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<title>Top AOR Artists on Rhapsody Online</title><link>http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link><description>Top AOR Artists on Rhapsody Online</description><category>AOR</category><language>en</language><ttl>720</ttl><pubDate>Fri, 4 Dec 2009 20:33:45 -0800</pubDate><image>
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<title>Top AOR Artists on Rhapsody Online</title>
<link>http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
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<title>Journey</title>
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<category>AOR</category>
<pubDate>Thu, 3 Dec 2009 22:53:07 -0800</pubDate>
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<description><![CDATA[For the generation that grew up during the Reagan Era, Journey will always be associated with the sweaty palms and stomach-churning anticipation of grade school dances. Orgasmically dramatic break-up songs employed pulsating synthesizers, massive guitars, and innumerable vocal tracks backing up Steve Perry's pleading falsetto. With this astonishingly successful formula, Journey defined the blow-dried power-ballad that ruled '80s FM radio. After a long hiatus, Journey reformed in 1996, releasing a single and going on a reunion tour. In the early 2000s, minus original singer Steve Perry, Neal Schon and company went back into the studio and began recording new material, which produced <I>Arrival</I> in 2001 and <I> Generations</I> in 2005.
- Mike McGuirk]]></description>
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<title>Tom Petty</title>
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<category>Classic Rock</category>
<pubDate>Thu, 3 Dec 2009 22:53:20 -0800</pubDate>
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<description><![CDATA["The weak ones fall, the strong carry on." When Tom Petty offers those words on "Straight into Darkness," he may as well be singing about his career, which has produced a steady output of punchy power pop that's made him an impervious fixture in American music. Petty first made the scene in the '70s with his Heartbreakers, offering tales of blue-collar outsider love that employed the Byrds' sunny 12-sting sonance to achieve an indubitably apple pie aftertaste; it all began, appropriately, with the Top 40 triumph of "American Girl." Petty's third record, <i>Damn the Torpedoes</i>, cemented his staying power, and by capitalizing on the MTV revolution with brilliant videos, it made his dour smirk iconic. More than any other quality, though, it's Petty's reliability that has made him so enduring; there's hardly a misfire among his three decades of quality album-oriented songwriting. As if these records don't speak for themselves, Petty's membership in rock 'n' roll's paramount old boys club, the Traveling Wilburys (alongside Bob Dylan, Jeff Lynn, George Harrison and Roy Orbison), demonstrated his towering status as a long-lasting hero of American rock's middle generation.
- Nate Cavalieri]]></description>
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<title>Bon Jovi</title>
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<category>Pop Metal</category>
<pubDate>Fri, 4 Dec 2009 13:20:26 -0800</pubDate>
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<description><![CDATA[Eternally topping the A-list of Jersey-bred pop-metal lady-killers, Bon Jovi dominated American life in the mid-'80s. Their third album, 1986's <i>Slippery When Wet</i> (original, tragically banned cover art = awesome), made them megastars, but they had already won over more than 50,000 pop Hessians with 1984's "Runaway," a melodramatic story-song made unforgettable by a killer chorus and Jon Bon Jovi's absolutely perfect hair in the video. A string of hits between 1986 and 1988 -- "You Give Love a Bad Name," "Livin' on a Prayer" and "Wanted Dead or Alive," followed up by "Bad Medicine" and "Lay Your Hands on Me," from <i>New Jersey</i> -- defined the power ballad and resulted in a virtual Bon Jovi sleeper hold on the mainstream psyche. While the grunge explosion rendered them instantly obsolete, Bon Jovi continued to put out records amid side projects for both Jon and guitarist Richie Sambora. In 2000 they returned with <i>Crush</i>, an updated look (no hairspray) and a single that stands today as one of the best on their roster, the soaring "It's My Life." A creative resurgence has since resulted in steady releases, the most recent of which, <i>Lost Highway</i>, appeared in 2007.
- Mike McGuirk]]></description>
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<title>Styx</title>
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<category>AOR</category>
<pubDate>Sat, 28 Nov 2009 09:38:23 -0800</pubDate>
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<description><![CDATA[Who exactly was Mr. Roboto, and did he understand Japanese? Why was the Renegade sentenced to hang? How come Paradise Theatre went out of business? Was Tommy Shaw a boy or a girl? Were there really enough admitted fans for a reunion? And who in the name of Desert Moon was Kilroy, anyway? These are all unanswered mysteries, and to a large extent Styx remain a mystery as well. They were one of the biggest stadium-packing progressive rock/arena rock bands of the '70s, with a maniacal cult following, concept albums, and even a concept video/short film for their synth-laden <i>Kilroy Was Here</i>. Their epic songs and Rock Opera sensationalism, as well as the elastic falsetto singing of Dennis DeYoung and androgynous charisma of Tommy Shaw, gave Styx an odd hit-or-miss chemistry that overwhelming amounts of music listeners either didn't understand, or to which they completely identified.
- Charles Hodgkins]]></description>
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<title>John Mellencamp</title>
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<category>AOR</category>
<pubDate>Fri, 4 Dec 2009 13:20:24 -0800</pubDate>
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<description><![CDATA[Long before Prince decided he had it with his regal name, Mellencamp was the original "artist formerly known as." He started his career with the record label-chosen moniker Johnny Cougar before his success allowed him to return to his family name. Early in his career he could have gone by Bruce or Bob, since his first recordings sounded more like Springsteen or Seger than something original. It wasn't until he produced a bushelful of radio hits before he started to mine a territory that was uniquely his own. Mixing '50s rock with more than hint of the blues, soul and R&B, Mellencamp's middle career records stand out not only for music maturity, but also because of his direct populist voice. Starting with 1983's<I>Uh-huh</I>, building with <I>Scarecrow</I> and then becoming fully realized with 1987's <I>The Lonesome Jubilee,</I> Mellencamp told stories of those on the fringes. While perhaps not as subtle as others, Mellencamp's message that all was not well in Regan's America powered him to the top of the charts and into political consciousness. In 1985, along with Willie Nelson and Neil Young, Mellencamp helped found the Farm Aid concert series that provides financial assistance to struggling farmers.]]></description>
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<title>Bryan Adams</title>
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<category>Adult Contemporary</category>
<pubDate>Mon, 30 Nov 2009 10:00:40 -0800</pubDate>
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<description><![CDATA[With his sandy vocals and blue-collar songwriting skills, crafty Canadian hitmaker Bryan Adams' pop-friendly take on rock 'n' roll basics found a niche that lasted through much of the 1980s and into the early '90s. Just about anyone who turned on a radio during those years will remember songs like "Cuts Like a Knife," "Summer of '69," and "Run to You." He remains active today, working the ballad territory that yielded the 1991 mega-hit "(Everything I Do) I Do It for You."
