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<title>Top Boogie Rock Artists on Rhapsody Online</title><link>http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link><description>Top Boogie Rock Artists on Rhapsody Online</description><category>Boogie Rock</category><language>en</language><ttl>720</ttl><pubDate>Sun, 29 Nov 2009 11:01:30 -0800</pubDate><image>
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<title>Top Boogie Rock Artists on Rhapsody Online</title>
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<title>The Rolling Stones</title>
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<category>Classic Rock</category>
<pubDate>Sat, 28 Nov 2009 09:38:24 -0800</pubDate>
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<description><![CDATA[The Rolling Stones began calling themselves the "World's Greatest Rock & Roll Band" in the late '60s, and few disputed the claim. The Rolling Stones' music, based on Chicago blues, has continued to sound vital through the decades, and the Stones' attitude of flippant defiance, now aged into wry bemusement, has come to seem as important as their music.<br><br>
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” &#8212; 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.<br><br>
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.<br><br>
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).<br><br>
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.<br><br>
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.<br><br>
On July 12, 1962, the Rolling Stones &#8212; Jagger, Richards, Jones, a returned Dick Taylor on bass, and Mick Avory, later of the Kinks, on drums &#8212; 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.<br><br>
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.<br><br>
In June 1963 the Stones released their first single, Chuck Berry’s “Come On.” After the band played on the British TV rock show <i>Thank Your Lucky Stars</i>, 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.<br><br>
“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.<br><br>
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.<br><br>
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).<br><br>
<i>Aftermath</i>, the first Stones LP of all original material, came out in 1966, though its impact was minimized by the simultaneous release of the Beatles’ <i>Revolver</i> and Bob Dylan’s <i>Blonde on Blonde</i>. The Middle Eastern–tinged “Paint It, Black” (1966) and the ballad “Ruby Tuesday” (1967), were both U.S. Number One hits.<br><br>
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.<br><br>
In December came <i>Their Satanic Majesties Request</i>, the Stones’ psychedelic answer record to the Beatles’ Sgt. Pepper &#8212; 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.<br><br>
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 <i>Beggars Banquet</i> 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 &#8212; and the realization that the band now belonged squarely to Jagger and Richards &#8212; had barely participated in the <i>Beggars Banquet</i> sessions.<br><br>
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 <i>Let It Bleed</i> (a sardonic reply to the Beatles’ soon-to-be-released <i>Let It Be</i>) 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.<br><br>
After going to Australia to star in the film <i>Ned Kelly</i>, 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 &#8212; on advice of the Grateful Dead &#8212; had hired to provide security for the event. The incident was captured on film by the Maysles brothers in their feature-length documentary <i>Gimme Shelter</i>. 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.<br><br>
After another spell of inactivity, the <i>Get Yer Ya-Ya’s Out!</i> 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, <i>Sticky Fingers</i> (Number One, 1971) &#8212; which introduced their Andy Warhol &#8212; designed lips-and-lolling-tongue logo &#8212; yielded hits in “Brown Sugar” (Number One, 1971) and “Wild Horses” (Number 28, 1971). Jagger, who had starred in Nicolas Roeg’s 1970 <i>Performance</i> (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, <i>Exile on Main Street</i> (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.<br><br>
<i>Goats Head Soup</i> (Number One, 1973) was termed the band’s worst effort since <i>Satanic Majesties</i> by critics, yet it contained hits in “Angie” (Number One, 1973) and “(Doo Doo Doo Doo Doo) Heartbreaker” (Number 15, 1974). <i>It’s Only Rock n’ Roll</i> (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 <i>Black and Blue</i>), 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.<br><br>
<i>Black and Blue</i> 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, <i>Monkey Grip</i> (the first Stone to do so), recorded another, <i>Stone Alone</i>. Jagger guested on “I Can Feel the Fire” on Wood’s solo first LP, <i>I’ve Got My Own Album to Do</i>. Wood has since recorded several more albums, and while none were commercial hits (<i>Gimme Some Neck</i> peaked at Number 45 in 1979), his work was generally well received.<br><br>
The ethnic-stereotype lyrics of the title song from <i>Some Girls</i> (Number One, 1978) provoked public protest (the last outcry had been in 1976 over <i>Black and Blue</i>’s battered-woman advertising campaign). Aside from the disco crossover “Miss You” (Number One), the music was bare-bones rock & roll &#8212; in response, some speculated, to the punk movement’s claims that the band was too old and too affluent to rock anymore.<br><br>
Richards and his longtime common-law wife, Anita Pallenburg, were arrested in March 1977 in Canada for heroin possession &#8212; jeopardizing the band’s future &#8212; but he subsequently kicked his habit and in 1978 was given a suspended sentence.<br><br>
In 1981 <i>Tattoo You</i> was Number One for nine weeks (1980’s <i>Emotional Rescue</i> 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, <i>Still Life</i>, and a movie, <i>Let’s Spend the Night Together</i> (directed by Hal Ashby), which grossed $50 million.<br><br>
Through the ’80s the group became more an institution than an influential force. Nevertheless, both <i>Undercover</i> (Number Four, 1983) and <i>Dirty Work</i> (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.<br><br>
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 <i>She’s the Boss</i>, in 1984. His second, 1987’s <i>Primitive Cool</i>, 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 <i>Talk Is Cheap</i>, backed up by the X-Pensive Winos: guitarist Waddy Wachtel and the rhythm section of Steve Jordan and Charley Drayton.<br><br>
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. <i>Steel Wheels</i> (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, <i>Flashpoint</i> (Number 16, 1991), demonstrated, never had the Stones sounded so cohesive onstage.<br><br>
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.)<br><br>
The early ’90s were a time for solo albums from Richards &#8212; <i>Live at the Hollywood Palladium</i> and <i>Main Offender</i> (Number 99, 1992)and Jagger’s <i>Wandering Spirit</i> (Number 11, 1993). Neither sold spectacularly; apparently fans are most interested in Jagger and Richards when they work together. Wood released <i>Slide on This</i>, his first solo album in over a decade, and Watts pursued his real love, jazz, with the Charlie Watts Orchestra.<br><br>
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 <i>Voodoo Lounge</i> (Number Two, 1994) and embarked on a major tour that proved one of the highest-grossing of the year, earning a reported $295 million. <i>Voodoo Lounge</i> brought the Stones their first competitive Grammy, 1994’s Best Rock Album award. <i>Voodoo Lounge</i> 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 <i>Exile on Main Street</i>, <i>Sticky Fingers</i>, and <i>Some Girls</i>. After having languished in storage for nearly three decades, the Rolling Stones’ <i>Rock & Roll Circus</i> concert film and soundtrack was released in 1996, which featured the Stones in the era of <i>Beggars Banquet</i>, and other rock luminaries &#8212; the Who, Jethro Tull, John Lennon and Yoko Ono, Eric Clapton, Taj Mahal, and more &#8212; as well as various acrobats, fire-eaters, and other circus artists who performed routines between songs.<br><br>
Meanwhile, back to their standard time lapse of three years between tours, the Stones released <i>Bridges to Babylon</i> (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, <i>No Security</i>.<br><br>
In 1997 Richards coproduced and played on <i>Wingless Angels</i>, an album of Rastafarian spirituals; guested, with Elvis Presley guitarist Scotty Moore, on <i>All the King’s Men</i>, a tribute to Presley; and with the rest of the Stones, played on B.B. King’s <i>Deuces Wild</i>. 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, <i>Long Ago and Far Away</i>, 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.<br><br>
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, <I>Goddess in the Doorway</I> (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."
