get rid of “that vile-looking singer with the tire-tread lips.” The single reached Number 21 on the British chart. The Stones also appeared at the first annual National Jazz and Blues Festival in London’s borough of Richmond and in September were part of a package tour with the Everly Brothers, Bo Diddley, and Little Richard. In December 1963 the Stones’ second single, “I Wanna Be Your Man” (written by John Lennon and Paul McCartney), made the British Top 15. In January 1964 the Stones did their first headlining British tour, with the Ronettes, and released a version of Buddy Holly’s “Not Fade Away,” which made Number Three.

“Not Fade Away” also made the U.S. singles chart (Number 48). By this time the band had become a sensation in Britain, with the press gleefully reporting that band members had been seen urinating in public. In April 1964 their first album was released in the U.K., and two months later they made their first American tour. Their cover of the Bobby Womack/Valentinos song “It’s All Over Now” was a British Number One, their first. Their June American tour was a smashing success; in Chicago, where they’d stopped off to record the Five by Five EP at the Chess Records studio, riots broke out when the band tried to give a press conference. The Stones’ version of the blues standard “Little Red Rooster,” which had become another U.K. Number One, was banned in the U.S. because of its “objectionable” lyrics.

Jagger and Richards had now begun composing their own tunes (at first using the “Nanker Phelge” pseudonym for group compositions). Their “Tell Me (You’re Coming Back to Me)” was the group’s first U.S. Top 40 hit, in August. The followup, a nonoriginal, “Time Is on My Side,” made Number Six in November. From that point on, all but a handful of Stones hits were Jagger-Richards compositions.

In January 1965 their “The Last Time” became another U.K. Number One and cracked the U.S. Top 10 in the spring. The band’s next single, “(I Can’t Get No) Satisfaction,” reigned at Number One for four weeks that summer and remains perhaps the most famous song in its remarkable canon. Jagger and Richards continued to write hits with increasingly sophisticated lyrics: “Get Off My Cloud” (Number One, 1965), “As Tears Go By” (Number Six, 1965), “19th Nervous Breakdown” (Number Two, 1966), “Mother’s Little Helper” (Number Eight, 1966), “Have You Seen Your Mother, Baby, Standing in the Shadow?” (Number Nine, 1966).

Aftermath, the first Stones LP of all original material, came out in 1966, though its impact was minimized by the simultaneous release of the Beatles’ Revolver and Bob Dylan’s Blonde on Blonde. The Middle Eastern–tinged “Paint It, Black” (1966) and the ballad “Ruby Tuesday” (1967), were both U.S. Number One hits.

In January 1967 the Stones caused another sensation when they performed “Let’s Spend the Night Together” (“Ruby Tuesday”’s B side) on The Ed Sullivan Show. Jagger mumbled the title lines after threats of censorship (some claimed that the line was censored; others that Jagger actually sang “Let’s spend some time together”; Jagger later said, “When it came to that line, I sang mumble”). In February Jagger and Richards were arrested on drug-possession charges in Britain; in May, Brian Jones, too, was arrested. The heavy jail sentences they received were eventually suspended on appeal. The Stones temporarily withdrew from public appearances; Jagger and his girlfriend, singer Marianne Faithfull, went to India with the Beatles to meet the Maharishi Mahesh Yogi. The Stones’ next single release didn’t appear until the fall: the Number 14 “Dandelion.” Its B side, “We Love You” (Number 50), on which John Lennon and Paul McCartney sang backup vocals, was intended as a thank-you to fans.

In December came Their Satanic Majesties Request, the Stones’ psychedelic answer record to the Beatles’ Sgt. Pepper — and an ambitious mess. By the time the album’s lone single, “She’s a Rainbow” had become a Number 25 hit, Allen Klein had become the group’s manager.

May 1968 saw the release of “Jumpin’ Jack Flash,” a Number Three hit, and a return to basic rock & roll. After five months of delay provoked by controversial album-sleeve photos, the eclectic Beggars Banquet was released and was hailed by critics as the band’s finest achievement. On June 9, 1969, Brian Jones, the Stones’ most musically adventurous member, who had lent sitar, dulcimer, and, on “Under My Thumb,” marimba to the band’s sound, and who had been in Morocco recording nomadic Joujouka musicians, left the band with this explanation: “I no longer see eye-to-eye with the others over the discs we are cutting.” Within a week he was replaced by ex–John Mayall guitarist Mick Taylor. Jones announced that he would form his own band, but on July 3, 1969, he was found dead in his swimming pool; the coroner’s report cited “death by misadventure.” Jones, beset by drug problems — and the realization that the band now belonged squarely to Jagger and Richards — had barely participated in the Beggars Banquet sessions.

At an outdoor concert in London’s Hyde Park a few days after Jones’ death, Jagger read an excerpt from the poet Shelley and released thousands of butterflies over the park. On July 11, the day after Jones was buried, the Stones released “Honky Tonk Women,” another Number One, and another Stones classic. By this time, every Stones album went gold in short order, and Let It Bleed (a sardonic reply to the Beatles’ soon-to-be-released Let It Be) was no exception. “Gimme Shelter” received constant airplay. Jones appeared on most of the album’s tracks, though Taylor also made his first on-disc appearances.

After going to Australia to star in the film Ned Kelly, Jagger rejoined the band for the start of its hugely successful 1969 American tour, the band’s first U.S. trip in three years. But the Stones’ Satanic image came to haunt them at a free thank-you-America concert at California’s Altamont Speedway. In the darkness just in front of the stage, a young black man, Meredith Hunter, was stabbed to death by members of the Hell’s Angels motorcycle gang, whom the Stones — on advice of the Grateful Dead — had hired to provide security for the event. The incident was captured on film by the Maysles brothers in their feature-length documentary Gimme Shelter. Public outcry that “Sympathy for the Devil” (which they had performed earlier in the show; they were playing “Under My Thumb” when the murder occurred) had in some way incited the violence led the Stones to drop the tune from their stage shows for the next six years.

After another spell of inactivity, the Get Yer Ya-Ya’s Out! live album was released in the fall of 1970 and went platinum. That same year the Stones formed their own Rolling Stones Records, an Atlantic subsidiary. The band’s first album for its own label, Sticky Fingers (Number One, 1971) — which introduced their Andy Warhol — designed lips-and-lolling-tongue logo — yielded hits in “Brown Sugar” (Number One, 1971) and “Wild Horses” (Number 28, 1971). Jagger, who had starred in Nicolas Roeg’s 1970 Performance (the soundtrack of which contained “Memo From Turner”), married Nicaraguan fashion model Bianca Perez Morena de Macias, and the pair became international jet-set favorites. Though many interpreted Jagger’s acceptance into high society as yet another sign that rock was dead, or that at least the Stones had lost their spark, Exile on Main Street (Number One, 1972), a double album, was another critically acclaimed hit, yielding “Tumbling Dice” (Number Seven) and “Happy” (Number 22). By this time the Stones were touring the U.S. once every three years; their 1972 extravaganza, like those in 1975, 1978, and 1981, was a sold-out affair.