- Will York]]></description>
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<title>Electric Light Orchestra</title>
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<category>Classic Rock</category>
<pubDate>Thu, 3 Dec 2009 22:53:33 -0800</pubDate>
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<description><![CDATA[No band better represents the pros and cons of overproduction than ELO. In an era of excess, ELO had no equal for sheer audio opulence. Singer Jeff Lynne frosted his voice in so many coatings of studio sugar that it hardly sounded natural. Singing at the helium-huffing apex of the human voice, he dusted off notes not heard since cherubs gamboled in mythological clouds. Bringing in entire symphonies for heart-fluttering arpeggios on fairy-dusted strings, the band's songs fill the air like mirage waves of sound so glossy, you can almost see your reflection in them. "Can't Get It Out of My Head" and "Telephone Line" roll gently along like long, lonesome walks on the beach while the Disco/rock hybrids "Turn to Stone" and "Livin' Thing" still set the mood for fans working on their night moves. It's just physiologically impossible not to get high from inhaling so much production varnish. For some, it will cause euphoria -- for others, altitude sickness.
- Mike McGuirk]]></description>
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<title>The Doobie Brothers</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 Doobie Brothers' Soul-infused Boogie Rock dominated the airwaves throughout the 1970s, and even today such songs as "China Grove" and "Black Water" enjoy round-the-clock rotation on both Oldies and Classic Rock stations. To some, their patented, fake-funk formula sapped rock 'n' roll music of all its vitality, and their music personifies the bland AOR stylings of the '70s. Nevertheless, the Doobie Brothers were able musicians and showed remarkable talent with group harmonies. Most notable were the vocals of keyboardist Michael MacDonald, who went on to experience fame as a solo artist in the '80s.
- Mike McGuirk]]></description>
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<title>Foreigner</title>
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<category>AOR</category>
<pubDate>Sun, 15 Nov 2009 11:03:36 -0800</pubDate>
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<description><![CDATA[From 1977 to 1982, Foreigner was a hit-making machine, selling a bazillion records while creating power ballads and shiny hard rock tunes that may forever live in our collective consciousness. Their most obvious counterpart is Journey -- both bands possessed overtly dramatic and distinctive lead vocalists, while also featuring guitar masterminds who played second fiddle to said singers. And like the boys from the Bay Area, Foreigner were on the track to the big bucks beginning with their eponymous debut
album, which featured the hit tracks "Feels Like the First Time" and "Cold As Ice." Straightforward classic rock was further refined on <I>Double Vision</I> (1978), while <I>Head Games</I> (1979) offered some welcome sleaze with the song "Dirty White Boy" and the silly, sexist album art. On <I>Agent Provocateur</I> (1984) the band dished out their most well-known power ballad, the gospel-ized "I Want to Know What Love Is." Singer Lou Gramm left the band to pursue a solo career shortly after but returned in 1992 and recorded the album <I>Mr. Moonlight</I>. Gramm left the band <I>again</I> in 2002 and a replacement was found for touring purposes only. By this time sole original member Mick Jones was surrounded by Jason Bonham, Kelly Hansen,
Jeff Jacobs, Jeff Pilson and Thom Gimbel.
- Will Lerner]]></description>
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<title>REO Speedwagon</title>
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<category>AOR</category>
<pubDate>Thu, 3 Dec 2009 22:53:12 -0800</pubDate>
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<description><![CDATA[From the late '70s through the 1980s, REO Speedwagon packed arenas with AOR fans who had big hearts for ballads and no taste for the harder side of rock. From the baby, I'm-yours-forever power punch of "Keep on Loving You" to the yank out the hankie and fly the red lighter angst of "Can't Fight This Feeling," REO took your lovelorn, your downtrodden, and your bad Supercuts hairdos and gave them all hope that New Wave would not steamroll all of '70s rock. "Roll With the Changes" and "Time for Me to Fly" took to the charts with the other vein of REO inspirations--more along the lines of pick yourself up by the jeans and do your own thing, man. In this new decade, the band picks themselves up out of Los Angeles very rarely, really only leaving their hometown to help die hard fans who can't fight the REO feeling anymore ring in the New Year in Vegas casinos.
- Jennifer Maerz]]></description>
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<title>Dire Straits</title>
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<category>Classic Rock</category>
<pubDate>Thu, 3 Dec 2009 22:55:29 -0800</pubDate>
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<description><![CDATA[Formed, somewhat anachronistically, in 1977 at the outset of the punk era, Dire Straits swam against the current with a brand of classic-rock revivalism piloted by Mark Knopfler's breezy vocals and elegantly tempered Fender Stratocaster. Their self-titled debut, moored by the single "Sultans of Swing," went to No. 2 on the Billboard pop charts, while <i>Making Movies</i>, from 1980, was universally applauded by critics. In 1982 <i>Love Over Gold</i> went to No. 1 in the U.K. without the aid of a big single, but it was <i>Brothers in Arms</i>, from 1985, that fixed Dire Straits in the firmament on the strength of the huge hits "Money for Nothing" and "Walk of Life." The album's release coincided with the advent of the compact disc; it became the format's first million-seller and won two Grammys and two BRIT awards. During the next 10 years, the band, whose original lineup included Mark's brother David Knopfler on rhythm guitar, John Illsley on bass and Ed Bicknell on drums, took extended leaves while Mark Knopfler concentrated on solo and soundtrack work, and they finally disbanded in 1995. But not before they produced one more No. 1 record in the U.K., 1991's <i>On Every Street</i>.
- Nate Baker]]></description>
</item><item>
<title>Boston</title>
<link>http://www.rhapsody.com/goto?rcid=art.39655&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>AOR</category>
<pubDate>Thu, 3 Dec 2009 22:53:07 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Boston</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.39655&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.39655&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[For every high school party that got busted up and relocated to a secret outdoor spot, Boston was there. And now Boston is here, right at your fingertips, with glassy, harmonic falsettos, analog and digital synths battling it out like Rock 'Em Sock 'Em Robots, and electric power chords that ring the bells of rock 'n' roll freedom to everyone's inner teenage rebel. Your nostalgic juices will start flowing as your fingers instinctively form the secret devil sign, and you will understand that yes, it really is more than a feeling.