<br><br>
In 2002, the Stones released <I>Forty Licks</I>, 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 <I>Four Flicks</I>. 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, <I>Rolling Stone</I> ranked the Stones No. 4 in its "100 Greatest Artists of All Time," just below the Beatles, Bob Dylan and Elvis Presley.
<br><br>
On Jagger’s 62nd birthday, July 26, 2005, the Stones announced they were releasing a new album, <I>A Bigger Bang</I> (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.
<br><br>
The Stones released another 4-CD box set, <I>The Biggest Bang</I>, in June 2007; it also was sold exclusively through Best Buy. <I>The Very Best Of Mick Jagger</I>, a collection of the singer’s solo works, came out in October 2007. Filmmaker Martin Scorsese's April 2008 documentary <I>Shine a Light</I> 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.
<br><br>
<i>Updated from The Rolling Stone Encyclopedia of Rock & Roll (Simon & Schuster, 2001)</i>]]></description>
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<title>The Grateful Dead</title>
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<category>Jam Rock</category>
<pubDate>Sat, 28 Nov 2009 09:38:28 -0800</pubDate>
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<description><![CDATA[Born out of the burgeoning West Coast hippie scene in San Francisco's Haight-Ashbury district during the late '60s, and inextricably linked to psychedelic experimentation, the Grateful Dead blended psychedelic folk music and a transformative live experience that grew into the largest, most devoted and longest lived cult following in the history of popular music. Deadhead culture rapidly became more ubiquitous than the music -- the Dead's friendly jams, laid-back tunes and open attitude towards bootlegging inspired a tightly knit community that followed the band around the country and traded tapes of concerts years after they'd been recorded. The Dead's concert performances live forever in the often-altered minds of those who attended show after show, and in thousands of hours of recorded material. The majority of these Dead bootlegs were recorded really well and sound like someone took the time to master and equalize them. Hardcore Deadhead classics like "Jack Straw" re-emphasize why the band's live shows were a musical phenomenon. Those who identified best with the <I>Workingman's Dead</I> and <I>American Beauty</I> LPs will be pleased to know that there is an overwhelming amount of well-recorded and downloadable live jams from that era when Jerry was younger, the songs were fresh, and the guitars sounded especially warm.]]></description>
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<title>Aerosmith</title>
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<category>Hard Rock</category>
<pubDate>Sat, 28 Nov 2009 09:38:31 -0800</pubDate>
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<description><![CDATA[White trash kids from suburban Massachusetts, Aerosmith ripped open the '70s rock scene with loud, violent and lurid tunes built on a foundation of riffs lifted directly from the blues in the time-honored tradition of musical colonialists like Led Zeppelin and the Stones. Joe Perry's long-haired riffs perfectly complemented lead singer Steve Tyler's sleazoid Jaggerisms in songs that ran the gamut from Girl Group covers ("Walkin' in the Sand") to angry-robot Bowie funk ("Last Child"). There was a time when paperboys knew the kids to look out for were the ones riding BMX bikes, smoking cigarettes (and who knew what else), and listening to the abrasive, overtly sexual music of Aerosmith. A well-documented descent into drugs threatened to end their careers, but they returned clean, sober and completely digitized in the mid-1980s and achieved a semi-astonishing level of success. Although their new material relies more than ever on the power-ballad and over-produced blooze to get the point across, if you listen close you can still hear Joe Perry's snake-like, boogie monster guitar tearin' it up underneath all the special effects.
- Mike McGuirk]]></description>
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<title>ZZ Top</title>
<link>http://www.rhapsody.com/goto?rcid=art.615&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Boogie Rock</category>
<pubDate>Sat, 28 Nov 2009 09:38:30 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">ZZ Top</rhap:artist>
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<description><![CDATA[ZZ Top began as a rough-and-ready blues-rock power trio from Texas that became a huge mid-'70s concert attraction. Their real commercial peak didn't come, however, until the 1980s, when the "Little Ol' Band from Texas" became MTV superstars and sold multiple millions of albums.
<br><br>
ZZ Top was built around guitarist Billy Gibbons, whose career began with the popular Southwestern band Moving Sidewalks, whose "99th Floor" was a regional mid-'60s hit. They opened one night for Jimi Hendrix, and he later mentioned Gibbons on <i>The Tonight Show</i> as one of America's best young guitarists. After Moving Sidewalks broke up, Gibbons and manager/producer Bill Ham recruited Frank Beard and Dusty Hill from a Dallas band, American Blues.
<br><br>
Beginning with the release of <i>First Album</i> in 1970, ZZ Top has toured constantly, building a national following that has made all the band's albums gold or platinum. A year-long tour in 1976, "The Worldwide Texas Tour," was one of the largest-grossing road trips in rock at the time. Onstage with the band were snakes, longhorn cattle, buffalo, cactus, and other Southwestern paraphernalia. The group sold over a million tickets. They didn't record for the next three years, until 1979's <i>Deguello</i>. Though ZZ Top's only major hit singles had been <i>Tres Hombres'</i> "La Grange" (Number 41, 1973) and <i>Fandango!</i>'s "Tush" (Number 20, 1975), their albums consistently made the Top 40.
<br><br>
With 1983's <i>Eliminator</i>, ZZ Top made a quantum leap from best-kept secret to massive stardom. Thanks to smartly directed video clips for such songs as "Gimme All Your Lovin'" (Number 37, 1983), "Sharp Dressed Man" (Number 56, 1983), "Legs" (Number 8, 1983), and "TV Dinners," Gibbons and Hill, with their long beards (ironically Frank Beard usually wore only a moustache), became MTV icons, as did the cherry red 1933 Ford coupe (restored by Gibbons) that gave the album its name, and which the band drove in the videos. Thanks to this exposure, a whole new audience began buying the band's albums, and <i>Eliminator</i> (Number Nine, 1983) eventually sold some 10 million copies, remaining on the chart for over three and a half years. "Legs" introduced a pulsating synthesizer beat into ZZ Top's crunching blues-rock riffs.
<br><br>
The trend continued with <i>Afterburner</i> (Number Four, 1985), which contained such video hits as "Rough Boy" (Number 22, 1985), "Sleeping Bag" (Number Eight, 1985), "Velcro Fly" (Number 35, 1986), and "Stages" (Number 21, 1986). The album sold over 3 million copies. After another long world tour, ZZ Top &#8212; which had long been based in Houston &#8212; announced that, through NASA, it had booked passage as the first lounge band on the space shuttle (though the band has yet to actually fly a mission).
<br><br>
At the peak of its success, ZZ Top still remembered its roots, and launched a fundraising drive to erect a Delta Blues Museum in Clarksdale, Mississippi. At a special ceremony the band unveiled the "Muddywood" guitar, made from a beam taken from the sharecropper's shack in which blues giant Muddy Waters had been raised, and which Gibbons donated to the museum.