Goats Head Soup (Number One, 1973) was termed the band’s worst effort since Satanic Majesties by critics, yet it contained hits in “Angie” (Number One, 1973) and “(Doo Doo Doo Doo Doo) Heartbreaker” (Number 15, 1974). It’s Only Rock n’ Roll (Number One, 1974) yielded Top 20 hits in the title tune and a cover of the Temptations’ “Ain’t Too Proud to Beg.” Mick Taylor left the band after that album; and after trying out scores of sessionmen (many of whom showed up on the next LP, 1976’s Black and Blue), the Stones settled on Ron Wood, then still nominally committed to Rod Stewart and the Faces (who disbanded soon after Wood joined the Stones officially in 1976). In 1979 Richards and Wood, with Meters drummer Ziggy Modeliste and fusion bassist Stanley Clarke, toured as the New Barbarians.

Black and Blue was the Stones’ fifth consecutive LP of new material to top the album chart, though it contained only one hit single, the Number 10 “Fool to Cry.” Wyman, who had released a 1974 solo album, Monkey Grip (the first Stone to do so), recorded another, Stone Alone. Jagger guested on “I Can Feel the Fire” on Wood’s solo first LP, I’ve Got My Own Album to Do. Wood has since recorded several more albums, and while none were commercial hits (Gimme Some Neck peaked at Number 45 in 1979), his work was generally well received.

The ethnic-stereotype lyrics of the title song from Some Girls (Number One, 1978) provoked public protest (the last outcry had been in 1976 over Black and Blue’s battered-woman advertising campaign). Aside from the disco crossover “Miss You” (Number One), the music was bare-bones rock & roll — in response, some speculated, to the punk movement’s claims that the band was too old and too affluent to rock anymore.

Richards and his longtime common-law wife, Anita Pallenburg, were arrested in March 1977 in Canada for heroin possession — jeopardizing the band’s future — but he subsequently kicked his habit and in 1978 was given a suspended sentence.

In 1981 Tattoo You was Number One for nine weeks (1980’s Emotional Rescue also went to Number One) and produced the hits “Start Me Up” (Number Two, 1981) and “Waiting on a Friend” (Number 13, 1981), the latter featuring jazz great Sonny Rollins on tenor saxophone. The 1981 tour spawned an album, Still Life, and a movie, Let’s Spend the Night Together (directed by Hal Ashby), which grossed $50 million.

Through the ’80s the group became more an institution than an influential force. Nevertheless, both Undercover (Number Four, 1983) and Dirty Work (Number Four, 1986) were certifiable hits despite not topping the chart, as every new studio album had done in the decade before. Each album produced only one Top 20 hit, “Undercover of the Night” (Number Nine, 1983) and “Harlem Shuffle” (Number Five, 1986), the latter a remake of a minor 1964 hit by Bob and Earl.

Jagger and Richards grew estranged from each other, and the band would not record for three years. Jagger released his first solo album, the platinum She’s the Boss, in 1984. His second, 1987’s Primitive Cool, didn’t even break the Top 40. Richards, who’d long declared he would never undertake a solo album (and who resented Jagger’s making music outside the band), countered in 1988 with the gold Talk Is Cheap, backed up by the X-Pensive Winos: guitarist Waddy Wachtel and the rhythm section of Steve Jordan and Charley Drayton.

The two Stones sniped at each other in the press and in song: Richards’ album track “You Don’t Move Me” was directed at his longtime partner. Nevertheless, shortly before the Rolling Stones were inducted into the Rock and Roll Hall of Fame, in January 1989 the two traveled to Barbados to begin writing songs for a new Stones album. Steel Wheels (Number Three, 1989) showed the group spinning its wheels musically, and were it not for the band’s first American tour in eight years, it is doubtful the LP would have sold anywhere near its 2 million copies. But the 50-date tour, which reportedly grossed $140 million, was an artistic triumph. As the group’s fifth live album, Flashpoint (Number 16, 1991), demonstrated, never had the Stones sounded so cohesive onstage.

Bill Wyman announced his long-rumored decision to leave the group after 30 years, in late 1992. “I was quite happy to stop after that,” the 56-year-old bassist told a British TV show. The announcement helped deflect attention from Wyman’s love life: In 1989 he married model Mandy Smith, who was just 131⁄2 when the two began dating. The couple divorced in 1990, the same year that Mick Jagger finally married his longtime lover, Jerry Hall. (Jagger and Hall would later split up.)

The early ’90s were a time for solo albums from Richards — Live at the Hollywood Palladium and Main Offender (Number 99, 1992)and Jagger’s Wandering Spirit (Number 11, 1993). Neither sold spectacularly; apparently fans are most interested in Jagger and Richards when they work together. Wood released Slide on This, his first solo album in over a decade, and Watts pursued his real love, jazz, with the Charlie Watts Orchestra.

In 1994 Jagger, Richards, Watts, and Wood, along with bassist Darryl Jones (whose credits include working with Miles Davis and Sting) released the critically well-received Voodoo Lounge (Number Two, 1994) and embarked on a major tour that proved one of the highest-grossing of the year, earning a reported $295 million. Voodoo Lounge brought the Stones their first competitive Grammy, 1994’s Best Rock Album award. Voodoo Lounge was also the group’s first release under its new multimillion-dollar, three-album deal with Virgin Records, which included granting Virgin the rights to some choice albums from the Stones’ back catalogue, including Exile on Main Street, Sticky Fingers, and Some Girls. After having languished in storage for nearly three decades, the Rolling Stones’ Rock & Roll Circus concert film and soundtrack was released in 1996, which featured the Stones in the era of Beggars Banquet, and other rock luminaries — the Who, Jethro Tull, John Lennon and Yoko Ono, Eric Clapton, Taj Mahal, and more — as well as various acrobats, fire-eaters, and other circus artists who performed routines between songs.

Meanwhile, back to their standard time lapse of three years between tours, the Stones released Bridges to Babylon (Number Three, 1997, their 19th platinum LP) and launched yet another lavish, sold-out worldwide tour, where they played two-hour concerts consisting of only a few songs off the new album and lots of hits. Corporate sponsorship was particularly intense: long-distance carrier Sprint, for example, paying $4 million to print its company logo on tickets and stage banners. In 1998 the Stones released the obligatory tour album, No Security.

In 1997 Richards coproduced and played on Wingless Angels, an album of Rastafarian spirituals; guested, with Elvis Presley guitarist Scotty Moore, on All the King’s Men, a tribute to Presley; and with the rest of the Stones, played on B.B. King’s Deuces Wild. Assembling the roots-rock band the Rhythm Kings, with Peter Frampton and Georgie Fame sitting in, Bill Wyman put out three albums in the late ’90s. Watts continued his jazz excursions with 1996’s orchestral offering, Long Ago and Far Away, and then forayed into world beat with a 2000 collaboration with veteran session drummer Jim Keltner. Mick Taylor’s recording career revived, as the ex-Stone put out Stonesy releases with Carla Olson.