- Eric Shea]]></description>
</item><item>
<title>Pat Benatar</title>
<link>http://www.rhapsody.com/goto?rcid=art.69231&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>AOR</category>
<pubDate>Sat, 28 Nov 2009 09:38:28 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Pat Benatar</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.69231</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.69231&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.69231&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Pat Benatar hit the late '70s rock scene like a teeth-and-spandex tornado. The original Long Island Lolita, Benatar was an impressive belter with a band that brought New Wave-tinged Power Pop to the American mainstream. While her first chart-toppers -- such as "Heartbreaker" and "Hit Me With Your Best Shot" -- remain her best, Benatar's popularity held strong through the mid-'80s, when she took on synth pop leanings. This direction, though popular, eventually made her original audience forget why they liked her music in the first place. The sultry <I>True Love</I> (1991) showed that classic R&B and urban blues are where her passion really lies, but she has since returned to rock instead of further exploring these genres. Joan Jett may be everyone's favorite riot grrrl godmother, but it was Benatar who first showed the general public that rock 'n' roll isn't just a man's world.
- Nick Dedina]]></description>
</item><item>
<title>Supertramp</title>
<link>http://www.rhapsody.com/goto?rcid=art.56717&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>AOR</category>
<pubDate>Thu, 3 Dec 2009 22:53:20 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Supertramp</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.56717</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.56717&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.56717&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Supertramp is best known for the string of hits they generated with their 1979 album <i>Breakfast In America</i>. With a foundation of snooty keyboards and simple guitars, they let Roger Hodgkins' falsetto vocals ride over the top and a new era of post-Moddy Blues Prog-pop was born. Such Classic Rock radio staples as "The Logical Song," "Take the Long Way Home" and "Goodbye Stranger" may not be the sort of rock music you get all worked up over but the songs are certainly fun to sing in the shower. The band was formed in 1969, when this rich Dutch guy gave his keyboard-twiddling friend Rick Davies a bunch of money to start the rock band of his dreams. Davies put an ad in the paper and Supertramp was born. Following a pair of somewhat pretentious records, Mr. Moneybags backed out and the group was forced to try and come up with a hit in order to keep working. The result was <i>Crime of the Century</i> which yielded the semi-heavy weirdo-gem "Bloody Well Right" and the blueprint for <i>Breakfast</i>, "Dreamer." In 1977 they met with more Chart success in the beginner-guitar must-learn "Give A Little Bit" before hitting the big time in 1979. Since the release and smash of <I>Breakfast</i> the group has continued to put out records but they have never matched its success either commericially or stylistically. They do however maintain a devoted following.]]></description>
</item><item>
<title>Huey Lewis and the News</title>
<link>http://www.rhapsody.com/goto?rcid=art.43043&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>AOR</category>
<pubDate>Thu, 3 Dec 2009 22:53:22 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.43043</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Huey Lewis and the News</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.43043</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.43043&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.43043&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Huey Lewis hit the charts with his best song "I Want A New Drug" in 1983 and went on to rule the rest of the decade. Aided by a disarmingly low-key attitude and strong music videos, the News had a string of big-selling albums and singles, but Lewis' main audience started raising families and stopped buying music in the 1990s. He went back to doing the rootsy bar rock that was always at the foundation of his work.
- Nick Dedina]]></description>
</item><item>
<title>Kansas</title>
<link>http://www.rhapsody.com/goto?rcid=art.5814&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>AOR</category>
<pubDate>Sun, 22 Nov 2009 10:09:53 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Kansas</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.5814</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.5814&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.5814&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Kansas blended U.K. Progressive Rock with American Folk-Rock and became one of the most popular bands of the 1970s as well as one of the most popular artists to still be played regularly on Classic Rock radio stations everywhere. Their stadium rock sound had many faces, but the most popular were the mathematical rock magic of "Carry on Wayward Son" and the sensitive and passionate acoustic folk pickings and harmonic inflections of "Dust in the Wind."]]></description>
</item><item>
<title>Toto</title>
<link>http://www.rhapsody.com/goto?rcid=art.198&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>AOR</category>
<pubDate>Thu, 3 Dec 2009 22:55:43 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Toto</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.198</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.198&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.198&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Although their carefully crafted lite rock would have a hard time getting airplay these days, the 1980s were kind to groups like Toto. When the band debuted, Kenny Loggins was a sex symbol and the public yearned to fix Mr. Mister's broken wings. Synthesized love songs were topping the charts, and ex-studio musicians Toto knew how to hit the right keys. Their 1982 hits, "Rosanna" (an ode to Rosanna Arquette, guitarist Steve Lukather's then-girlfriend) and the broken hearted, I-blame-myself "I Won't Hold You Back" helped their fourth album, <i>Toto IV,</i> become a top ten hit. Once they'd held a lighter for the lite rock path and swept six Grammies for <i>Toto IV,</i> the band realized there's no place like home and left the world of original rock to work again as studio musicians.
- Jennifer Maerz]]></description>
</item><item>
<title>Warren Zevon</title>
<link>http://www.rhapsody.com/goto?rcid=art.905&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>Singer-Songwriter</category>
<pubDate>Tue, 17 Nov 2009 09:07:29 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.905</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Warren Zevon</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.905</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.905&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.905&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA["Wa-oooo! Werewolves of London." What was <i>that</i> about? Doesn't matter, it's just one of the many weird, wonderful songs Warren Zevon wrote. Snide, sarcastic, and catchy as all get out, he was basically a harder rocking (and harder living) Randy Newman. Zevon succumbed to inoperable lung cancer in September, 2003.
- Tim Quirk]]></description>
</item><item>
<title>Meat Loaf</title>
<link>http://www.rhapsody.com/goto?rcid=art.1976&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>Rock Opera</category>
<pubDate>Mon, 30 Nov 2009 10:00:46 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Meat Loaf</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.1976</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.1976&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.1976&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Perhaps what is most striking about Marvin Lee Aday, known to music fans as Meat Loaf, is the contrast between his imposing physique and the delicate, at times poetic, vocal fury that rests inside. Striking up an Elton John/Bernie Taupin-esque relationship with pianist/composer Jim Steinman, Meat Loaf became a '70s 8-track staple with the release of the teen rock opera <I>Bat Out of Hell</I>, which spawned the hits "Paradise by the Dashboard Light," "Two Out of Three Ain't Bad," and its title track. The magic mix of classically tinged piano vamps, bar-room boogie, Todd Rundgren's production sheen, and Meat Loaf's powerful voice helped <I>Bat Out of Hell</I> climb the radio charts with ease. Then for all but the rabid faithful, Meat Loaf disappeared until his reunion with Steinman in 1993 for <I>Bat Out of Hell II: Back Into Hell</I>, which flashed the proverbial pan with the hit "I'd Do Anything for Love (But I Won't Do That)." Both a rock icon and one of its flourishing survivors, Meat Loaf can now be occasionally found shooting his mouth off on late night television's pop culture microscope <I>Politically Incorrect</I>.