<br><br>
ZZ Top appeared to have finally tapped out the motherlode with <i>Recycler</i> (Number Six, 1990), which sold a relatively disappointing 1 million units, and yielded only minor hits in "Doubleback" (Number 50, 1990) and "Give It Up" (Number 79, 1990). After Warner Bros. released <i>Greatest Hits</i>, ZZ Top left the label and signed a $30 million deal with RCA. The band's first album for the new label, <i>Antenna</i>, was named in tribute to rock radio &#8212; especially the Mexican border stations of the 1950s and 1960s that influenced the band. The album entered the chart at Number 14 but dropped rapidly and failed to yield a hit single. Still, <I>Antenna</I> went platinum, proving the band still had a considerable fan base.
<br><br>
But while ZZ Top remains a popular touring attraction, its late-'90s albums have fared poorly on the chart. <i>Rhythmeen</i> (Number 29, 1996) did well enough, but <I <I>XXX</I> (Number 100, 1999), a mix of live and studio recordings, had dropped out of the Billboard Top 200 three months after its release. The band performed at President George W. Bush's inaugural ceremonies in January 2001. In 2003, ZZ Top released <i>Mescalero</i> (Number 57, 2003) followed by a four-disc, comprehensive box set <i>Chrome, Smoke & BBQ</i>. <i>Rancho Texicano: The Very Best of ZZ Top</i> (Number 77, 2004) came a year later. In 2004, Keith Richards inducted ZZ Top into the Rock and Roll Hall of Fame. Their first live DVD, <i>Live from Texas</i>, was released in 2008 the same year ZZ Top signed to American Recordings and began recording a new album with producer Rick Rubin.]]></description>
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<title>Hank Williams, Jr.</title>
<link>http://www.rhapsody.com/goto?rcid=art.68464&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Outlaw Country</category>
<pubDate>Thu, 26 Nov 2009 11:27:42 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
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<description><![CDATA[As his name makes clear, Hank Williams, Jr. is the son of country music legend (and Honky-Tonk deity) Hank Williams. Williams Jr. started off singing similar beer joint anthems before finding his own voice in the 1970s outlaw country realm. He can also be credited with taking the outlaw sound up a notch to deliver some gritty southern rock songs. Kid Rock cites Hank Williams Jr. as one of his most obvious influences, along with 2 Live Crew.
- Eric Shea]]></description>
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<title>The Black Crowes</title>
<link>http://www.rhapsody.com/goto?rcid=art.1531&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Boogie Rock</category>
<pubDate>Sat, 28 Nov 2009 09:38:29 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
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<description><![CDATA[Funny thing -- when the Rolling Stones play, everybody calls it "rock 'n roll." When the Black Crowes play almost the same kind of music, everybody calls it "retro." Everybody but rock 'n' roll fans, that is. Though the Black Crowes might reverberate certain tones of Classic Rock, they never subserviently imitated their influences (even with the Jam Rock of <I>Three Snakes & One Charm</I> in 1996). Brothers Chris and Rich Robinson formed the band in Georgia around 1984. Chris' Terry Reid cum Rod Stewartesque raspy singing blended with his brother's tone-heavy guitar leads in a familiar setting that had critics hailing them the bastard sons of the Faces. They added to these comparisons by going multi-platinum with a near-perfect cover of the late, great Otis Redding's "Hard to Handle." Over the course of four albums, the Black Crowes experimented with blues, country music, and festival jams only to return to what they do best -- nitty, gritty rock 'n' roll. Despite lineup changes and ambitious pit-stops in different genres, they have enough impressive material for listeners to glean that, at the end of the day, the Black Crowes are just a talented band who wake up each afternoon to chase down another song (before disbanding in 2002). Chris now sings in a project named New Earth Mud with his old guitar player Mark Ford and ex Beachwood Sparks drummer Aaron Sperske.
- Eric Shea]]></description>
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<title>George Thorogood</title>
<link>http://www.rhapsody.com/goto?rcid=art.61555&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Blues &amp; Boogie Rock</category>
<pubDate>Sun, 22 Nov 2009 10:09:54 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">George Thorogood</rhap:artist>
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<description><![CDATA[George Thorogood's rasping growl and squealing, overdriven slide was Rounder Records' best kept secret until "Bad to the Bone" came out in 1982. His saxophone-heavy Blues Rock became an FM radio/MTV staple and song titles like "I Drink Alone" became bumper stickers and catchphrases for late-stage alcoholics all over the country. Due in part to this success, Thorogood has never been a favorite among blues purists, but his early recordings showcase a genuine Hound Dog Taylor influence, matching the master's jagged guitar in caterwauling screech, if not incendiary speed.
- Mike McGuirk]]></description>
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<title>The Marshall Tucker Band</title>
<link>http://www.rhapsody.com/goto?rcid=art.4344&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Southern Rock</category>
<pubDate>Sun, 22 Nov 2009 10:09:55 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
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<description><![CDATA[The key to Southern Rock bands such as MTB, Charlie Daniels Band, and the Outlaws is realizing early on that though they were never fully capable of carrying a whole album of good material, that shouldn't deter you from picking up their greatest hits packages. In the case of MTB, you'll find keepers such as "Can't You See," "Heard It in a Love Song," and "Fire on the Mountain" without having to sort through endless filler. Their early records contain some wonderful grit rock anthems, long hippy-billy jams, and some quality moonlight-and-magnolias fare -- making the two-CD Capricorn retrospective an absolute must for any long-haired southerner. The collection demonstrates that they could keep up with the Dixie Dregs musically, while penning great country-inspired lyrics. Though later their music grew soggy with sweet Southern Comfort nostalgia, in their prime the Marshall Tucker Band deserved their reputation as a Southern Rock institution.
- Chad Driscoll]]></description>
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<title>Cinderella</title>
<link>http://www.rhapsody.com/goto?rcid=art.59123&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Pop Metal</category>
<pubDate>Sun, 22 Nov 2009 10:09:29 -0800</pubDate>
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<rhap:artist xmlns:rhap="rhap">Cinderella</rhap:artist>
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<description><![CDATA[Over the span of (their first) three albums, Cinderella evolved from run-of-the-mill hair metal band to a gritty, bluesy, rock band with enough genuine swagger to draw comparisons to Mick Jagger. Unlike their mentor, Cinderella's career had trouble moving beyond the '80s, and the onset of Grunge just about sealed this Pennsylvania band's fate as a product of their time.]]></description>
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<title>Derek and the Dominos</title>
<link>http://www.rhapsody.com/goto?rcid=art.7017&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Blues &amp; Boogie Rock</category>
<pubDate>Sat, 24 Oct 2009 12:06:56 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
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<description><![CDATA[Eric Clapton formed Derek and the Dominos in 1970, after touring the United States with a bunch of drunk hippies popularly known as Delaney & Bonnie & Friends. He stole the horn section, enlisted keyboard player Bobby Whitlock, bassist Carl Radle and drummer Jim Gordon (all from Delaney & Bonnie as well), then started jamming on a brand of blues rock that dispensed with his previous taste for heaviness. Instead, Derek and the Dominos incorporated elements of the emerging country rock scene, plus some gospel and a more traditional blues than Clapton had previously played. When the group went down to Miami to record what would become one of the great records of the rock era, <I>Layla and Other Assorted Love Songs</I>, Georgia-born guitar prophet Duane Allman sat in on the sessions. The assemblage of excellent musicians coupled with Clapton's state of intense personal turmoil led to a collection of songs and performances generally considered to stand as his greatest achievement as an artist. One listen to "Bell Bottom Blues" should convince any listener, as the traditionally aloof superstar performs with openly wounded sincerity. Allman's contribution cannot be overstated: the slide guitars that sing throughout "Layla" are some of his best work. Sadly, Allman was killed in a motorcycle accident less than a year after the album came out. As for Derek & the Dominos, Clapton's period of personal upheaval continued as he disbanded the group and became a recluse until the release of <i>461 Ocean Boulevard</i> in 1974. In the interim, the great but admittedly uneven <i>Derek and the Dominos In Concert</i> was released, offering listeners a glimpse of the group's only tour -- specifically their dates at the Fillmore Auditorium in December of 1970.
