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<title>Top Rock Opera Artists on Rhapsody Online</title><link>http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=124&amp;rws=%2Frock-pop%2Fart-progressive-rock%2Frock-opera%2Fartist-chart.rss</link><description>Top Rock Opera Artists on Rhapsody Online</description><category>Rock Opera</category><language>en</language><ttl>720</ttl><pubDate>Fri, 27 Nov 2009 15:51:57 -0800</pubDate><image>
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<title>Top Rock Opera Artists on Rhapsody Online</title>
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<title>Queen</title>
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<category>Hard Rock</category>
<pubDate>Fri, 27 Nov 2009 10:25:04 -0800</pubDate>
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<description><![CDATA[Heavy metal gods to some, studio-oriented power pop innovators to others, and purveyors of overblown sports arena anthems to still many more, Queen left a deep and varied legacy at the end of their nearly 20-year career. Despite a 2005 Broadway stage show that was written by guitarist Brian May, which featured the remaining members, the band never really recovered from the tragic loss of singer Freddie Mercury to AIDS in 1991. Combining a fondness for hard rock riffs with a knack for catchy melodies, Queen had forged a unique sound brought to life through elaborate (bordering on excessive) studio production. Of their many hits, 1975's "Bohemian Rhapsody" best exemplifies their range: revved-up guitars, near-prog rock complexity and operatic vocals courtesy of Freddie Mercury and a cast of thousands (all of whom also happened to be named Freddie Mercury). Moving from the glam-inspired sounds of their early days, the British quartet scored late 1970s/early '80s hits as they dabbled in rockabilly ("Crazy Little Thing Called Love"), disco ("Another One Bites the Dust") and New Wave-leaning dance (their 1981 David Bowie collaboration "Under Pressure"). Say what you will, there's much more to Queen than "We Will Rock You."
- Will York]]></description>
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<title>The Who</title>
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<category>Classic Rock</category>
<pubDate>Fri, 27 Nov 2009 10:25:06 -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>Jethro Tull</title>
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<category>Art &amp; Progressive Rock</category>
<pubDate>Fri, 27 Nov 2009 10:25:07 -0800</pubDate>
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<description><![CDATA[Jethro Tull, aka the saga of everyone's favorite madcap flautist and his netherworldly parishioners, began in England in the late '60s. It was one of many experimental periods in rock 'n' roll, when the miscegenation of folk, sylvan mysticism, Heavy Metal thunder, and Skiffle seemed viable. "Aqualung" from 1971 remains the group's calling card. Who could deny a fully bearded man, dressed in tartan, hopping on one leg while playing flute and breathing life to the indelible image "Sitting on a park bench / eyeing little girls with bad intent / snot running down his nose / greasy fingers smearing shabby clothes"? Though JT would release a steady stream of work for the faithful, they would surface once more in the spotlight with their controversial win of the Grammy award for the inaugural Best Hard Rock/Heavy Metal category in 1989. Ever the English wiseguys, JT's latest CD, ingeniously titled <I>j-tull.com</I>, finds them with the usual arsenal of wind instruments and palatable riffs for both knights and knaves.
- Jon Pruett]]></description>
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<title>Alice Cooper</title>
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<category>Hard Rock</category>
<pubDate>Fri, 27 Nov 2009 10:25:04 -0800</pubDate>
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<description><![CDATA[In the heyday of Glam rock, Alice Cooper's blood-and-guts stage show put conservative America on alert in much the same way as Marilyn Manson's 1996 tour. The media portrayed him as a sort of Antichrist -- venues were shut down, records were burned and box offices swarmed with teenagers wearing white face paint, black clothes and a frightening amount of eyeliner. The years have passed, and shot after shot of Alice Cooper playing golf and helping challenged kids has assured the general public that he was a mere showman and rocker, not the force of evil they once imagined. The music that scared everybody was a commercialized combination of Stooges ruthlessness and New York Dolls retro-rock energy, injected with gore borrowed from the burgeoning slasher flick genre. Alice Cooper's earliest records are the best example of this, and his explorations of Rock Opera prove to be fun, if indulgent, gems. Cooper's later material relies more on Pop Metal pose and extremely slick production. Nonetheless Cooper remains true to formula, with his trademark Vincent Price delivery and silly-psycho songs sung from the viewpoint of a host of deranged characters.