In 2000 "Satisfaction" topped a VH1 Poll of 100 Greatest Rock Songs. Jagger gained more attention in the social columns. In 1999 29-year-old Brazilian model Luciana Gimenez Morad claimed that she was pregnant with his child; Jagger disagreed. Jerry Hall filed for divorce. Jagger, despite the couple’s four children, maintained that their Hindu nuptials did not constitute a legal marriage. When Morad’s child was born, DNA tests concluded that Jagger was indeed the boy’s father. In 2001 he released his fourth solo album, Goddess in the Doorway (Number 39). At the post-9-11 "Concert for New York City," held at Madison Square Garden on Oct. 21, 2001, Jagger, Richards and a backing band performed "Salt of the Earth" and "Miss You."

In 2002, the Stones released Forty Licks, a greatest hits package including four new songs, and embarked on yet another tour, including two—one in Toronto and another in Hong Kong—to benefit victims of the SARS epidemic. In November 2003, the band inked a deal allowing the Best Buy chain to be the exclusive seller of their 4-DVD tour document Four Flicks. Some music retailers in the U.S. and Canada, including Best Buy competitor Circuit City and the 100-store HMV Canada, responded by pulling Stones merchandise from their shelves. In 2004, Rolling Stone ranked the Stones No. 4 in its "100 Greatest Artists of All Time," just below the Beatles, Bob Dylan and Elvis Presley.

On Jagger’s 62nd birthday, July 26, 2005, the Stones announced they were releasing a new album, A Bigger Bang (Number 3), followed by a tour. The album included a rare political song from Jagger, "Sweet Neo Con," which was stingingly critical of the Bush Administration’s post Iraq War tactics and included the line, "You say you are a patriot/I think that you’re a crock of shit." The Stones’ A Bigger Bang Tour began in August 2005 and by year’s end had already set the year’s record at $162 million in gross receipts. The tour took the band from North and South America to Europe, Asia and even the 2006 Super Bowl. The tour ended two years later in London. Overall, the Bigger Bang tour earned a staggering $558 million, the highest-grossing tour of all time. The tour was not without its setbacks. During the New Zealand stretch, in May 2006, Richards was hospitalized for brain surgery after reportedly falling from a coconut tree in Fiji. In June, Wood went into rehab for alcohol problems.

The Stones released another 4-CD box set, The Biggest Bang, in June 2007; it also was sold exclusively through Best Buy. The Very Best Of Mick Jagger, a collection of the singer’s solo works, came out in October 2007. Filmmaker Martin Scorsese's April 2008 documentary Shine a Light intimately captured the Stones' 2006 Bigger Bang live performance at New York City's Beacon Theater from sixteen different camera angles and included guest performances by Christina Aguilera, Jack White, and Buddy Guy.

Updated from The Rolling Stone Encyclopedia of Rock & Roll (Simon & Schuster, 2001)]]> http://www.rhapsody.com/goto?rcid=art.774&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Classic Rock Fri, 27 Nov 2009 10:25:06 -0800 Top British Invasion Artists on Rhapsody Online art.774 art.774 The Who art.774 http://www.rhapsody.com/goto?rcid=art.774&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.774&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss
All four band members grew up around London – Townshend, Daltrey, and Entwistle in the working-class Shepherd's Bush area. Townshend's parents were professional entertainers. He and Entwistle knew each other at school in the late-1950s and played in a Dixieland band when they were in their early teens, with Townshend on banjo and Entwistle on trumpet. They played together in a rock band, but Entwistle left in 1962 to join the Detours. That band included Roger Daltrey, a sheet-metal worker. When the Detours needed to replace a rhythm guitarist, Entwistle suggested Townshend, and Daltrey switched from lead guitar to vocals when the original singer, Colin Dawson, left in1963. Not long after that, drummer Doug Sandom was replaced by Moon, who was then playing in a surf band called the Beachcombers. By early 1964 the group had changed its name to the Who, and not long after, the excitement inspired by Townshend's bashing his guitar out of frustrating during a show ensured it would become a part of the act.

Shortly thereafter, the group came under the wing of manager Pete Meaden, who renamed them the High Numbers and gave them a better-dressed Mod image. The High Numbers released an unsuccessful single, "I'm the Face" b/w "Zoot Suit" (both written by Meaden), then got new managers, former small-time film directors Kit Lambert and Chris Stamp. By late 1964 the quartet became the Who again, and with Lambert and Stamp's encouragement they became an even more Mod band, with violent stage show and a repertoire including blues, James Brown, and Motown covers, solely because their Mod audiences loved that music. In fact, despite the billing, the Who's original songs were anything but classic R&B. The group's demo of "I Can't Explain," with sessionman Jimmy Page adding guitar, brought them to producer Shel Talmy (who had also worked with the Kinks) and got them a record deal. When "I Can't Explain" came out in January 1965, it was ignored until the band appeared on the TV show Ready, Steady, Go. Townshend smashed his guitar, Moon overturned his drums, and the song eventually reached Number Eight in Britain. "Anyway, Anyhow, Anywhere" also reached the British Top Tem, followed in November 1965 by "My Generation." It went to Number Two in the U.K. but only reached Number 75 in the U.S. But the Who were already stars in Britain, having established their sound and their personae. Townshend played guitar with full-circle windmilling motions, Daltrey strutted like a bantam fighter, Entwistle (whose occasional songwriting effort revealed a macabre sense of humor) just stood there seemingly unmoved as Moon happily flailed all over his drum kit.

After the Who's fourth hit single, "Substitute" (Number 5 U.K.), Lambert replaced Talmy as producer. Their second album, A Quick One (While He's Away) (Happy Jack in the U.S.; Number 67, 1967), included a 10-minute mini-opera as the title track, shortly before the Beatles' concept album Sgt. Pepper's Lonely Heart Club Band. The Who also began to make inroads in the U.S. with "Happy Jack" (Number 24, 1967) and a tour that included the performance filmed at the Monterey Pop Festival in June.