- Mike McGuirk]]></description>
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<title>Canned Heat</title>
<link>http://www.rhapsody.com/goto?rcid=art.4217&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Blues &amp; Boogie Rock</category>
<pubDate>Sun, 22 Nov 2009 10:09:54 -0800</pubDate>
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<description><![CDATA[This veteran blues outfit has been together for more than thirty years and they continue to make records and tour even though there are only two members left. The band became famous after playing Woodstock and being prominently featured both in the film and soundtrack versions. They have a loose, hypnotic style that puts the rhythm before the soloists, unlike a lot of their '60s brethren. The band hit the charts with "Going Up the Country" and "Let's Work Together" and also achieved a certain amount of critical acclaim for their collaboration with John Lee Hooker on the record <i>Hooker 'N' Heat</i>. Founding members Al Wilson, Bob Hite, and Henry Vestine have all died, but the band carries on with bassist Larry Taylor and drummer Fito De La Parra.
- Mike McGuirk]]></description>
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<title>Foghat</title>
<link>http://www.rhapsody.com/goto?rcid=art.5647&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Classic Rock</category>
<pubDate>Fri, 13 Nov 2009 12:37:26 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Foghat</rhap:artist>
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<description><![CDATA[In case you have never seen <i>Dazed and Confused, </i> Foghat were an American rock 'n' roll band from the United Kingdom. Their unpretentious, simplistic Boogie Rock won them stadium-filling fans, two platinum albums, and five gold ones. Some of Foghat's 1-4-5 arranged brown-shoe shuffle-rock included hits such as "Slow Ride," "Fool For The City" and an up-tempo, groove-heavy cover of Willie Dixon's "I Just Want to Make Love to You." Foghat broke up in 1983 after Disco actually made a difference, but they have been known to rise like the phoenix on occasion.
- Eric Shea]]></description>
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<title>Led Zeppelin</title>
<link>http://www.rhapsody.com/goto?rcid=art.453&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Hard Rock</category>
<pubDate>Sat, 28 Nov 2009 09:38:24 -0800</pubDate>
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<rhap:artist xmlns:rhap="rhap">Led Zeppelin</rhap:artist>
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<description><![CDATA[It wasn't just Led Zeppelin's thunderous volume, sledgehammer beat, and edge-of-mayhem arrangements that made it the most influential and successful heavy-metal pioneer, it was the band's finesse. Like its ancestors the Yardbirds, Led Zeppelin used a guitar style that drew heavily on the blues; its early repertoire included remakes of songs by Howlin' Wolf, Albert King, and Willie Dixon (who later won a sizable settlement from the band in a suit in which he alleged copyright infringement). But Jimmy Page blessed the group with a unique understanding of the guitar and the recording studio as electronic instruments, and of rock as sculptured sound; like Jimi Hendrix, Page had a reason for every bit of distortion, feedback, reverberation, and out-and-out noise that he incorporated. Few of the many acts that try to imitate Led Zeppelin can make the same claim.<br><br>
Page and Robert Plant were grounded also in British folk music and fascinated by mythology, Middle Earth fantasy, and the occult, as became increasingly evident from the band's later albums (the fourth LP's title is comprised of four runic characters). A song that builds from a folk-baroque acoustic setting to screaming heavy metal, "Stairway to Heaven," fittingly became the best-known Led Zeppelin song and a staple of FM airplay, although like most of the group's "hits," it was never released as a single. Though critically derided more often than not, Led Zeppelin was unquestionably one of the most enduring bands in rock history, with U.S. sales of more than 100 million records.<br><br>
When the Yardbirds fell apart in the summer of 1968, Page was left with rights to the group's name and a string of concert obligations. He enlisted John Paul Jones, who had done session work with the Rolling Stones, Herman's Hermits, Lulu, Dusty Springfield, and Shirley Bassey. Page and Jones had first met, jammed together, and discussed forming a group when both were hired to back Donovan on his <i>Hurdy Gurdy Man</i> LP. Page had hoped to complete the group with drummer B.J. Wilson of Procol Harum and singer Terry Reid. Neither was available, but Reid recommended Plant, who in turn suggested Bonham, drummer for his old Birmingham group, Band of Joy. The four first played together as the session group behind P.J. Proby on his <i>Three Week Hero</i>. In October 1968 they embarked on a tour of Scandinavia under the name the New Yardbirds. Upon their return to England they recorded their debut album in 30 hours.<br><br>
Adopting the name Led Zeppelin (allegedly coined by Keith Moon), they toured the U.S. in early 1969, opening for Vanilla Fudge. Their first album was released in February; within two months it had reached <i>Billboard's</i> Top 10. <i>Led Zeppelin II</i> reached Number One two months after its release, and since then every album of new material has gone platinum; five of the group's LPs have reached Number One. After touring almost incessantly during its first two years together, Zeppelin began limiting its appearances to alternating years. The band's 1973 U.S. tour broke box-office records throughout the country (many of which had been set by the Beatles), and by 1975 its immense ticket and album sales had made Led Zeppelin the most popular rock & roll group in the world. In 1974 the quartet established its own label, Swan Song. The label's first release was <i>Physical Graffiti</i> (Number One, 1975), the band's first double-album set, which sold 4 million copies.<br><br>
On August 4, 1975, Plant and his family were seriously injured in a car crash while vacationing on the Greek island of Rhodes. As a result, the group toured even less frequently. That and speculation among fans that supernatural forces may have come into play also heightened the Zeppelin mystique. (Plant believed in psychic phenomena, and Page, whose interest in the occult was well known, once resided in Boleskine House, the former home of infamous satanist Aleister Crowley.)<br><br>
In 1976 Led Zeppelin released <i>Presence</i>, a 4-million seller. The group had just embarked on its U.S. tour when Plant's six-year-old son, Karac, died suddenly of a viral infection. The remainder of the tour was canceled, and the group took off the next year and a half. In late 1978 Plant, Page, Jones, and Bonham began work on <i>In Through the Out Door</i>, their last group effort. They had completed a brief European tour and were beginning to rehearse for a U.S. tour when, on September 25, 1980, Bonham died at Page's home of what was described as asphyxiation; he had inhaled his own vomit after having consumed alcohol and fallen asleep. On December 4, 1980, Page, Plant, and Jones released a cryptic statement to the effect that they could no longer continue as they were. Soon thereafter it was rumored that Plant and Page were going to form a band called XYZ (ex-Yes and Zeppelin) with Alan White and Chris Squire of Yes; the group never materialized. In 1982 Zeppelin released <i>Coda</i> (Number Six, 1982), a collection of early recordings and outtakes.<br><br>