- Eric Shea]]></description>
</item><item>
<title>Bad Company</title>
<link>http://www.rhapsody.com/goto?rcid=art.4215&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>Classic 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=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Bad Company</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.4215&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.4215&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Intent on taking the British blues rock scene into harder, manlier and more radio-friendly territory, Mott the Hoople guitarist Mick Ralphs and former Free singer Paul Rodgers got together in 1973 and formed Bad Company. For better or for worse, the band's muscular guitar riffs and powerful drumming, coupled with Rodgers' bare-chested strut of a vocal style, became labeled "cock rock," and a massively successful debut, half a dozen hit singles, and near-perpetual rotation in today's classic rock radio followed. The violently randy rocker "Feel Like Makin' Love," "Shooting Star" (a story song about the dangers of rock stardom), and their last big hit, "Rock & Roll Fantasy," are the band's most enduring tunes. Bad Company continued to record after their star faded, and they reunite now and then, even today. But, as is the case with many classic rock artists, anything recorded in the 1980s is probably pretty marginal, and anything recorded after <I>that</I> is to be avoided at all costs.
- Mike McGuirk]]></description>
</item><item>
<title>Survivor</title>
<link>http://www.rhapsody.com/goto?rcid=art.1928&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>AOR</category>
<pubDate>Tue, 1 Dec 2009 09:47:22 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Survivor</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.1928</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.1928&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.1928&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA["Eye of the Tiger" was the huge hit for Survivor, the one that went from theme song for a Sylvester Stallone movie to cultural catchphrase for everything from pizza commercials to political campaign slogans. That over-saturation backfired. Belgian sample kings 2 Many DJs couldn't get the rights because George W. Bush used it during his election campaign, something that caused Survivor no small amount of pain and caused them to place an embargo on its future use. But Survivor were more than a one-song band with a one-song career, no matter that one song did pretty much overshadow everything else they ever did. <br><br> Singer Jim Peterik first made his mark with the Ides of March, the brassy swinger-era Chicago band that made "I'm your vehicle, baby" an unavoidable watchword in 1970. Though that group swiftly went back to Obscurity, Illinois (remember "Superman"? "L.A. Goodbye"? ), Peterik kept working. The first Survivor LP, anchored by Peterik, guitarist Frankie Sullivan and lead singer Dave Bickler, appeared in 1979; typical decade's-end heartland album-oriented rock, it spawned a small hit in "Somewhere in America." "Poor Man's Son," from the follow-up, <I>Premonition</I>, climbed into the Top 40 in 1981. Perhaps it was that melodrama that caught Stallone's ear; within 12 months, the band had placed "Eye of the Tiger" on the soundtrack to <I>Rocky III</I> and spent six weeks at No. 1 with the song. Survivor had chart ups and downs after that (their <I>Karate Kid</I> single, "The Moment of Truth," didn't repeat the success of "EyeÃÂ"), but by 1985, they were on a roll again with new lead singer Jimi Jamison. "High on You" and "The Search Is Over," from the album <I>Vital Signs</I>, both went Top 10, and they hooked up with Stallone again for <I>Rocky IV</I>'s melodrama "Burning Heart." Their last chart single came in 1989, but Survivor's place in pop history was assured by a memorable single and, oh yeah, Rocky Balboa.
- Jaan Uhelszki]]></description>
</item><item>
<title>Fuel</title>
<link>http://www.rhapsody.com/goto?rcid=art.11288505&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>Contemporary Hard Rock</category>
<pubDate>Tue, 24 Nov 2009 09:38:12 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Fuel</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.11288505</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.11288505&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.11288505&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Fuel may take cuts to the front of the Post-Grunge line, since they unleash bombastic ballads -- even utilizing strings for full dramatic impact -- just as naturally as they whip through brow-beating Hard Rock. Expect a full, bottom-heavy sound and scratchy vocals.
- Will Lerner]]></description>
</item><item>
<title>The Guess Who</title>
<link>http://www.rhapsody.com/goto?rcid=art.44133&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>Classic Rock</category>
<pubDate>Sun, 29 Nov 2009 09:28:15 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Guess Who</rhap:artist>
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<description><![CDATA[Canada's the Guess Who began in 1965 as the Expressions, and recorded a hit for Canadian and American radio that same year -- a cover of Johnny Kidd and the Pirates' "Shakin' All Over." They changed their sound to approximate the omnipresent American freedom rock that Steppenwolf had made popular on the soundtrack to "Easy Rider." In 1970, they topped the U.S. pop chart with the flippant, anti-patriotic and riff-heavy "American Woman" -- a song Pat Nixon requested the band not perform when they played a set for Prince Charles at the White House. Shortly afterwards, guitar player Randy Bachman converted to Mormonism and left the band. He formed Brave Belt with Chad Allen, which morphed into the stadium sensations of Bachman-Turner Overdrive. Today, the Guess Who still exist, and although their lineup is constantly changing, they still continue to play mountain chooglin', riff-laden rock 'n' roll.
- Eric Shea]]></description>
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<title>J. Geils Band</title>
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<category>Blues &amp; Boogie Rock</category>
<pubDate>Mon, 30 Nov 2009 10:00:46 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">J. Geils Band</rhap:artist>
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<description><![CDATA[Led by Bronx-bred blues connoisseur and sometime art student Peter Wolf (nee Blakefield), the Hallucinations were an attraction on the Boston club circuit from their formation in 1967. Renamed the J. Geils Band for their lead guitarist, the group signed with Atlantic Records, which issued a self-titled debut in 1970. Their bar-band energy, along with Wolf's jive stage talk -- he was a former DJ for seminal Boston FM-rock outlet WBCN, and dubbed himself the "Woofa Goofa with the green teeth" -- quickly made them a nationwide favorite. (The cover art for their second release, <I>The Morning After</I>, was shot in a Virginia Beach motel room.) <br> <br> Road warriors to the highest degree, the Geils Band spent the 1970s missing as much as hitting (although their chart successes included "Give It to Me," "Must of Got Lost" and a breakneck cover of Bobby Womack's "Lookin' for a Love"), but always putting asses in the seats: their discography includes three live albums. Moving to break out of a sometimes confining artistic stance, they stretched themselves on admired if commercially failed LPs such as </I>Ladies Invite</I> and <I>Monkey Island</I> (credited simply to "Geils," the 1977 disc would be their last for Atlantic). <br> <br> A new pact with EMI America saw the J. Geils Band slowly turning their fortunes around. Their second album for the label, 1980's <I>Love Stinks</I>, partook of a New Wave-influenced sound and attitude; it marked the first time two consecutive Geils 45s ("Come Back" and the deathless title cut) hit the <I>Billboard</I> Top 40. <I>Sanctuary</I> (1978) and <I>Love Stinks</I> both went gold, but the decade-plus veterans had an unexpected career record up their sleeves. <br> <br> <I>Freeze Frame</I> appeared in 1981, and was soon a phenomenon. Its first single, "Centerfold," was an insanely catchy ode to a high-school crush with a new occupation, and wound up spending six weeks at No. 1. With the album certified platinum, its title track hit the Top 5, and its electro-funkin' B-side, "Flamethrower," went to No. 25 on the R&B charts. But even as the J. Geils Band triumphantly headlined arenas, they were falling apart. <I>Freeze Frame</I> proved to be their last studio release with Wolf. As he went on to solo fame with "Lights Out" and "Come As You Are," a hobbled Geils Band issued a flop LP, <I>You're Getting' Even While I'm Gettin' Odd.</I> Wolf continues to make well-received discs, while "Jay Geils" and harp master Magic Dick worked together again in the '90s. Geils' first solo album, <I>Jay Geils Plays Jazz,</I> came out in 2004.