The Who Sell Out (Number 48, 1967) featured mock-advertisement songs and genuine jingles from offshore British pirate radio stations; it also contained another mini-opera, "Rael," and a Top Ten hit in England and the U.S., "I Can See for Miles." In October 1968 the band released Magic Bus (Number 39, 1968), a compilation of singles and B-sides, while Townshend worked on his 90 minute opus, Tommy. The story of a deaf, dumb, and blind boy turned pinball champion-pop idol turned autocratic messianic guru was variously considered both pretentious and profound. Most important, however, Tommy was the first successful rock opera. The album hit Number Four in the U.S., and its first single, "Pinball Wizard," went to Number 19. The band would perform Tommy in its entirety a handful of times – -at London's Coliseum in 1969, at New York City's Metropolitan Opera House on June 6th and 7th, 1970, and on some dates during its 1989 reunion tour. Excerpts, including "See Me, Feel Me," "Pinball Wizard," and the instrumental "Underture," were thereafter part of the live show. Troupes mounted productions of it around the world (the Who's performances had been concert versions), and Townshend oversaw a new recording of it in 1972, backed by the London Symphony and featuring Rod Stewart, Steve Winwood, Sandy Denny, and Richard Burton, among others. In 1975 Ken Russell directed the controversial high-pop film version, which included Eric Clapton ("Eyesight to the Blind"), Tina Turner ("Acid Queen"), and Elton John ("Pinball Wizard"), as well as Ann-Margret, Oliver Reed, and Jack Nicholson. Moon (as the lecherous Uncle Ernie) and Daltrey (in the lead title role) also appeared in the film.

Bits of Tommy turned up on Live at Leeds (Number Four, 1970), a juggernaut live set, which was followed by Who's Next (Number Four, 1971), a staple of FM rock radio. It included Townshend's first experiments with synthesizers – "Baba O'Riley," "Bargain," "Won't Get Fooled Again" – three songs that Townshend originally conceived as part of another rock opera entitled Lifehouse. The singles comp Meaty, Beaty, Big, and Bouncy (Number 11, 1971) was followed two years later by the Who's second double-album rock opera, Quadrophenia (Number Two, 1973), a tribute to the tortured inner life of the Mods. It too was a hit and became a movie directed by Franc Roddam in 1979, with Sting of the Police in the wordless role of the bellboy.

While the Who were hugely popular, Quadrophenia signaled that Townshend was now a generation older than the fans he had initially spoken for. As he agonized over his role as an elder statesman of rock — as he would do for years to come — the Who released Odds and Sods (Number 15, 1974), a compilation of the previous decade's outtakes. The Who by Numbers (Number Eight, 1975) was the result of Townshend's self-appraisal ("However Much I Booze"); it lacked the Who's usual vigor, but yielded a hit single in "Squeeze Box" (Number 16, 1975). The band could dependably pack arenas wherever it went, but it took some time off the road after By Numbers.

The group members — whose personality clashes are almost as legendary as their music — began pursuing more individual projects. Moon released a novelty solo disc, Two Sides of the Moon, which featured guest stars galore; Entwistle recorded two solo LPs with bands called Ox and Rigor Mortis. Daltrey also recorded solo; his first two efforts are widely regarded as mediocre and he only had one Top 40 hit in the U.S., "Without Your Love," from the McVicar soundtrack. The Townshend-penned "After the Fire" received substantial video exposure when released in 1985. Daltrey found considerably more success as an actor. Besides Tommy, he starred in Ken Russell's over-the-top "biography" of composer Franz Liszt, Lisztomania (1975) and McVicar (1980), the true story of the famous British criminal John McVicar. In the mid-1980s he played the double role of the Dromio twins in a PBS production of Shakespeare's A Comedy of Errors. He's also appeared on the London stage (The Beggar's Opera, 1991) and on British television (The Little Match Girl, 1990). In 1999 he played Scrooge in a stage version of Charles Dickens's A Christmas Carol in New York City.

In 1970 Townshend contributed four tracks to Happy Birthday, a privately released, limited edition album recorded as a tribute to Townshend's guru, Meher Baba. The following year, I Am, a similar limited-edition Baba tribute album, was released. It contained another Townshend track, a nine-minute instrumental version of "Baba O'Riley." As both these records were heavily bootlegged, Townshend's response was to create an "offical" version of both albums. The result, Who Came First (Number 69, 1972), was Townshend's first "real" solo album. It included the tracks from Happy Birthday and I Am, plus new songs, and demos of the Who tracks "Pure and Easy" and "Let's See Action." His second solo release was a collaboration with ex-Faces Ronnie Lane, Rough Mix (Number 45, 1977), which featured a number of FM/AOR radio staples: "Street in the City," "My Baby Gives It Away," and "A Heart to Hang on To."

Meanwhile, punk was burgeoning in Britain, and the Sex Pistols among others were brandishing the Who's old power chords and attitude. Townshend's continuing identity crisis showed up in the title of Who Are You (Number Two, 1978), but the title song became a hit single (Number 14) that fall, and the album went double platinum. It was the last and highest-charting album of the original band.

The next few years brought tragedy and turmoil, and in a sense, the end of the Who in the death of Keith Moon. Moon always reveled in his reputation as the madman of rock, and his outrageous stunts, onstage and off, were legend. His prodigious drinking and drug abuse (he was once paralyzed for days after accidentally ingesting an elephant tranquilizer) had begun to diminish his playing ability. In 1975 he left England for L.A., where he continued to drink heavily. He returned to England and was trying to kick his alcoholism, but on September 7, 1978, Moon died of an overdose of a sedative, Heminevrin, that had been prescribed to prevent seizures induced by alcohol withdrawal. Although the group continued for another three years, each of the three surviving original members has stated repeatedly that the Who was never the same again.

In 1979 the Who oversaw a concert documentary of their early years, The Kids Are Alright (soundtrack, Number Eight, 1979), and worked on the soundtrack version of Quadrophenia (Number 46, 1979), which also included a number of Mod favorites performed by the original artists (such as Booker T. & the M.G.'s' "Green Onions" and James Brown's "Night Train"). Kenney Jones, formerly of the Small Faces, replaced Moon, and session keyboardist John "Rabbit" Bundrick began working with the Who. The new lineup toured, but tragedy struck again when 11 concert goers were killed — trampled to death or asphyxiated — in a rush for "festival seating" spots at Cincinnati's Riverfront Coliseum on December 3, 1979. The incident occurred before the show, and the group wasn't told of it until afterward.

After 15 years with Decca/MCA, the Who signed a band contract with Warner Bros., and Townshend got a solo deal with Atco. His Empty Glass (Number Five, 1980) included the U.S. Top 10 hit "Let My Love Open the Door" and "Rough Boys," a song long believed to have been an angry reply to a punk musician who had insulted the Who during an interview. Much later, in a 1989 interview with writer Timothy White, Townshend denied that was the case, saying, "It's about homosexuality," and adding that "And I Moved" was as well. Townshend's admission of having "had a gay life," and the statement "I know how it feels to be a woman because I am a woman," came as a surprise to many, including his band mates.

In 1981 Townshend performed solo with an acoustic guitar at a benefit for Amnesty International, which was recorded as The Secret Policeman's Ball. His falling asleep onstage was the first public sign of his deepening drug addiction. Since the year before, Townshend had been abusing alcohol, cocaine, and freebase cocaine mixed with heroin. He subsequently developed an addiction to Ativan, a tranquilizer he was prescribed during treatment for alcoholism. Ativan combined with freebase and heroin resulted in a highly publicized, near-fatal overdose during which he was rushed to the hospital from a London club. Townshend subsequently underwent electro-acupuncture treatment and cleaned up in 1982.