Plant and Page each pursued solo careers [see entries]. Jones released a soundtrack album, <i>Scream for Help</i>, in 1986, and has worked in production. The remaining members of Zeppelin have reunited three times. They played in 1985 at Live Aid (with Phil Collins and Tony Thompson on drums), and in May 1988 (with John Bonham's son, Jason, on drums) at the Atlantic Records 40th-anniversary celebration at New York's Madison Square Garden. They also performed at Jason Bonham's wedding. Zeppelin's concert movie, <i>The Song Remains the Same</i> (originally released in 1976), is still a staple of midnight shows around the country, and Zeppelin tunes like "Stairway to Heaven," "Kashmir," "Communication Breakdown," "Whole Lotta Love," and "No Quarter" are still in heavy rotation on classic-rock radio playlists. In 1990 a St. Petersburg, Florida, station kicked off its all-Zeppelin format by playing "Stairway to Heaven" for 24 hours straight. (Less than two weeks later, the station had expanded its playlist to include Pink Floyd.)<br><br>
In fall 1994 Page and Plant participated in the <i>No Quarter</i> album, which they followed up with a new 1998 studio effort, <i>Walking Into Clarksdale</i>. Jones, who was not invited to join them, was by then working and touring with Diamanda Galás, with whom he recorded 1994's <i>The Sporting Life</i>. In 1997 a live-in-the-studio collection of Zeppelin's BBC radio sessions peaked at Number 12 and went platinum. In 1999 the recording industry announced that the band was only the third act in music history to achieve four or more diamond-certified albums, signifying sales of 10 million copies. <br><br>
In recent years, Page has become the group's unofficial archivist, and in 2003 he oversaw the release of two best-selling live-show collections: The three-disc album <i>How The West Was Won</i> (Number One) and the DVD set <i>Led Zeppelin</i>. He then turned his attention to <i>The Song Remains the Same</i>, expanding both the film and its soundtrack for a November 2007 re-release, which was accompanied by yet another best-of collection, <i>Mothership</i> (Number Seven).
<br><br>
The slew of vintage-Zeppelin material was merely a prelude for a long-rumored reunion, which finally occurred on December 10th, 2007, at a London concert in honor of Atlantic Records co-founder Ahmet Ertegün. With Jason Bonham on drums, the band performed 16 songs, including "Good Times Bad Times," "Kashmir" and "No Quarter." Both Page and Plant have hinted that more reunion shows—and possibly even a worldwide tour—may be in the works.
<br><br>
<i>Updated from The Rolling Stone Encyclopedia of Rock & Roll (Simon & Schuster, 2001)</i>
]]></description>
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<title>The Outlaws</title>
<link>http://www.rhapsody.com/goto?rcid=art.42890&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Southern Rock</category>
<pubDate>Fri, 13 Nov 2009 12:37:25 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Outlaws</rhap:artist>
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<description><![CDATA[Long of hair and many of mustaches, the Outlaws were one of the many bands fighting the good fight for good ol' boy rock in the '70s. The Florida-based group added a dash of Eagles-style sheen to their heady brew and managed to squeak into the Top-40 in 1975 with "There Goes Another Love Song." Even armed with the occasional triple-lead guitar threat, the group were never able to make a distinctive dent in the more notable big-rigs of Southern Rock. This doesn't mean that the Outlaws were without their fans, for there are plenty who swear by Hughie Thomasson's down-home licks and many people claim that "you had to be there" for one of their live shows in the '70s. As it stands, their recorded legacy is one less of gritty immediacy and more of by-the-books twangy guitars and harmonies.]]></description>
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<title>Ozark Mountain Daredevils</title>
<link>http://www.rhapsody.com/goto?rcid=art.69263&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Country Rock</category>
<pubDate>Fri, 13 Nov 2009 12:37:26 -0800</pubDate>
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<rhap:artist xmlns:rhap="rhap">Ozark Mountain Daredevils</rhap:artist>
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<description><![CDATA[Ozark Mountain Daredevils' smooth country rock hooks and danceable, Southern Rock boogie rhythms put them in the same boat as The Eagles and Pure Prairie League. Their well written and executed material earned them fans beyond their loyal core following of stick whittlers and frosted hair groupies that found an anthem in the punchline to '70s laid-back party song "If You Want to Get to Heaven". That is, "you've got to raise a little hell."
- Eric Shea]]></description>
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<title>Faces</title>
<link>http://www.rhapsody.com/goto?rcid=art.60983&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Boogie Rock</category>
<pubDate>Thu, 26 Nov 2009 11:27:12 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Faces</rhap:artist>
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<description><![CDATA[When Steve Marriott left the Small Faces to form Humble Pie with Peter Frampton in 1969, the remaining members (Ian MacLagan, Ronnie Lane and Kenny Jones) enlisted the singing talents of up-and-comer Rod Stewart and the guitar chops of Ronnie Wood, both freshly swiped from the Jeff Beck Group. The revamped lineup, dubbed the Faces, was in fact an entirely different band. Embracing the sloppy, drunken r 'n' r that the Stones had brought into vogue, the Faces cut four excellent records before collapsing as a result of their own good times. The band was a huge success in England, but only managed to crack the U.S. Charts once, with the still-popular "Stay With Me," a raucous rock and roll blueprint of a song. While still in the Faces, Stewart became a sensation as a solo artist, releasing his own smash hit records concurrently with the Faces output. The Faces' music is among the most essential of the 1970s, and anyone who's into the Stones, guitars, drums, singing, breathing, living, you name it, should listen to any of their studio records. By way of modern comparisons, basically everything the Black Crowes do well can be traced directly back to the Faces.
- Mike McGuirk]]></description>
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<title>Edgar Winter</title>
<link>http://www.rhapsody.com/goto?rcid=art.6124&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Classic Rock</category>
<pubDate>Wed, 25 Nov 2009 11:49:37 -0800</pubDate>
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<rhap:artist xmlns:rhap="rhap">Edgar Winter</rhap:artist>
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<description><![CDATA[Edgar Winter is that Texas musican who studied the blues and had a famous ukulele playing brother named Johnny. Before starting the Edgar Winter Group in 1972, he played in Johnny and the Jammers (alongside his brother), the Crystaliers, and a band called the Black Plague. In 1973, Rick "Rock And Roll Hoochie Koo" Derringer produced Winter's <i>They Only Come Out at Night</i>, an album which, though his only commercial success, climbed its way to number three on the charts. It included the Funk-boogie instrumental hit "Frankenstein," as well as the bell-bottomed rock anthem "Free Ride."