- Mike McGuirk]]></description>
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<title>Meat Loaf</title>
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<category>Rock Opera</category>
<pubDate>Fri, 30 Oct 2009 12:04:18 -0700</pubDate>
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<description><![CDATA[Perhaps what is most striking about Marvin Lee Aday, known to music fans as Meat Loaf, is the contrast between his imposing physique and the delicate, at times poetic, vocal fury that rests inside. Striking up an Elton John/Bernie Taupin-esque relationship with pianist/composer Jim Steinman, Meat Loaf became a '70s 8-track staple with the release of the teen rock opera <I>Bat Out of Hell</I>, which spawned the hits "Paradise by the Dashboard Light," "Two Out of Three Ain't Bad," and its title track. The magic mix of classically tinged piano vamps, bar-room boogie, Todd Rundgren's production sheen, and Meat Loaf's powerful voice helped <I>Bat Out of Hell</I> climb the radio charts with ease. Then for all but the rabid faithful, Meat Loaf disappeared until his reunion with Steinman in 1993 for <I>Bat Out of Hell II: Back Into Hell</I>, which flashed the proverbial pan with the hit "I'd Do Anything for Love (But I Won't Do That)." Both a rock icon and one of its flourishing survivors, Meat Loaf can now be occasionally found shooting his mouth off on late night television's pop culture microscope <I>Politically Incorrect</I>.
- Eric Shea]]></description>
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<title>Pete Townshend</title>
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<category>Classic Rock</category>
<pubDate>Sat, 10 Oct 2009 10:13:24 -0700</pubDate>
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<description><![CDATA[From 1964 to 1982, Pete Townshend was the infamously windmilling guitarist for the Who. Along with innumerable hit singles, he penned the rock operas <i>Tommy</i> and <i>Quadrophenia,</i> the latter a stunning conceptual epic about his love/hate relationship with the U.K. mod scene of the mid-1960s. Townshend's dynamic, over-the-top guitar playing mellowed to a bluesy, rootsy, down-home strut when he collaborated with ex-Faces bassist Ronnie Lane for a solid duo album in 1976 entitled <i>Rough Mix</i>. Townshend's first pop-oriented solo album (1972's <i>Who Came First</i> was too eccentric for the mainstream market) was 1980's <i>Empty Glass</i>, featuring the chart-topper "Let My Love Open the Door." The criminally underrated <i>All the Best Cowboys Have Chinese Eyes</i> (whose final song, "Slit Skirts," may be Townshend's most moving composition) followed two years later. Who reunion tours, less successful solo efforts, and the massively successful Broadway production of <i>Tommy</i> have dominated this English legend's career throughout the last fifteen years.
- Eric Shea]]></description>
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<title>Roger Waters</title>
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<category>Art &amp; Progressive Rock</category>
<pubDate>Fri, 4 Sep 2009 17:19:18 -0700</pubDate>
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<description><![CDATA[Perhaps the most arrogant figure in rock music, but also one of the most brilliant. A founding member of Pink Floyd, Waters assumed control of the band after Syd Barrett stumbled into perpetual psychedelic oblivion in 1968. With increasing amounts of personal input, he led them to FM radio immortality with the Psychedelic masterpieces <i>Dark Side of the Moon</i> and <i>The Wall</i>, not to mention a string of hugely selling records that were the ONLY music to listen to for thousands of tripping teenagers from the 1970s well into the '80s. After a bitter split with the rest of the group in 1983, Waters continued to produce electronically innovative records, tinkering with the Rock Opera genre with varying results. Today, we find Waters teaming up with big guns Ennio Morricone and Eddie Van Halen (!) for a single featured on the soundtrack for Tim Roth's new movie, <i>The Legend of 1900</i>.