- Jaan Uhelszki]]></description>
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<title>Rick Springfield</title>
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<category>AOR</category>
<pubDate>Thu, 3 Dec 2009 22:55:42 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Rick Springfield</rhap:artist>
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<description><![CDATA[Sydney-born Springfield was once caught in the precarious position of juggling careers as a heartthrob doctor on <i>General Hospital</i> and the chart-topping singer of "Jessie's Girl," proving that juggling is a difficult sport best left to professionals.
- Jessy Terry]]></description>
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<title>Eddie Money</title>
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<category>AOR</category>
<pubDate>Thu, 3 Dec 2009 22:55:45 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Eddie Money</rhap:artist>
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<description><![CDATA[New York-born singer Eddie Money's rock career began in earnest in Berkeley, Calif. After signing with impresario Bill Graham's management company, his 1977 self-titled debut album contained the hits "Two Tickets to Paradise" and "Baby Hold On." The music was standard, vaguely R&B-tinged AOR, with big riffs set off by Money's blustery rasp of a voice. Money remains a somewhat unlikely star, with a manic pop-eyed look and strange side-of-the-mouth vocal delivery. Money charted on and off throughout the '80s, most notably with "Take Me Home Tonight" in 1986.
- Tom Heyman]]></description>
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<title>Robert Palmer</title>
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<category>AOR</category>
<pubDate>Fri, 4 Dec 2009 13:21:22 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Robert Palmer</rhap:artist>
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<description><![CDATA[Englishman Palmer came off like some sort of nattily attired blue-eyed soul man, nonchalant and oblivious to anything that is going on around him except the music. His first hit was a version of Allen Toussaint's "Sneakin' Sally Through The Alley" on the album of the same name, which also found Palmer collaborating with Little Feat's Lowell George and recording with the Meters. After that, Palmer scored again with the song "Bad Case of Loving You (Doctor, Doctor)," which followed what would become his formula: a little hard rock, a bit of reggae, and a bit of blue-eyed soul. In the mid-1980s Palmer had his biggest hit with "Addicted to Love," a smooth blend of dance rhythms and crunching electric guitars. No doubt its chart success had to do with its video, which featured Palmer singing in front of a phalanx of zombie-like supermodel "musicians." Palmer passed away in 2003, at age 54.
- Tom Heyman]]></description>
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<title>Ted Nugent</title>
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<category>Hard Rock</category>
<pubDate>Mon, 30 Nov 2009 10:00:45 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Ted Nugent</rhap:artist>
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<description><![CDATA[Detroit's Ted Nugent came to prominence as lead guitarist of the Amboy Dukes, the psychedelic outfit whose churning "Journey to the Center of the Mind" became a Top 20 hit in the summer of 1968. Resolutely drug-free, Nugent nonetheless supplied wailing lines to the acid manifesto. An extended version of the blues standard "Baby Please Don't Go," from the previous year's self-titled debut LP, landed on the influential 1972 <I>Nugget</I> collection, but by then personnel changes and frustration with their stalled career had the Dukes in a terminal state. In 1975, Nugent dropped the moniker and set out on a solo career that would quickly make him one of the decade's foremost hard-rock stadium attractions. <br> <br> <I>Ted Nugent,</I> his Epic debut, was a typically over-amped affair, with a nod toward his Stones-fed blues roots -- the single "Hey Baby" was basically a rewrite of Jimmy McCracklin's 1950s dance tune "The Walk" -- amid a variety of other attitude-smeared rockers. Rising star Meat Loaf supplied vocals for half of 1976's <I>Free For All,</I> but it was Nugent's third LP that would guarantee his superstar status. <I>Cat Scratch Fever</I>'s title track put sn*gg*ring sexual innuendo on AM radio alongside Barry Manilow and Andy Gibb, while other cuts sped along like the nascent punk rock that drew inspiration from garage rock musical compendium, 1986's <I>Nuggets.</I> <br> <br> The <I>coup de grace</I> was <I>Double Live Gonzo,</I> another in the long line of '70s two-record concert sets. Nugent gave the format his own touch, however, delivering between-song raps as fast as his guitar playing; a '90s biker-rock band would take its name from the Motor City Madman's praise of "all that sweet Nashville pussy." Even the savage soul needs soothing occasionally, and high school parking lot debates broke out nationwide over the merits of Nugent's next single, the Beatles' pretty "I Want to Tell You" (<I>Weekend Warriors,</I> 1979). As if to prove that he hadn't been drained of adolescent fun, Nugent distilled his stage patter into something like an ultimate masterwork: "Wango Tango," which could well have been a garage rock hit 15 years earlier. <br> <br> Nugent continues to tour and record, but gains as much or more attention these days for his uber-conservative views and a stance on firearms and the environment that is barely done justice by the phrase "pro-hunting." He was briefly mentioned as a potential Illinois senatorial candidate for the Republican Party in 2004. Unfortunately, it wasn't to be: a race between the Nuge vs. Barack Obama would've topped <I>Double Live Gonzo</I> for sheer spectacle.
