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<title>Top Mod Artists on Rhapsody Online</title><link>http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=440&amp;rws=%2Foldies%2Fbritish-invasion%2Fmod%2Fartist-chart.rss</link><description>Top Mod Artists on Rhapsody Online</description><category>Mod</category><language>en</language><ttl>720</ttl><pubDate>Sun, 27 Dec 2009 07:40:40 -0800</pubDate><image>
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<title>Top Mod Artists on Rhapsody Online</title>
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<title>The Who</title>
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<category>Classic Rock</category>
<pubDate>Sun, 20 Dec 2009 09:42:43 -0800</pubDate>
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<description><![CDATA[More than any band before them, the Who transformed rock 'n' roll into the weapon of choice for the generation gap struggles of the 1960s. Playing up tensions between young and old in teen anthems "My Generation," "The Kids Are Alright," and a cover of Eddie Cochran's "Summertime Blues," this combativeness quickly became the band's hallmark. Roger Daltrey's perilous mic-swinging, Pete Townshend's ill-tempered guitar-smashing, and Keith Moon's "gonzo" drumming all bolstered the band's thuggish, working-class youth image -- and suggested it was more than image. As Mod's heyday waned, Townshend began pushing the band in more adventurous directions, which culminated in the first proper rock opera, <I>Tommy</I> (1969). In one fell swoop, the band upgraded their standing from "average Joes" to intelligentsia. Emboldened by <I>Tommy</I>'s success, Townshend's songwriting became increasingly self-centered and confessional. While "Behind Blue Eyes" and "Love, Reign O'er Me" are simply sublime, much of the Who's '70s material is bogged down by the band's internal conflicts and Townshend's downward spiral into alcohol and drug abuse. The public began to feel that the band had simply overstayed its welcome. Fans had a hard time forgiving the spokesmen of angry youth for getting old, and the band seems to have had a difficult time forgiving themselves.
- Chad Driscoll]]></description>
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<title>The Kinks</title>
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<category>British Invasion</category>
<pubDate>Thu, 24 Dec 2009 13:14:36 -0800</pubDate>
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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>Small Faces</title>
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<category>Mod</category>
<pubDate>Tue, 15 Dec 2009 10:31:01 -0800</pubDate>
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<description><![CDATA[Best remembered in America for their post-Summer of Love hit "Itchycoo Park," the Steve Marriott-era Small Faces had 11 straight Top 30 singles in Britain between 1965 and 1968. Like contemporaries the Stones, the Who and the Yardbirds, they began as bluesy journeymen; keyboardist Ian McLagan's book <I>All the Rage</I> 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." <br><br> 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 ÃÂ 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 <I>Ogden's Nut Gone Flake</I> 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. <br><br> 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 <I>Rushmore</I> 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]]></description>
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<title>The Creation</title>
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<category>Mod</category>
<pubDate>Sun, 3 May 2009 08:33:13 -0700</pubDate>
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<description><![CDATA[The Creation might be one of the most painful British near-misses of the mid-1960s. Blame it on lackluster U.K. sales, a lineup that never fully solidified and a sound that was ahead of its time: history ultimately doomed the group to be one of the British invasion's also-rans. Vocalist Kenny Pickett, guitarists Eddie Phillips and Mick Thompson, and drummer Jack Jones played together as members of the Mark Four and formed the Creation in 1966 with bassist Bob Garner. The band's early sound was a high-volume art pop, typified by its first charting U.K. single, "Makin' Time," which was released in 1966, and its most successful single, "Painter Man," from the same year. At the end of '66, Garner left and was replaced by Kim Gardner, and the band issued a series of singles in the U.K. and U.S. that weren't well received despite success in isolated parts of Europe. In '68, Pickett left the group briefly and was temporarily replaced by Ron Wood, but when Pickett returned, he dismissed both Gardner and Phillips, and the Creation were no moreÃÂ¢ÃÂÃÂ¦at least until the mid-1980s, when a short reunion included Phillips, Pickett, John Dalton (bass guitar) and Mick Avory (drums, ex-Kinks).
- Nate Cavalieri]]></description>
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<title>The Action</title>
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<category>Mod</category>
<pubDate>Fri, 23 Oct 2009 11:56:08 -0700</pubDate>
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<title>The Move</title>
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<category>Psychedelic</category>
<pubDate>Tue, 22 Dec 2009 10:24:23 -0800</pubDate>
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<description><![CDATA[Before ELO, Jeff Lynne was in the Move, one of the first power-pop groups, with Bev Bevan and Roy Wood, both eventual members of ELO. Unknown in the U.S., the Move were one of the biggest bands of the '60s in Britain, from their first single, 1967's "Night of Fear," on into the early '70s. Today they are looked on by record geeks as one of the cooler, semi-obscure British bands of the '60s, and 1969's <i>Shazam</i> 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, <i>Message from the Country</i> (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]]></description>
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<title>Powder </title>
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<category>Mod</category>
<pubDate>Thu, 18 Dec 2008 12:39:54 -0800</pubDate>
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<title>Steampacket</title>
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<category>Mod</category>
<pubDate>Fri, 23 Oct 2009 16:25:07 -0700</pubDate>
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<title>The Smoke</title>
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<category>Mod</category>
<pubDate>Wed, 25 Mar 2009 21:07:33 -0700</pubDate>
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<title>John's Children</title>
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<category>Mod</category>
<pubDate>Sat, 19 Dec 2009 10:51:37 -0800</pubDate>
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<description><![CDATA[John's Children were a superb, often sloppy brand of English freakbeat and art-school theatrics who looked good in white and whose reputation among scooter kids and Psychedelic fans has grown steadily over the years. Footnoted in the proper annals due to Marc Bolan's four-month stint in the band in 1967, they were capable of putting out sloppy art-pop and psychedelic R&B that could easily be ranked alongside that of the Who or the Creation. Tracks such as "Desdemona" and "Jagged Time Lapse" were spiked with an energy that not even a handful of black beauties could stir up. Occasionally viewed as less than apt performers due to producer Simon Napier-Bell's insistence that the band's <I>Orgasm</I> album be spliced together with the crowd screams culled from the soundtrack of <I>A Hard Day's Night</I>, 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]]></description>
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<title>The Sorrows</title>
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<category>Mod</category>
<pubDate>Thu, 22 Oct 2009 13:23:54 -0700</pubDate>
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<title>The Attack</title>
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<category>Mod</category>
<pubDate>Thu, 7 May 2009 09:55:31 -0700</pubDate>
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<title>The Rooks</title>
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<category>Power Pop</category>
<pubDate>Fri, 3 Apr 2009 23:04:32 -0700</pubDate>
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<rhap:artist xmlns:rhap="rhap">The Rooks</rhap:artist>
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<description><![CDATA[Although the singer for the Rooks tries that really annoying nasal thing that happens when an American suburbanite tries to affect a British accent, these British Invasion-inspired Power Pop songs are still kind of catchy.
- Eric Shea]]></description>
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<title>The Eyes</title>
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<category>Mod</category>
<pubDate>Thu, 22 Oct 2009 13:23:50 -0700</pubDate>
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<rhap:artist xmlns:rhap="rhap">The Eyes</rhap:artist>
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