Amid all this, the revamped Who soldiered on. Face Dances (Number Four, 1981) included the hit single "You Better You Bet" (Number 18, 1981) and "Don't Let Go the Coat." But Townshend later called the new lineup's debut album a disappointment. One month after Face Dances came out, the Who's former producer/manager, Kit Lambert, died after falling down a flight of stairs; he was 45. (Pete Meadon had died three weeks before Moon, in 1978.) Townshend released the wordy All the Best Cowboys Have Chinese Eyes (Number 26, 1982), and soon followed it with the group's It's Hard (Number Eight, 1982), an album Daltrey has since been quoted as saying should never have been released. It produced the group's last Top 30 hit to date, "Athena" (Number 28). The Who then embarked on what they announced would be their last tour, ending with a concert in Toronto on December 17, 1982. Although the group officially broke up then, the Who have reunited to perform several times since. They appeared at Live Aid in 1985 and at a U.K. music-awards program in 1988. They celebrated the group's silver anniversary in 1989 with a 43-date tour of the U.S. which included guest-star-studded performances of Tommy in L.A. and New York, and later in London. For this tour Jones was replaced by session drummer Simon Phillips. It was also during this tour that Townshend, whose hearing was extremely damaged from years of listening to loud music through headphones, had to play standing behind a plastic baffle to block the onstage noise.

Townshend also released a number of solo projects throughout the 1980s: Scoop (Number 35, 1983) and Another Scoop (Number 198, 1987) collect demo tapes, home recordings, and sundry tracks of historical interest to fans. White City — a Novel (Number 26, 1985) is a concept piece, the soundtrack to a long-form video of the same title and includes "Face the Face"; The Iron Man: The Musical is the star-studded (Daltrey, Nina Simone, John Lee Hooker) soundtrack to Townshend's rock opera based on a children's story by poet Ted Hughes. Deep End Live!, released with an accompanying live video, barely scraped into the Top 100.

Townshend wrote in the liner notes to the 1994 box-set career retrospective Thirty Years of Maximum R&B: "I don't like the Who much . . . " Through the years of his derisive attitude toward the group has rung false at worst, disingenuous at best. In fact, Townshend's pride (and joy) in performing with the Who was abundantly clear during the band's 2000 tour, when he introduced it, happily, as "the fucking Who."

Despite Townshend's other projects and endeavors, including an editorship with book publisher Faber and Faber and publication of his collected stories, Horse's Neck (1985), the Who legacy endures. In 1993 the Broadway production of Tommy won five Tony Awards, including one for Townshend for Best Original Score. The next year saw the release of Townshend's PsychoDerelict (Number 118, 1994), a concept album that includes pieces written originally for the Lifehouse project. An examination of rock stardom's ravages, PsychoDerelict was also performed as a theater piece and filmed (it was subsequently broadcast on PBS). That year he also embarked on his first solo tour with a set list that included a number of Who classics, including "Won't Get Fooled Again." In February 1994 Townshend, Daltrey, and Entwistle reunited for Carnegie Hall performances in celebration of Daltrey's 50th birthday. Accompanied by a 65-piece orchestra, the trio was also joined by guest stars including Sinéad O'Connor, Eddie Vedder, and Lou Reed, and the show was filmed for cable television.

Two years later, the group recruited drummer Zak Starkey (son of Ringo Starr) along with a 12-piece backing band and embarked on a series o dates in which they performed the Quadrophenia album in its entirety for the first time. Townshend again stuck to rhythm guitar to preserve his hearing, leaving electric guitar duties to his brother Simon Townshend.

In 1999 Townshend reunited the band again for a charity concert at the House of Blues in Chicago, which led to yet another reunion tour the following year. This time around, however, the Who toured as a quintet: Townshend, Daltrey, Entwistle, Starkey, and John Bundrick on keyboards, with Townshend returning to electric guitar. The no-nonsense approach resulted in glowing reviews hailing the group's 2000 shows as some of their best in nearly two decades. A live album, Live: The Blues to the Bush/1999, was issued online via a partnership with Musicmaker.com, and the band even began talking about the possibility of a new studio set in the future. To cap their year, the Who received a Lifetime Achievement Award at the 43rd annual Grammy Awards.

In the midst of all the Who activity in late 1999 and 2000, Townshend returned yet again to his lifelong Lifehouse project. The BBC broadcast a Lifehouse radio play in December 1999, and in February 2000, Townshend performed the rock opera himself at London's Sadler's Wells Theater. Shortly thereafter he released a six-disc box set, Lifehouse Chronicles, on his own Eelpie label via his Web site; a single-disc version, Lifehouse Elements, was released in stores by Redline Entertainment. Daltrey has continued planning his pet project, a film biography of the life of Moon.