- Jaan Uhelszki]]></description>
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<title>Loverboy</title>
<link>http://www.rhapsody.com/goto?rcid=art.2459&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>AOR</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=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Loverboy</rhap:artist>
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<description><![CDATA[The corporate rock of the 1980s provided a focus for the hatred of critics and post-punk musicians, but it also sold millions of records and produced its share of undeniable rock 'n' roll moments. While Loverboy were hardly one of the decade's great bands, they did display some smarts and a knack for entertaining-enough hooks along the way to their three platinum albums. Formed by veteran guitarist Paul Dean (who'd briefly worked with Streetheart) and singer Mike Reno, Loverboy were one of Canada's premier rock acts of the era. Their self-titled 1980 debut -- complete with a trendy-looking cover that prompted some to mislabel the band New Wavers Â was a quick success, launching the single "Turn Me Loose" into <I>Billboard</I>'s Top 40. (Fredric Dannen's music-biz expose <I>Hit Men</I> gives an inside look at the machinations of breaking the record.) A follow-up, "The Kid is Hot Tonite," was another big favorite at album-rock radio, and was perhaps the first of the group's "guilty pleasure" cuts for listeners who normally shunned such fare. "Don't ask me how, but guess who hit the big time?" was the key lyric of "Lucky Ones," from the band's second album, <I>Get Lucky</I>. This kind of self-effacement was rarely heard in commercial pop and rock by this point, and its charm was hard to deny. <I>Get Lucky</I> also contained a true anthem for Loverboy's regular-guy (and girl!) listeners: "Working for the Weekend" still gets its share of airplay more than 20 years later, and it still rings true. By 1983, MTV was nearly as big a force in selling records as was radio, and Loverboy were one of the channel's favorites; that summer even saw the band cast an MTV contest winner in an ever-so-brief role in the clip for "Queen of the Broken Hearts." They were at the peak of their career, and though there were a few more hits in their future, Loverboy couldn't have gotten much bigger.
- Jaan Uhelszki]]></description>
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<title>Jefferson Starship</title>
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<category>AOR</category>
<pubDate>Mon, 30 Nov 2009 10:01:06 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<description><![CDATA[Before they built this city on rock 'n' roll but after their encounters with hookah smoking caterpillars, there was Jefferson Starship. Forming in the early '70s and featuring most of Jefferson Airplane plus two additional members, Jefferson Starship aimed for the commercial rock crowd and hit the target dead-on. Achieving more financial and chart success in the '70s than they did during their more critically acclaimed, influential run in the '60s, Jefferson Starship rode through the charts on the strength of Marty Balin's overly sensitive, melodramatic ballads, "Caroline" and "Miracles," as well as Grace Slick's alcohol-infused antics. An increasing push towards writing in a commercial formula led to Paul Kantner's departure, taking with him the "Jefferson" prefix to the band name. An inevitable reunion occurred in the '90s with all original members returning and touring as "Jefferson Starship: The Next Generation."
- Jon Pruett]]></description>
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<title>Night Ranger</title>
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<category>AOR</category>
<pubDate>Thu, 3 Dec 2009 22:53:27 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<description><![CDATA[Night Ranger were big in the early 1980s as their slickly produced arena rock found its way onto the charts. Of those hits, none is more representative of the band than "Sister Christian," the power ballad's power ballad, the Bic-worthiest of all Bic-worthy songs. This song could make both the Journey and the Foreigner fan come together in perfect, tear-filled accord. And for those listeners who tried to forget the pleasure they derived from the song, director Paul Thomas Anderson firmly reminded them with his superb inclusion of the track in his film <I>Boogie Nights</I>. But Night Ranger are not simply one song; actually, they're about four. "Don't Tell Me You Love Me," from their first record <i>Dawn Patrol</i>, was a minor hit which showed that they were not averse to dishing out the hard rock. The same goes for "(You Can Still) Rock in America" (go ahead and smirk). "When You Close Your Eyes" is a wrenching power ballad with a shade more drive than the aforementioned "Sister Christian." By the time they recorded the theme song to the Michael J. Fox film vehicle <I>Secret of My Success</I>, their immense popularity was on the wane. Nevertheless, they soldier on, releasing albums into an uncertain ether.
- Will Lerner]]></description>
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<title>Grand Funk Railroad</title>
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<category>Classic 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=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Grand Funk Railroad</rhap:artist>
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<description><![CDATA[In spite of seething critical hatred -- Robert Christgau, for one, equated Mark Farner's guitar solo in "Loco-Motion" to the flushing of a toilet -- Grand Funk were one of the most popular rock groups of the 1970s, combining massive guitar riffs with pure pop hooks and a bare-chested macho man image. There wasn't anything very funky about them, but they sure knew how to write big, fat arena-rock anthems with choruses you could really grab onto. Their 1969 debut <I>On Time</I> is a prime example of the nascent post-psychedelic, Zeppelin-rock scene and a harbinger of heavier metal things to come. By the early '70s, on the strength of one platinum record after another and a reputation as the best live show around, they were huge. "We're an American Band," "Some Kind of Wonderful" and the tripped-out seafaring epic "Closer To Home (I'm Your Captain)" are staples of the Classic Rock radio format to this day, and, true to radio-fare form, if you've heard them once you probably know them by heart. Like much of the most indulgent music of the '70s, Grand Funk's particular brand of blues-bolstered R-O-C-K is so perfectly tailored to high volumes -- car radios in particular -- that it's indispensable on those nights when you're driving around with the top down, looking for triple shots and album sides.
- Mike McGuirk]]></description>
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<title>Richard Marx</title>
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<category>Adult Contemporary</category>
<pubDate>Thu, 3 Dec 2009 22:55:50 -0800</pubDate>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.43136&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Arena rock/'80s pop balladeer of the tallest order, Richard Marx spent the lion's share of the 1980s reducing teenage girls to puddles with his bombastic love songs and soap-star good looks. As his fan base grew up, Marx revamped his sound, softened the edges and continued to aim for the sentimentalist in all of us. He never returned to the top of the AOR heap, but nevertheless maintains a steady following of radio listeners and outdoor concert patrons.
- Mike McGuirk]]></description>
</item><item>
<title>The Outfield</title>
<link>http://www.rhapsody.com/goto?rcid=art.35500&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>AOR</category>
<pubDate>Mon, 19 Oct 2009 10:57:02 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.35500</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">The Outfield</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.35500</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.35500&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.35500&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[The Outfield had a string of hits in the late 1980s by soothing the savage New Wave beast into digestible Lite Rock. This British act used ideas from such accessible acts as the Police and the Cars and then refined them with Air Supply-style studio savvy. After taking a long break, they are back with new material that features a fair share of hard rockers along with mellow ballads.]]></description>
</item><item>
<title>Billy Squier</title>
<link>http://www.rhapsody.com/goto?rcid=art.5211&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>Hard Rock</category>
<pubDate>Thu, 3 Dec 2009 22:55:25 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.5211</guid>
<rhap:rcid xmlns:rhap="rhap">art.5211</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Billy Squier</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.5211</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.5211&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.5211&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Billy Squier plays wonderfully ridiculous and triumphantly indulgent stadium rock. His Nigel Tufnel-esque guitar solos will leave you asking yourself, "What's wrong with being sexy?" He pulls it off singing with a gritty rock 'n' roll rasp that's reminiscent of a young, Faces-era Rod Stewart. Squier is (in)famous for his stadium singalongs and microphone placement into the audience during his own choruses.