- Mike McGuirk]]></description>
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<title>The Pretty Things</title>
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<category>British Invasion</category>
<pubDate>Mon, 13 Jul 2009 11:06:57 -0700</pubDate>
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<description><![CDATA[The coolest thing about the Pretty Things -- aside from the fact that guitarist Dick Taylor was an original member of the Rolling Stones, and that the aging group is still banned from the entire country of Australia -- is that they haven't stopped playing together since 1963. Probably the most underrated British Invasion band of the '60s, the Pretty Things have been cult heroes for nearly four decades, and it's a safe claim that their style of Psychedelic/Garage Rock has always been more innovative and eclectic than many of their more well-known contemporaries. The Pretty Things' live shows span the timeline of their musical journey. From their early, gritty, R&B shuffle-punk on through their lysergically acidic, warped carousel ride <i>SF Sorrow</i> (the first full-length concept album ever recorded), the Pretty Things have experimented with anything and everything. Their 1999 release <i>Rage...Before Beauty</i> is a solid and well-rounded recording that evinces the notion that the 1990s are, in fact, the 1960s turned upside down.
- Eric Shea]]></description>
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<title>Utopia</title>
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<category>Art &amp; Progressive Rock</category>
<pubDate>Wed, 18 Nov 2009 13:06:26 -0800</pubDate>
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<title>Rick Wakeman</title>
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<category>Art &amp; Progressive Rock</category>
<pubDate>Fri, 13 Nov 2009 12:38:33 -0800</pubDate>
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<description><![CDATA[Former Yes keyboardist Rick Wakeman could have been transported to the twentieth century from the court of Camelot -- he's that progressive. This music was recorded when he was touring his solo album, <i>Myths and Legends of King Arthur & the Knights of the Round Table</i>. His opening with a 12-minute version of "Journey to the Center of the Earth" made him famous in Prog circles everywhere. His keyboard and synth stylings have more angles than a pair of 20-sided dice, and his singing is more majestic than Lancelot's secret serenade to Queen Guinevere.]]></description>
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<title>Gentle Giant</title>
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<category>Art &amp; Progressive Rock</category>
<pubDate>Thu, 19 Nov 2009 15:23:04 -0800</pubDate>
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<description><![CDATA[They never earned the mass audience accorded to Progressive Rock contemporaries like Yes or King Crimson, but Britain's Gentle Giant did succeed in gaining a cult-like underground following based on the strength of their early 1970s work. Largely sidestepping the bombast and humorlessness that often plagued the genre, they built a unique group sound based on an unusual blend of influences including Blues Rock, Gregorian chants, and twentieth century classical music. They augmented the usual rock instruments with cello, horns, mallet percussion, and Moog synthesizers, and showed taste and dexterity in their use of tricky time signatures and leaping, atonal vocal lines. Their influence can still be heard in present-day underground acts such as Happy the Man, Ruins and jazz drummer Gregg Bendian.
- Will York]]></description>
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<title>Jeff Wayne</title>
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<category>Rock Opera</category>
<pubDate>Tue, 3 Nov 2009 11:24:55 -0800</pubDate>
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<title>Ian Gillan</title>
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<category>Metal</category>
<pubDate>Fri, 20 Nov 2009 12:51:13 -0800</pubDate>
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<description><![CDATA[As lead singer for both Deep Purple and late-period Black Sabbath, Ian Gillan stands tall among Metal vocalists, with only Robert Plant and Ozzy Osbourne as true rivals/colleagues. He has always been something of a cross between the two, with a voice that's more refined and masculine than Robert Plant's grave-robbing blues squeal and capable of operatic heights. Yet Gillan's voice inhabits the outer fringes of Ozzy territory -- conflicted, beefy and evil. His solo records have traditionally covered the same ground as Deep Purple, with a couple of poorly received transgressions into Jazz Rock. But Deep Purple most recent albums -- particularly <i>Abandon</i> in 1998 and <i>Bananas</i> in 2003 -- have been gratifyingly songful and idiosyncratic. And Gillan's 2009 solo album <i>One Eye To Morocco</i> follows suit, working Afro-Caribbean rhythms and Middle Eastern ideas into surprisingly tuneful, if not especially heavy, rock.
- Mike McGuirk]]></description>
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