- Eric Shea]]></description>
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<title>Savoy Brown</title>
<link>http://www.rhapsody.com/goto?rcid=art.2115&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Blues &amp; Boogie Rock</category>
<pubDate>Sun, 13 Sep 2009 09:19:53 -0700</pubDate>
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<rhap:artist xmlns:rhap="rhap">Savoy Brown</rhap:artist>
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<description><![CDATA[One of the few bands from the '60s still doing today what they did when they began. An English rhythm and blues band that debuted in '67, Savoy Brown always found more of an audience with the American crowd, who rarely turn down Boogie Rock of any kind. Their swampy blues style peaked in the early '70s, but they've continued their exploration of Electric Blues by releasing a record at least every other year. It's also notable that lead singer Chris Youlden enjoyed wearing a monocle and a bowler hat.
- Jon Pruett]]></description>
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<title>Humble Pie</title>
<link>http://www.rhapsody.com/goto?rcid=art.5812&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Boogie Rock</category>
<pubDate>Fri, 13 Nov 2009 12:38:31 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Humble Pie</rhap:artist>
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<description><![CDATA[Founded by former Small Faces leader Steve Marriott and future superstar Peter Frampton, Humble Pie stomped through the early '70s with a heavy brand of boogie and Blues Rock. It didn't hurt that Marriott had one of the finest white soul voices to ever grace the world of rock. These recordings at the Winterland find the Pie sweating and strutting in their prime.
- Jon Pruett]]></description>
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<title>John Mayall and the Bluesbreakers</title>
<link>http://www.rhapsody.com/goto?rcid=art.5301916&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Blues &amp; Boogie Rock</category>
<pubDate>Sat, 17 Oct 2009 12:40:21 -0700</pubDate>
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<description><![CDATA[Mayall has been brewing up his own version of the blues for more than forty years along with a shifting lineup of Bluesbreakers. Mayall is a multi-instrumentalist and distinctive vocalist with a keening tenor who has always tried to find his own place within the blues idiom. His backup band, the Bluesbreakers, have included a veritable who's-who of musicians, including three of the best guitarists to come out of Great Britain: Eric Clapton, Peter Green, and Mick Taylor -- not to mention the legendary rhythm section of Mick Fleetwood and John McVeigh. Over the course of his career, Mayall has experimented with Acoustic Blues, Chicago Blues, Jazz Blues, and just about every other hyphenated blues hybrid imaginable.
- Mike McGuirk]]></description>
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<title>Wet Willie</title>
<link>http://www.rhapsody.com/goto?rcid=art.991&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Southern Rock</category>
<pubDate>Thu, 26 Nov 2009 11:27:21 -0800</pubDate>
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<rhap:artist xmlns:rhap="rhap">Wet Willie</rhap:artist>
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<description><![CDATA[They had one of the dumbest band names ever, and they probably take up more space in flea market clearance bins than any other band -- two awfully big strikes against them, but if you can set aside your reservations, you'll find that Wet Willie made some pretty decent music. The one song you probably know them for is the AM gem "Keep on Smilin'," a vaguely Caribbean Muscle Shoals ditty that well demonstrated the band's agility. What other band glided so effortlessly between swampy blues, white soul and jammy rebel rock? Alright, <I>besides</I> the Allman Brothers.
- Chad Driscoll]]></description>
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<title>Saxon</title>
<link>http://www.rhapsody.com/goto?rcid=art.4846&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>New Wave of British Heavy Metal</category>
<pubDate>Wed, 16 Sep 2009 12:51:41 -0700</pubDate>
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<rhap:artist xmlns:rhap="rhap">Saxon</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.4846&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Formed in the South Yorkshire industrial town of Barnsley , just as punk was conquering England in 1977, Saxon wore their lack of fashion as a biker badge from the beginning. By 1981, they were rivaling Iron Maiden and Def Leppard for head of the grassroots New Wave of British Heavy Metal class, and they even named an album <i>Denim and Leather</i>. They'd started out steeped in '70s pomp and blooze, but soon were streamlining their approach to the level of sometime-tourmates Motorhead. On 1980's <i>Wheels of Steel</i> (which beat Grandmaster Flash to that phrase by a year), anthems like "Machine Gun" and "Motorcycle Man" anticipated thrash tempos to come. Still, though stars at home, Saxon didn't even dent the U.S. until their sixth album, in 1983; the highest they ever climbed on the charts was an unstaggering No. 130 with 1985's widely maligned <i>Innocence Is No Excuse</i>. By then, they were slicking up in an apparent attempt to keep up with the poodle-haired hordes crossing over to MTV, not that MTV cared. But Saxon kept plugging away with shifting lineups regardless; their 2009 album, <i>Into the Labyrinth</i>, is as respectable an effort as you could ask for from such geezers.
- Chuck Eddy]]></description>
</item><item>
<title>The Tractors</title>
<link>http://www.rhapsody.com/goto?rcid=art.8685&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Americana</category>
<pubDate>Sun, 1 Nov 2009 12:39:34 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.8685</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">The Tractors</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.8685</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.8685&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.8685&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Rootsy Country Rock from a Tulsa-based outfit that heaps the boogie high. Their slick but uncommonly hip sound is the distillation of the expertise and experience of one-time Nashville studio mainstays. A refreshing disinterest in commercial success has led them to release a tongue-in-cheek holiday record and even a Playstation video game soundtrack. With funky-fat horns, a chooglin' rhythm section, and the drawling growl of lead singer Casey VanBeek, the Tractors kick out barn-burnin' tunes that shake, shimmy, and leave a greasy film on your tongue.
- Eric Shea]]></description>
</item><item>
<title>Status Quo</title>
<link>http://www.rhapsody.com/goto?rcid=art.1338&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Boogie Rock</category>
<pubDate>Tue, 6 Oct 2009 09:54:04 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.1338</guid>
<rhap:rcid xmlns:rhap="rhap">art.1338</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Status Quo</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.1338</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.1338&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.1338&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Quick, name the band: It's placed 30 albums in the British Top 20 (including four No. 1's) since 1972, but only hit the U.S. album chart once, with a record that peaked at No. 148 in 1976. It's also scored over 60 hit singles in England -- reportedly more than any other rock band -- yet it hasn't reached the U.S. singles chart for over four decades, despite continuing to make records. The only possible answer is Status Quo, known in the U.S. almost exclusively for the single "Pictures of Matchstick Men," which went to No. 12 in 1968. That classic's been covered by everyone from Camper Van Beethoven to Ozzy Osbourne, and its riff has been swiped by thousands. But by the early '70s, Status Quo had given up twee psych-pop for a pile-driving biker-boogie trudge that would serve them well for the next several generations and for scores of largely interchangeable but reliably songful albums beloved by Brits and ignored by Americans. If you need a U.S. parallel, think ZZ Top. But even ZZ didn't have a chart-topping single in their homeland -- and certainly not one where they collaborated with a soccer team, as the Quo did with Manchester United in 1994's "Come on You Reds."