- Eric Shea]]></description>
</item><item>
<title>Asia</title>
<link>http://www.rhapsody.com/goto?rcid=art.165&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>AOR</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=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.165</guid>
<rhap:rcid xmlns:rhap="rhap">art.165</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Asia</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.165</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.165&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.165&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[In addition to the enduring 1982 hit song "Heat of the Moment," to which the band is now and forever tied, and its equally great partner in crime, "Only Time Will Tell," Asia also pioneered a style of prog rock that put the emphasis on pop sheen rather than maze-like song structures lifted from bad classical music. During the 1980s and early '90s, prog rock acts like Yes, Genesis and Emerson, Lake & Palmer enjoyed tons of airplay and hit records. Unfortunately for the members of Asia -- Geoff Downes, formerly of Yes; John Wetton, formerly of King Crimson; Steve Howe, also a former member of Yes; and Carl Palmer from Emerson, Lake & Palmer -- they were unable to repeat the success of their self-titled debut with second record <I>Alpha</I>. From there, a "Ten Little Indians" scenario played out over the years until an entirely different band, led by Downes and replacement singer John Payne, was performing as "Asia with John Payne." This continued until 2008, when all four original members of the supergroup finally reunited and recorded <I>Phoenix</I>.
- Mike McGuirk]]></description>
</item><item>
<title>Peter Frampton</title>
<link>http://www.rhapsody.com/goto?rcid=art.69195&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>Classic Rock</category>
<pubDate>Fri, 30 Oct 2009 12:04:55 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Peter Frampton</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.69195</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.69195&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.69195&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[In the late 1970s, it seemed that you couldn't enter a house that didn't hold a copy of <i>Frampton Comes Alive</i>.Today you can't browse in a thrift store or at a garage sale without running into a copy or two. Dust off that slab of vinyl and throw it on the turntable -- "Baby, I Love Your Way" and "Show Me the Way" have held up surprisingly well over the years. Don't be frightened by the pink-lighted perm he sports on the cover, Frampton's live album had all the vital energy that his previous studio releases oddly lacked. The record quickly sold in the millions and Frampton went on to have a less overwhelming hit with <i>I'm In You</i>, but the former Herd and Humble Pie guitarist's career and life almost ended after a car accident in 1978. As they were childhood friends, Frampton was a part of David Bowie's bloated <i>Glass Spider</i> tour.
- Molly Ditmore]]></description>
</item><item>
<title>Ambrosia</title>
<link>http://www.rhapsody.com/goto?rcid=art.3606&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>Lite Rock</category>
<pubDate>Fri, 20 Nov 2009 12:50:59 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.3606</guid>
<rhap:rcid xmlns:rhap="rhap">art.3606</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Ambrosia</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.3606</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.3606&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.3606&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Ambrosia were one of a number of bands that successfully combined Art Rock tastes with Pop aspirations to come up with a handful of FM hits. Veering closer to soft rock territory than such contemporaries as Supertramp and ELO, Ambrosia had more in common with Firefall and Pablo Cruise, minus the Country Rock touches. At its best the group produced a sound that echoed both the fragility of Hall & Oates' "Sara Smile" and the smoky sensuality of "So Into You" by Atlanta Rhythm Section. Their biggest hits were "How Much I Feel" and "Biggest Part of Me," each of which hit No. 3 (in 1978 and 1980, respectively), securing the group staple status on high school dance playlists of the era, as well as frequent play on Lite Rock radio to this day.
- Mike McGuirk]]></description>
</item><item>
<title>Foghat</title>
<link>http://www.rhapsody.com/goto?rcid=art.5647&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%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=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.5647</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Foghat</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.5647</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.5647&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.5647&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<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>
</item><item>
<title>Bachman-Turner Overdrive</title>
<link>http://www.rhapsody.com/goto?rcid=art.61000&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>Classic 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=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.61000</guid>
<rhap:rcid xmlns:rhap="rhap">art.61000</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Bachman-Turner Overdrive</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.61000</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.61000&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.61000&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Bachman-Turner Overdrive cemented everlasting fame with the classic rock staple "Takin' Care of Business," a tune every person in America has sung along to at one time or another, not to mention the innumerable novice guitar players who have inadvertently found themselves suddenly playing its simple, timeless main riff. BTO were the brainchild of Guess Who alum Randy Bachman, and besides the aforementioned hit, the Canadian four-piece also cracked the charts with "You Ain't Seen Nothin' Yet" and "Let It Ride."
- Mike McGuirk]]></description>
</item><item>
<title>Bonnie Tyler</title>
<link>http://www.rhapsody.com/goto?rcid=art.3958&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>Adult Contemporary</category>
<pubDate>Fri, 13 Nov 2009 12:38:36 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.3958</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Bonnie Tyler</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.3958</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.3958&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.3958&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Most people remember Welsh singer Bonnie Tyler for two things: her raspy voice that sounds like she falls asleep smoking unfiltered cigarettes every night, and her 1980s anthem "Total Eclipse of the Heart." The voice was a result of a 1976 operation to remove the nodules on her vocal chords that were preventing her from singing; the song topped the Billboard charts for a month and sold one million copies. Her 1983 release "Faster than the Speed of Night" earned Tyler radio play across the country and coveted performance spots on <i>Solid Gold</i>. Thanks to the film <i>Footloose</i>, she had one more hit in the U.S. with her power anthem "Holding Out for a Hero," which championed daredevil dance martyrs such as Ren with a thunderstorm of high production and crashing cymbals of emotion. Then Tyler had a total eclipse of career, releasing a number of records both in the U.S. and overseas that couldn't sell out -- even in gas station bargain bins.