In October 2001, the Who appeared at the Concert for New York City, a 9/11 benefit, where the band was received with the most warmth of any act on the evening's program. But before they could continue on the road again the following summer, John Entwistle died of a cocaine-fueled heart attack in his hotel room. They went out anyway, with session bassist Pino Palladino filling in. In 2004, Townshend and Daltrey recorded a pair of new songs, "Old Red Wine" and "Real Good Looking Boy," for a compilation. (The Who have released more compilations since their initial breakup than they did studio albums before it.) In July 2005 they appeared in London as part of Live 8. In October 2006, the Who released Endless Wire, their first album under that name in 24 years. It reached Number Seven and received middling reviews. November 2007 saw the DVD release of Amazing Journey: The Story of the Who, an extensive band documentary. ]]> http://www.rhapsody.com/goto?rcid=art.1185&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Art & Progressive Rock Fri, 27 Nov 2009 10:24:57 -0800 Top British Invasion Artists on Rhapsody Online art.1185 art.1185 The Moody Blues art.1185 http://www.rhapsody.com/goto?rcid=art.1185&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.1185&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Days of Future Passed(1967). Embraced by flower children and art rock lovers alike, the album-story winds through a prototypical day before ending with their most famous song, "Nights in White Satin." Over the top? Absolutely. Pretentious? Possibly. So, the Moodies dropped the orchestra and placed more importance on keyboardist Mike Pinder's mellotron and the rest of the group's ability as multi-instrumentalists. The streamlined sound served them well, especially on songs such as the joyous rocker "Ride My See-Saw." After making a series of albums in this vein, the band went on hiatus, only to reemerge in the late 1970s. They never again broke new ground in popular music, but they did have enjoy a few more hits, most notably "Your Wildest Dreams" (1986). The band has continued frequent touring and the sporadic release of records into the present day, with Keys of the Kingdom, Strange Times and December appearing in 1991, 1999 and 2003, respectively. - Will Lerner]]> http://www.rhapsody.com/goto?rcid=art.38141&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss British Invasion Fri, 27 Nov 2009 10:24:58 -0800 Top British Invasion Artists on Rhapsody Online art.38141 art.38141 The Kinks art.38141 http://www.rhapsody.com/goto?rcid=art.38141&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.38141&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Lola vs. the Powerman & the Money-Go-Round, Part One (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]]> http://www.rhapsody.com/goto?rcid=art.62041&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Blue-Eyed Soul Sun, 22 Nov 2009 10:09:55 -0800 Top British Invasion Artists on Rhapsody Online art.62041 art.62041 Dusty Springfield art.62041 http://www.rhapsody.com/goto?rcid=art.62041&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.62041&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Dusty in Memphis with Aretha Franklin's production team. Instead of being a down-home gritfest, it contains her most glistening, uptown material. The perfect summation of a career. - Nick Dedina]]> http://www.rhapsody.com/goto?rcid=art.3835&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Folk-Rock Fri, 27 Nov 2009 10:25:08 -0800 Top British Invasion Artists on Rhapsody Online art.3835 art.3835 Donovan art.3835 http://www.rhapsody.com/goto?rcid=art.3835&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.3835&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Details readers are into his son's band Nancy Boy, but aging Aquarians know that Donovan was one of the key artists of the revolutionary 1960s. He started his career as Britain's answer to Bob Dylan, and his first two acoustic folk albums are charming, low-key winners; but he turned into a "Sunshine Superman" just in time for the Psychedelic revolution. If all you've heard from Donovan is "Mellow Yellow," do yourself a favor and check out his late '60s material. He remained a folk-popper at heart and the ultra-groovy production touches are completely in key with the current Indie scenes in America and Europe. Donovan's career didn't survive the post-Altamont age of '70s cynicism, but in 1996 he cut his album Sutras with Rick Rubin, showing that his flowery style is as groovadelic as ever. - Eric Shea]]> http://www.rhapsody.com/goto?rcid=art.62064&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss British Invasion Sun, 22 Nov 2009 10:09:56 -0800 Top British Invasion Artists on Rhapsody Online art.62064 art.62064 The Hollies art.62064 http://www.rhapsody.com/goto?rcid=art.62064&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.62064&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss
The Manchester-bred quintet's early U.K. hits were watery versions of American R&B discs such as Maurice Williams and the Zodiac's "Stay" and Doris Troy's "Just One Look." When they began melding their vocal harmonies with more thumping band sounds and songs that better reflected their distinctly English sensibility, the Hollies' records became something truly special. Writer-for-hire Graham Gouldman (who also gave "Heart Full of Soul" to the Yardbirds and later became a focal point of 10cc) provided unstoppable smashes like "Bus Stop" and "Look Through Any Window," which snugly fit in the band's repertoire alongside originals such as "Carrie Anne" and "Pay You Back With Interest."

The Hollies' slightly fey quality perfectly fit the psychedelic-influenced pop of 1967, and they made one of the most timeless singles of that genre with "King Midas in Reverse." Nash was unhappy to see it stall at No. 18 in Britain, however, and was further disillusioned when the group rejected his "Marrakesh Express." Upon his departure, the Hollies recruited Terry Sylvester and went on to some of their biggest American successes. They introduced "He Ain't Heavy, He's My Brother," a standard on the talk show and Vegas circuits, and later hit with the 180-degree turnaround of "Long Cool Woman in a Black Dress," which repackaged Creedence's "Travelin' Band" into an anthem with an incomprehensible vocal. Their final big U.S. hit came two years later with 1974's "The Air That I Breathe," another big ballad that proved hard for listeners to resist. Personnel changes continued, with singer Allan Clarke notably in and out in the mid-'70s. Nash rejoined for one album, What Comes Around, in 1983; past glories, though, were hard to regain. Clarke retired in the '90s, to be replaced by Move singer Carl Wayne, who died in 2004. Though now a hobbling concern, the Hollies will forever be remembered by hardcore fans and casual admirers as the makers of a high stack of rock 'n' roll classics. - Jaan Uhelszki]]> http://www.rhapsody.com/goto?rcid=art.6300&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss British Invasion Thu, 26 Nov 2009 11:27:18 -0800 Top British Invasion Artists on Rhapsody Online art.6300 art.6300 The Animals art.6300 http://www.rhapsody.com/goto?rcid=art.6300&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.6300&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.61025&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss British Invasion Fri, 27 Nov 2009 10:25:04 -0800 Top British Invasion Artists