- Chuck Eddy]]></description>
</item><item>
<title>Black Oak Arkansas</title>
<link>http://www.rhapsody.com/goto?rcid=art.5389&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Southern Rock</category>
<pubDate>Thu, 19 Nov 2009 15:23:05 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.5389</guid>
<rhap:rcid xmlns:rhap="rhap">art.5389</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Black Oak Arkansas</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.5389</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.5389&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.5389&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[These boys take their southern-fried rock 'n' roll very seriously. Like John Fogerty, they wrote a lot about swamps and bogs and dirt and stuff, but unlike Creedence Clearwater Revival's trademark 'choogle,' Black Oak's backwoods beat is a Hard Rock country boogie with Glam rock undertones and lots of hillbilly testosterone. Go Jim Dandy!
- Eric Shea]]></description>
</item><item>
<title>Hanoi Rocks</title>
<link>http://www.rhapsody.com/goto?rcid=art.3485&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Pop Metal</category>
<pubDate>Fri, 29 May 2009 09:34:12 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.3485</guid>
<rhap:rcid xmlns:rhap="rhap">art.3485</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Hanoi Rocks</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.3485</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.3485&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.3485&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>Cactus</title>
<link>http://www.rhapsody.com/goto?rcid=art.10219&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Hard Rock</category>
<pubDate>Sat, 28 Nov 2009 09:38:33 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.10219</guid>
<rhap:rcid xmlns:rhap="rhap">art.10219</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Cactus</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.10219</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.10219&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.10219&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Best remembered for two songs: a frenzied, speed-orgy take on Bukka White's
"Parchman Farm" and a punishingly heavy cover of Howlin' Wolf's "Evil"
released in 1970 and 1971, respectively. Formed by Vanilla Fudge's legendary
rhythm section, bassist Tim Bogert and drummer Carmine Appice, the band was
supposed to feature Jeff Beck and rising star singer Rod Stewart as well.
Unfortunately for Bogert and Appice (and the rest of us, really) Beck and
Stewart never came through (Beck was in a car accident and Rod joined
the Faces) and the band was completed by ex-Detroit Wheels guitarist Jim
McCarty and ex-Amboy Dukes singer Rusty Day. Given what could have been and
what actually did happen, Cactus was, for a long time, considered some kind of
failure. But with bands like Drunk Horse, Parchman Farm and Pearls And
Brass, among others, trolling the riff-heavy hard rock of the early '70s
today, and a closer look at the band's better-than-received albums, Cactus
ends up an essential link in the heavy rock chain.
- Mike McGuirk]]></description>
</item><item>
<title>Brownsville Station</title>
<link>http://www.rhapsody.com/goto?rcid=art.3780&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Boogie Rock</category>
<pubDate>Sat, 28 Nov 2009 09:38:24 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.3780</guid>
<rhap:rcid xmlns:rhap="rhap">art.3780</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Brownsville Station</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.3780</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.3780&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.3780&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>Grayson Capps</title>
<link>http://www.rhapsody.com/goto?rcid=art.8913174&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Roots</category>
<pubDate>Wed, 25 Nov 2009 11:50:04 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.8913174</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Grayson Capps</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.8913174</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.8913174&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.8913174&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>The Count Bishops</title>
<link>http://www.rhapsody.com/goto?rcid=art.46473&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Pub Rock</category>
<pubDate>Sun, 3 May 2009 08:33:49 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.46473</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">The Count Bishops</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.46473</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.46473&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.46473&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>Cry Of Love</title>
<link>http://www.rhapsody.com/goto?rcid=art.21053&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Southern Rock</category>
<pubDate>Fri, 29 May 2009 09:34:52 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.21053</guid>
<rhap:rcid xmlns:rhap="rhap">art.21053</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Cry Of Love</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.21053</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.21053&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.21053&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>Atomic Rooster</title>
<link>http://www.rhapsody.com/goto?rcid=art.45192&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Art &amp; Progressive Rock</category>
<pubDate>Fri, 13 Nov 2009 12:38:30 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.45192</guid>
<rhap:rcid xmlns:rhap="rhap">art.45192</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Atomic Rooster</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.45192</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.45192&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.45192&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Mythically organ-driven, early '70s Brit sludge monsters merged metal, prog-rock and funky soul in ways Vernon Reid can only dream about. Fun fact: best song title, though not their best song, is "A Spoonful of Bromide Helps the Pulse Rate Go Down." Highly recommended: <I>Heavy Soul</I>]]></description>
</item><item>
<title>Stacie Collins</title>
<link>http://www.rhapsody.com/goto?rcid=art.24410977&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Rockabilly</category>
<pubDate>Sun, 24 May 2009 09:02:16 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.24410977</guid>
<rhap:rcid xmlns:rhap="rhap">art.24410977</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Stacie Collins</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.24410977</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.24410977&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.24410977&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[This Cali-via-Nashville gal excels at rockabilly; dabbles in blues, boogie-woogie, Jerry Lee and Hank Williams-type hiccups; and includes a couple slow weepers as well, all on a shoestring production budget. Ex-Georgia Satellite Dan Baird leads her kicking band, and you can tell.]]></description>
</item><item>
<title>G.E. Smith</title>
<link>http://www.rhapsody.com/goto?rcid=art.5564&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Instrumental Guitar Rock</category>
<pubDate>Thu, 22 Oct 2009 13:23:55 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.5564</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">G.E. Smith</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.5564</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.5564&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.5564&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[We all remember the facial distortions of this guitar master from the days when he was musical director on &#8220;Saturday Night Live.&#8221; His guitar distortions and bluesy vamps are just as distinct. In the past, he&#8217;s jammed with the likes of Mick Jagger and Bob Dylan. Here, he&#8217;s joined by a crackjack rhythm section consisting of Paul Ossoia, Steve Holly, and T-Bone Wolk. Always keep a T-Bone around, Roots Rockers! Smith has the grace to let his band shine as much as he, the piano player, dazzles on "Tonight We Shake."
- Nick Dedina]]></description>
</item><item>
<title>Southern Gentlemen</title>
<link>http://www.rhapsody.com/goto?rcid=art.35050&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Boogie Rock</category>
<pubDate>Tue, 28 Jul 2009 15:14:26 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.35050</guid>
<rhap:rcid xmlns:rhap="rhap">art.35050</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Southern Gentlemen</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.35050</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.35050&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.35050&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>Rich Robinson</title>
<link>http://www.rhapsody.com/goto?rcid=art.6438734&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Southern Rock</category>
<pubDate>Fri, 23 Oct 2009 16:26:00 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.6438734</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Rich Robinson</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.6438734&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.6438734&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>Lowell George</title>
<link>http://www.rhapsody.com/goto?rcid=art.9802&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Boogie Rock</category>
<pubDate>Sat, 17 Oct 2009 12:39:53 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.9802</guid>
<rhap:rcid xmlns:rhap="rhap">art.9802</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Lowell George</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.9802</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.9802&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.9802&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>Leslie West</title>
<link>http://www.rhapsody.com/goto?rcid=art.13512&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Hard Rock</category>
<pubDate>Fri, 13 Nov 2009 12:39:23 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.13512</guid>
<rhap:rcid xmlns:rhap="rhap">art.13512</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Leslie West</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.13512</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.13512&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.13512&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Leslie West, former member of the Vagrants and the more popular Mountain, gets it on with loud guitars and the ever-necessary cowbell. For those of you who think he hasn't made anything as rocking as "Mississippi Queen" since that classic track was recorded, shut up and listen. The grit beneath the fingernails of his songs takes life and barks at you as if he were all four original members of KISS rolled up into one big-ass sonic plate of grits and cheese.