- Jennifer Maerz]]></description>
</item><item>
<title>Mr. Mister</title>
<link>http://www.rhapsody.com/goto?rcid=art.43049&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>Adult Contemporary</category>
<pubDate>Fri, 20 Nov 2009 12:50:58 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.43049</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Mr. Mister</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.43049</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.43049&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.43049&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[The idea for Mr. Mister germinated while founding members Richard Page and Steve George were touring as part of Andy Gibb's backing band. Once back in L.A., the boys did a few showcases and since their atmospheric pop/rock perfectly reflected what was going on musically in the mid-1980s, they were signed. And while the band's future seemed sure-footed and full of potential, Mr. Mister's star faded after the two hits, "Broken Wings" and "Kyrie."]]></description>
</item><item>
<title>John Cafferty &amp; The Beaver Brown Band</title>
<link>http://www.rhapsody.com/goto?rcid=art.19983&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>AOR</category>
<pubDate>Fri, 30 Oct 2009 12:04:56 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.19983</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">John Cafferty &amp; The Beaver Brown Band</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.19983</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.19983&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.19983&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>Starship</title>
<link>http://www.rhapsody.com/goto?rcid=art.6440&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>AOR</category>
<pubDate>Fri, 13 Nov 2009 12:39:04 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.6440</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Starship</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.6440</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.6440&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.6440&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>John Fogerty</title>
<link>http://www.rhapsody.com/goto?rcid=art.2283&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>Roots</category>
<pubDate>Mon, 2 Nov 2009 10:53:10 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.2283</guid>
<rhap:rcid xmlns:rhap="rhap">art.2283</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">John Fogerty</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.2283</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.2283&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.2283&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[From 1968-1971, Creedence Clearwater Revival were a commercial juggernaut, with nine Top 10 albums, even outselling the Beatles in 1970. But unlike the Beatles, founding member John Fogerty just couldn't let it be, going head to head with Fantasy Records founder Saul Zaentz over wanting to rewrite contracts he signed when he was just 18. Fogerty lost the rights to songs like "Proud Mary" and "Fortunate Son" for almost 35 years, and Zaentz, an Oscar-winning film producer, sued Fogerty, claiming he was defamed on "Zanz Kant Danz" and "Mr. Greed" from 1985's <I>Centerfield</I>, Forgerty's fourth solo effort. That record with its driving, rhythmic songs, assertive, swampy guitars, poetic social commentary and the singer's trademark idiosyncratic raw, sometimes unhinged voice landed on the top of the charts. If that wasn't vindication enough, a San Francisco jury found Forgerty not guilty of the charges brought by Zantz. In 2005, the iconic songwriter was reunited with his songs, putting out his very first greatest hits CD, the aptly titled <I>Long Road Home </I>, the next year. He continues to be a vital, earthy performer, and his ascendance presaged a whole generation of heartland rockers.
- Mike Cloward]]></description>
</item><item>
<title>John Waite</title>
<link>http://www.rhapsody.com/goto?rcid=art.2303&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>Adult Contemporary</category>
<pubDate>Thu, 3 Dec 2009 22:55:50 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.2303</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">John Waite</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.2303</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.2303&amp;variant=play&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.2303&amp;variant=data&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[John Waite's tenures in the Babys and Bad English were sufficient to emblazon his name in the annals of rock history; however, the great majority of listeners will forever equate Waite's name with his 1984 solo release <I>No Brakes</I>. That definitive document contained the soft rock staples "Missing You" and "Tears," and earned him the Protean status of a performer whose songs you could find on radio stations ranging from Hard and Classic Rock to easy listening. Waite had his finger in so many musical pies, it seemed you couldn't turn on a radio during the '80s without hearing his soaring soprano. Waite continues to put out records today, and in 2004 released <I>The Hard Way</I>, a return to his '80s pop rock form.
- Chad Driscoll]]></description>
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<title>David Lee Roth</title>
<link>http://www.rhapsody.com/goto?rcid=art.8497&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>Pop Metal</category>
<pubDate>Sat, 28 Nov 2009 09:38:32 -0800</pubDate>
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<rhap:artist xmlns:rhap="rhap">David Lee Roth</rhap:artist>
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<description><![CDATA[Say what you want about Eddie Van Halen's groundbreaking guitar playing, Diamond Dave was the heart and soul of Van Halen (the band). After he left, both suffered, but for a minute there it seemed as if he might surpass his former bandmates. In Van Halen, Roth's big mouth, leering, mock carnal presence and over-the-top macho posturing crossed with a Broadway show tune sensibility to give the band the sexiness and outsized sense of fun that completely disappeared when Van Halen carried on with Sammy Hagar. Roth started his solo career while still in Van Halen, cutting the covers EP <i>Crazy From the Heat</i> (1985), which featured the hit singles "California Girls" and "Just a Gigolo." On Roth's first two post-Van Halen records he had a heavy-hitting core band, featuring budding guitar hero Steve Vai, superbassist Billy Sheehan (later of Mr. Big fame), and Maynard Ferguson alumni, drummer Greg Bissonette. <i>Eat 'Em and Smile</i> (1986) and <i>Skyscraper</i> (1988) were both multiplatinum hits, featuring plenty of heavy guitar bluster and Roth's patented "Ethel Merman of Hard Rock" persona. His subsequent records were not really as popular; his star went into something of a descent, culminating with a bust for buying weed in N.Y.C.'s Washington Square Park. There was also the embarrassing announcement that he was rejoining Van Halen, which proved not to be the case. However stalled his career may seem, he can take pride in knowing that he has never worked with (Hagar's replacement) Gary Cherone.
- Tom Heyman]]></description>
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<title>Damn Yankees</title>
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<category>Pop Metal</category>
<pubDate>Sat, 28 Nov 2009 09:38:25 -0800</pubDate>
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<description><![CDATA[With unbridled shred power, high harmonies, and wind-blown hair, Damn Yankees are <i>the</i> '80s supergroup who were captained by Styx guitarist Tommy Shaw, Night Ranger bassist Jack Blades, and the one-and-only "Motor City Madman" Ted Nugent (see also: Uncle Tedly Von Nugeburg, the Wackmaster, Terrible Ted, Theodocious Atrocious, Deadly Tedly, the Great Gonzo, etc.). Though the key members knew each other before the collaboration, the group officially came together in the late '80s, using a moniker Nugent used to describe their sound (i.e. like "a bunch of damn Yankees"), not the Broadway war horse. Under the guidance of vet producer Ron Nevison, their self-titled debut scored double platinum in 1990, propelled by the lighter-waving power ballad "High Enough." The band immediately aced soundtrack hits on "Gremlins II: The Next Batch," and the Jean-Claude Van Damme vehicle "No Where to Run," among others. The Yankees' 1992 sophomore LP, <i>Don't Tread</i>, also went platinum, though Nugent left shortly after and 1995's <i>Hallucination</i> enjoyed less commercial success. Nugent rejoined in 1998 to do some tracking on a fourth record, tentatively titled <i>Bravo</i>, but the LP never surfaced due to lack of label interest.
- Nate Cavalieri]]></description>
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<title>The Babys</title>
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<category>AOR</category>
<pubDate>Sat, 28 Nov 2009 09:38:31 -0800</pubDate>
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<description />
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<title>April Wine</title>
<link>http://www.rhapsody.com/goto?rcid=art.3428&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss</link>
<category>AOR</category>
<pubDate>Sat, 28 Nov 2009 09:38:32 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=360&amp;rws=%2Frock-pop%2Fclassic-rock%2Faor%2Fartist-chart.rss">Top AOR Artists on Rhapsody Online</source>
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<description><![CDATA[Canadian dinosaurs April Wine epitomize the decadent arena rock spirit so prevalent in the '70s. Though now a footnote to many people, they released albums with tidal consistency through the mid 1980s, showcasing their tender ballads and bombastic boogie numbers.
- Will York]]></description>
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