on Rhapsody Online art.61025 art.61025 The Beatles art.61025 http://www.rhapsody.com/goto?rcid=art.61025&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.61025&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Abbey Road, 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]]> http://www.rhapsody.com/goto?rcid=art.3239&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss British Invasion Fri, 20 Nov 2009 12:51:01 -0800 Top British Invasion Artists on Rhapsody Online art.3239 art.3239 Herman's Hermits art.3239 http://www.rhapsody.com/goto?rcid=art.3239&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.3239&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.62066&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss British Invasion Sun, 1 Nov 2009 12:39:36 -0800 Top British Invasion Artists on Rhapsody Online art.62066 art.62066 The Yardbirds art.62066 http://www.rhapsody.com/goto?rcid=art.62066&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.62066&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.566&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss British Invasion Fri, 20 Nov 2009 12:51:03 -0800 Top British Invasion Artists on Rhapsody Online art.566 art.566 The Zombies art.566 http://www.rhapsody.com/goto?rcid=art.566&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.566&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Odessey & Oracle can attest to it. - Jon Pruett]]> http://www.rhapsody.com/goto?rcid=art.42067&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Vocal-Pop Sat, 21 Nov 2009 13:43:15 -0800 Top British Invasion Artists on Rhapsody Online art.42067 art.42067 Petula Clark art.42067 http://www.rhapsody.com/goto?rcid=art.42067&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.42067&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.2320&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss British Invasion Wed, 18 Nov 2009 13:05:23 -0800 Top British Invasion Artists on Rhapsody Online art.2320 art.2320 Manfred Mann art.2320 http://www.rhapsody.com/goto?rcid=art.2320&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.2320&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss deuce, another runner in the night," so grow up already. And secondly, Bruce Springsteen wrote that song, not Manfred Mann. Third and finally, you should know that Manfred Mann was originally a mod R&B band with a hip British invasion sound by way of Georgie Fame-inspired jazz influences long before the front man (actually named Manfred Mann) went out on his own to play and record Doobie Brothers by way of Bob Seger & the Silver Bullet Band-sounding bar rock. - Eric Shea]]> http://www.rhapsody.com/goto?rcid=art.5886&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Garage Rock Pioneers Fri, 20 Nov 2009 12:51:38 -0800 Top British Invasion Artists on Rhapsody Online art.5886 art.5886 The Troggs art.5886 http://www.rhapsody.com/goto?rcid=art.5886&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.5886&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.5301916&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Blues & Boogie Rock Sat, 17 Oct 2009 12:40:21 -0700 Top British Invasion Artists on Rhapsody Online art.5301916 art.5301916 John Mayall and the Bluesbreakers art.5301916 http://www.rhapsody.com/goto?rcid=art.5301916&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.5301916&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.3093&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Teen Idols Sun, 4 Oct 2009 09:42:42 -0700 Top British Invasion Artists on Rhapsody Online art.3093 art.3093 Cliff Richard art.3093 http://www.rhapsody.com/goto?rcid=art.3093&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.3093&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.856&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss British Invasion Fri, 20 Nov 2009 12:51:19 -0800 Top British Invasion Artists on Rhapsody Online art.856 art.856 The Spencer Davis Group art.856 http://www.rhapsody.com/goto?rcid=art.856&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.856&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.3949&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss British Invasion Mon, 13 Jul 2009 11:06:57 -0700 Top British Invasion Artists on Rhapsody Online art.3949 art.3949 The Pretty Things art.3949 http://www.rhapsody.com/goto?rcid=art.3949&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.3949&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss SF Sorrow (the first full-length concept album ever recorded), the Pretty Things have experimented with anything and everything. Their 1999 release Rage...Before Beauty is a solid and well-rounded recording that evinces the notion that the 1990s are, in fact, the 1960s turned upside down. - Eric Shea]]> http://www.rhapsody.com/goto?rcid=art.55146&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Classic Rock Tue, 10 Nov 2009 10:13:46 -0800 Top British Invasion Artists on Rhapsody Online art.55146 art.55146 George Harrison art.55146 http://www.rhapsody.com/goto?rcid=art.55146&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.55146&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss All Things Must Pass, was released, many music critics felt that the triple album's fruitfulness was a direct result of Lennon and McCartney's neglect. In his work with the Beatles and solo, Harrison blended earthy Roots tones with droning eastern influences and cascading melodies. Compared to Lennon's barbed and bluesy grit or McCartney's jaunty pop sensibilities, the sound was organic and blooming, huge yet worldly. His songs unfolded unpredictably and took the listener to unfamiliar sonic regions. Music enthusiasts credit him for integrating eastern sounds into western music -- Harrison introduced the sitar and Indian ragas to pop music. He also spearheaded the Concert for Bangladesh in 1971, a music festival assembled to benefit Bengali refugees of the India-Pakistan war. Harrison passed away on Nov. 29, 2001, in Los Angeles after losing a prolonged battle with cancer.]]> http://www.rhapsody.com/goto?rcid=art.30459&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Merseybeat Thu, 26 Nov 2009 11:28:43 -0800 Top British Invasion Artists on Rhapsody Online art.30459 art.30459 The Searchers art.30459 http://www.rhapsody.com/goto?rcid=art.30459&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.30459&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.69190&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Merseybeat Thu, 1 Oct 2009 11:36:00 -0700 Top British Invasion Artists on Rhapsody Online art.69190 art.69190 Peter and Gordon art.69190 http://www.rhapsody.com/goto?rcid=art.69190&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.69190&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.4466&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Mod Mon, 2 Nov 2009 10:53:09 -0800 Top British Invasion Artists on Rhapsody Online art.4466 art.4466 Small Faces art.4466 http://www.rhapsody.com/goto?rcid=art.4466&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.4466&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss All the Rage contains his hilarious and touching recollections of backing the likes of Howlin' Wolf, Sonny Boy Williamson and Little Walter on the UK club circuit. Led by Marriott's howling vocals, the Small Faces soon earned a huge following with 45s such as "Whatcha Gonna Do About It?" (later a feature of the Sex Pistols' live set) and "All or Nothing."