- Eric Shea]]></description>
</item><item>
<title>Pacific Gas &amp; Electric</title>
<link>http://www.rhapsody.com/goto?rcid=art.50635&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Blues &amp; Boogie Rock</category>
<pubDate>Mon, 26 Oct 2009 13:50:48 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.50635</guid>
<rhap:rcid xmlns:rhap="rhap">art.50635</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Pacific Gas &amp; Electric</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.50635</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.50635&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.50635&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>The Belmont Playboys</title>
<link>http://www.rhapsody.com/goto?rcid=art.5229643&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Rockabilly Revival</category>
<pubDate>Fri, 27 Mar 2009 11:28:42 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.5229643</guid>
<rhap:rcid xmlns:rhap="rhap">art.5229643</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">The Belmont Playboys</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.5229643</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.5229643&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.5229643&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[This North Carolina band plays a ferocious brand of the rockabillly. The sound quality of these live recordings is excellent.]]></description>
</item><item>
<title>Sunchild</title>
<link>http://www.rhapsody.com/goto?rcid=art.9182&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Southern Rock</category>
<pubDate>Fri, 13 Mar 2009 14:07:09 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.9182</guid>
<rhap:rcid xmlns:rhap="rhap">art.9182</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Sunchild</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.9182</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.9182&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.9182&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Covers of Van Morrison and the Stones with some boogie originals from a Southern Rock-damaged California band with a hankering for 1970s rock. While the music doesn't sound anything like the Pyramids, these guys make a claim to Surf rock with the membership of vocalist Donavon Frankenreiter -- a real, live, totally bitchin' pro surfer.
- Mike McGuirk]]></description>
</item><item>
<title>Akira</title>
<link>http://www.rhapsody.com/goto?rcid=art.10906133&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Boogie Rock</category>
<pubDate>Thu, 5 Nov 2009 12:40:53 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.10906133</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Akira</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.10906133</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.10906133&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.10906133&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>Murali Coryell</title>
<link>http://www.rhapsody.com/goto?rcid=art.7317&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Blues &amp; Boogie Rock</category>
<pubDate>Sat, 14 Feb 2009 13:01:09 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Murali Coryell</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.7317</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.7317&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.7317&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Murali is the son of jazz legend Larry Coryell. His own work is squarely in the Blues-Rock vein and works as a showcase for his searing vocal and axe work.
- Nick Dedina]]></description>
</item><item>
<title>Howlin' Maggie</title>
<link>http://www.rhapsody.com/goto?rcid=art.7195&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Boogie Rock</category>
<pubDate>Fri, 10 Jul 2009 12:19:25 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.7195</guid>
<rhap:rcid xmlns:rhap="rhap">art.7195</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Howlin' Maggie</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.7195</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.7195&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.7195&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Columbus, Ohio band fronted by ex-Royal Crescent Mob bassist Happy Chichester plays radio-ready alternative fare with liberal doses of Funk and R&B.
- Rosemary Pepper]]></description>
</item><item>
<title>Jimmy Page and Robert Plant</title>
<link>http://www.rhapsody.com/goto?rcid=art.16466&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Classic Rock</category>
<pubDate>Thu, 2 Jul 2009 13:47:55 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.16466</guid>
<rhap:rcid xmlns:rhap="rhap">art.16466</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Jimmy Page and Robert Plant</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.16466</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.16466&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.16466&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Jimmy Page and Robert Plant are as notorious for the music they made together as they are for their rock star antics. Ex-Yarbirds guitarist Page and then 20-year-old singer Plant first started working together in the seminal rock band Led Zeppelin in 1968. Together with bassist John Paul Jones and drummer John Bonham, the band became the most popular rock band in the world in a little over seven years, selling over 50 million albums in the days before the Internet and MTV. Around the same time, rumors also started to spin of the band misbehaving with groupies, trashing hotel rooms and calling themselves golden gods. The dream ended when Led Zeppelin broke up in 1980, but Page and Plant have remained on the music scene, for better (Plant's solo recordings) or for worse (Page's collaboration with Whitesnake's David Coverdale). Before Page started reworking Zeppelin tunes with the Black Crowes, he and Plant reunited in 1994 to rehash their old gems on "No Quarter," go on a blaze of glory tour, and release an original album "Walking Into Clarksdale."
- Jennifer Maerz]]></description>
</item><item>
<title>Danny James</title>
<link>http://www.rhapsody.com/goto?rcid=art.48511&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Boogie Rock</category>
<pubDate>Wed, 13 Aug 2008 09:31:23 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.48511</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Danny James</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.48511</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.48511&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.48511&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>Bootleg</title>
<link>http://www.rhapsody.com/goto?rcid=art.435&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Adult Alternative</category>
<pubDate>Sat, 5 Sep 2009 11:20:37 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.435</guid>
<rhap:rcid xmlns:rhap="rhap">art.435</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Bootleg</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.435</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.435&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.435&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Filling the void in Adult Alternative, woman-fronted Jam Rock, Bootleg provides the blues/R&B version. Slightly jangly guitars, bluesy vocals, and some tamborine for hip shakin'.
- Chris Slater]]></description>
</item><item>
<title>The Fugitives</title>
<link>http://www.rhapsody.com/goto?rcid=art.44157&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Boogie Rock</category>
<pubDate>Fri, 26 Sep 2008 12:57:09 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.44157</guid>
<rhap:rcid xmlns:rhap="rhap">art.44157</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">The Fugitives</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.44157</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.44157&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.44157&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Grungy, swampy Blues Rock with nasal, growling vocals. Howling guitars, riffing horns, and a pounding Bo Diddley beat make the Fugitives ideal jukebox material at most any biker bar.
- Noah Enelow]]></description>
</item><item>
<title>Raging Slab</title>
<link>http://www.rhapsody.com/goto?rcid=art.7864&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Boogie Rock</category>
<pubDate>Fri, 5 Jun 2009 08:54:48 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.7864</guid>
<rhap:rcid xmlns:rhap="rhap">art.7864</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Raging Slab</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.7864</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.7864&amp;variant=play&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.7864&amp;variant=data&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>Kingfish</title>
<link>http://www.rhapsody.com/goto?rcid=art.8996&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss</link>
<category>Boogie Rock</category>
<pubDate>Thu, 22 Oct 2009 13:23:52 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=357&amp;rws=%2Frock-pop%2Fblues-boogie-rock%2Fboogie-rock%2Fartist-chart.rss">Top Boogie Rock Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.8996</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Kingfish</rhap:artist>
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<description><![CDATA[Originally conceived as a side project for Bob Weir, Kingfish specialize in reworking oldie rock 'n' roll tunes and country standards. The indelible mark of the Dead is all over the stuff, with sub-down-tempo versions of once-lively Chuck Berry numbers and Weir's unmistakeable head-waggling vocal delivery. These live recordings provide some excitement with a deep-in-the-pocket rhythm section, meaty harmonicas and some un-Dead guitar shredding.
- Mike McGuirk]]></description>
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