After extricating itself from an onerous arrangement with English music biz strongman Don Arden, the band moved to Andrew Loog Oldham's Immediate Records, which did little for their poor financial condition. (The Small Faces' royalty situation wouldn't be corrected until the 1990s, after Marriott's death and shortly before that of writer/bassist Ronnie Lane – and then, according to McLagan, only partially.) Their Immediate phase saw them releasing some of the most British rock records of the era, including the concept album Ogden's Nut Gone Flake and the delightful single "The Universal." When Marriott walked offstage on New Year's Eve 1968, headed for Humble Pie with Peter Frampton, the Small Faces might have been done.

But for Rod Stewart and Ronnie Wood (who'd recently left the Jeff Beck Group after two albums), who kept the band going. Newly signed to Warner Bros., the group made one more album under their old name before abbreviating it to Faces. As Stewart's star rose, so did the band's; by early 1972, they were an unstoppable live favorite and ruled the airwaves with "Stay With Me," a hit just months after Rod the Mod's own "Maggie May." Lane's peculiarly personal songs were mainstays of Faces albums; "Ooh La La" later achieved a second round of popularity as the closing song of the film Rushmore and in a car advertisement. With Stewart headed for Hollywood and Wood filling Mick Taylor's shoes in the Rolling Stones, the Faces split in late 1975. But both incarnations of the band remain beloved of musicians and fans, with everyone from Paul Weller to Paul Westerberg praising them. Their affection for one another, and for their music, continue to ring through their recordings. - Jaan Uhelszki]]> http://www.rhapsody.com/goto?rcid=art.4378&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Merseybeat Fri, 20 Nov 2009 12:51:29 -0800 Top British Invasion Artists on Rhapsody Online art.4378 art.4378 Gerry and the Pacemakers art.4378 http://www.rhapsody.com/goto?rcid=art.4378&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.4378&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.987&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Instrumental Rock Mon, 28 Sep 2009 10:33:15 -0700 Top British Invasion Artists on Rhapsody Online art.987 art.987 The Shadows art.987 http://www.rhapsody.com/goto?rcid=art.987&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.987&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.3352&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss British Invasion Thu, 26 Nov 2009 11:28:40 -0800 Top British Invasion Artists on Rhapsody Online art.3352 art.3352 Chad and Jeremy art.3352 http://www.rhapsody.com/goto?rcid=art.3352&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.3352&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Rushmore. To top off a slew of Top-10 U.S. singles, Chad and Jeremy did a hilarious guest spot on the Batman TV show that cleverly mocked Beatlemania. - Nick Dedina]]> http://www.rhapsody.com/goto?rcid=art.22037&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Merseybeat Fri, 13 Nov 2009 12:39:13 -0800 Top British Invasion Artists on Rhapsody Online art.22037 art.22037 The Easybeats art.22037 http://www.rhapsody.com/goto?rcid=art.22037&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.22037&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.42860&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss British Invasion Fri, 6 Nov 2009 12:47:21 -0800 Top British Invasion Artists on Rhapsody Online art.42860 art.42860 Them art.42860 http://www.rhapsody.com/goto?rcid=art.42860&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.42860&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.47418&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss British Invasion Fri, 20 Nov 2009 12:51:30 -0800 Top British Invasion Artists on Rhapsody Online art.47418 art.47418 The Fortunes art.47418 http://www.rhapsody.com/goto?rcid=art.47418&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.47418&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.21349&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Classic Rock Fri, 29 May 2009 09:34:53 -0700 Top British Invasion Artists on Rhapsody Online art.21349 art.21349 Dave Davies art.21349 http://www.rhapsody.com/goto?rcid=art.21349&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.21349&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Unfinished Business; it takes you on a tour from British Invasion rockers to Cheap Trick prototype rave-ups over a nearly forty-year (!) period. - Nick Dedina]]> http://www.rhapsody.com/goto?rcid=art.57095&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss British Invasion Sat, 7 Nov 2009 11:26:32 -0800 Top British Invasion Artists on Rhapsody Online art.57095 art.57095 Marmalade art.57095 http://www.rhapsody.com/goto?rcid=art.57095&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.57095&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.3293&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Traditional Jazz/Dixieland Fri, 20 Nov 2009 12:51:39 -0800 Top British Invasion Artists on Rhapsody Online art.3293 art.3293 Chris Barber art.3293 http://www.rhapsody.com/goto?rcid=art.3293&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.3293&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.27752&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Psychedelic Fri, 23 Oct 2009 11:56:06 -0700 Top British Invasion Artists on Rhapsody Online art.27752 art.27752 The Move art.27752 http://www.rhapsody.com/goto?rcid=art.27752&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.27752&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Shazam is one of those albums folks pay $30 for on eBay. Formed in Birmingham in 1965 by Wood and a collection of local stars, the Move took their cues from the Beach Boys, Moby Grape, the Beatles and soul music, packing slyly funny songs with startling guitar-work and vocal arrangements. The tactics used on ELO's "Roll Over Beethoven" were first employed by the Move, as "Night of Fear" was built on a motif lifted from Tchaikovsky's "1812 Overture." By the time of their 1971 album, Message from the Country (their last), the band (now with Lynne involved) was writing straight-up country songs and referencing Southern gospel. By then, legal issues and waning popularity ground their progress to a halt, and the sudden success of ELO put the final nail in the coffin. - Mike McGuirk]]> http://www.rhapsody.com/goto?rcid=art.2765&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Merseybeat Fri, 20 Nov 2009 12:51:14 -0800 Top British Invasion Artists on Rhapsody Online art.2765 art.2765 Freddie and the Dreamers art.2765 http://www.rhapsody.com/goto?rcid=art.2765&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.2765&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.50982&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss British Invasion Thu, 26 Nov 2009 11:27:51 -0800 Top British Invasion Artists on Rhapsody Online art.50982 art.50982 Alan Price art.50982 http://www.rhapsody.com/goto?rcid=art.50982&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.50982&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.3295&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Blue-Eyed Soul Thu, 6 Aug 2009 10:39:35 -0700 Top British Invasion Artists on Rhapsody Online art.3295 art.3295 Chris Farlowe art.3295 http://www.rhapsody.com/goto?rcid=art.3295&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.3295&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.4128&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Skiffle Thu, 5 Nov 2009 16:49:03 -0800 Top British Invasion Artists on Rhapsody Online art.4128 art.4128 Lonnie Donegan art.4128 http://www.rhapsody.com/goto?rcid=art.4128&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.4128&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.60879&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss British Invasion Fri, 23 Oct 2009 16:25:16 -0700 Top British Invasion Artists on Rhapsody Online art.60879 art.60879 The Mindbenders art.60879 http://www.rhapsody.com/goto?rcid=art.60879&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.60879&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.1395&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss British Invasion Mon, 5 Oct 2009 10:16:54 -0700 Top British Invasion Artists on Rhapsody Online art.1395 art.1395 The Dave Clark Five art.1395 http://www.rhapsody.com/goto?rcid=art.1395&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.1395&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.10255&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Jazz Blues Sun, 25 Oct 2009 10:22:03 -0700 Top British Invasion Artists on Rhapsody Online art.10255 art.10255 Georgie Fame art.10255 http://www.rhapsody.com/goto?rcid=art.10255&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.10255&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.8595&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss British Invasion Fri, 20 Nov 2009 12:51:00 -0800 Top British Invasion Artists on Rhapsody Online art.8595 art.8595 nashville teens art.8595 http://www.rhapsody.com/goto?rcid=art.8595&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.8595&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.33947&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss British Invasion Fri, 20 Nov 2009 12:51:04 -0800 Top British Invasion Artists on Rhapsody Online art.33947 art.33947 The Bachelors art.33947 http://www.rhapsody.com/goto?rcid=art.33947&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.33947&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.7792&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Mod Sun, 3 May 2009 08:33:13 -0700 Top British Invasion Artists on Rhapsody Online art.7792 art.7792 The Creation art.7792 http://www.rhapsody.com/goto?rcid=art.7792&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.7792&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.4095&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Merseybeat Sun, 25 Oct 2009 10:22:03 -0700 Top British Invasion Artists on Rhapsody Online art.4095 art.4095 Billy J. Kramer and the Dakotas art.4095 http://www.rhapsody.com/goto?rcid=art.4095&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.4095&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.17355&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Mod Fri, 23 Oct 2009 11:56:08 -0700 Top British Invasion Artists on Rhapsody Online art.17355 art.17355 The Action art.17355 http://www.rhapsody.com/goto?rcid=art.17355&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.17355&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.7935&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Vocal-Pop Sun, 1 Nov 2009 12:39:52 -0800 Top British Invasion Artists on Rhapsody Online art.7935 art.7935 Sandie Shaw art.7935 http://www.rhapsody.com/goto?rcid=art.7935&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.7935&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.30659&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss British Invasion Fri, 29 May 2009 09:35:27 -0700 Top British Invasion Artists on Rhapsody Online art.30659 art.30659 Tony Sheridan art.30659 http://www.rhapsody.com/goto?rcid=art.30659&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.30659&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.35199&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss British Invasion Fri, 23 Oct 2009 16:25:08 -0700 Top British Invasion Artists on Rhapsody Online art.35199 art.35199 Unit 4 + 2 art.35199 http://www.rhapsody.com/goto?rcid=art.35199&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.35199&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.9462&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Mod Thu, 6 Aug 2009 10:38:56 -0700 Top British Invasion Artists on Rhapsody Online art.9462 art.9462 John's Children art.9462 http://www.rhapsody.com/goto?rcid=art.9462&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.9462&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss Orgasm album be spliced together with the crowd screams culled from the soundtrack of A Hard Day's Night, John's Children's catalog has endured thanks to labels such as Bam Caruso and Cherry Red. Their body of work is caught somewhere between brilliant and beguiling. - Jon Pruett]]> http://www.rhapsody.com/goto?rcid=art.48445&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss British Invasion Sat, 29 Aug 2009 10:21:55 -0700 Top British Invasion Artists on Rhapsody Online art.48445 art.48445 The Ivy League art.48445 http://www.rhapsody.com/goto?rcid=art.48445&variant=play&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss http://www.rhapsody.com/goto?rcid=art.48445&variant=data&rws=%2Foldies%2Fbritish-invasion%2Fartist-chart.rss