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<title>Top Pop Standards Artists on Rhapsody Online</title><link>http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link><description>Top Pop Standards Artists on Rhapsody Online</description><category>Pop Standards</category><language>en</language><ttl>720</ttl><pubDate>Sun, 27 Dec 2009 11:39:21 -0800</pubDate><image>
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<title>Top Pop Standards Artists on Rhapsody Online</title>
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<title>Frank Sinatra</title>
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<category>Pop Standards</category>
<pubDate>Sat, 26 Dec 2009 10:03:50 -0800</pubDate>
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<description><![CDATA[Frank Sinatra transformed popular music. Often cited as the single finest interpreter of American standards, he influenced generations of vocalists such as Nat King Cole and Carmen McRae by focusing on phrasing and matching narrative nuance and emotional naturalism with amazing breathing control. In the 1930s, Sinatra starting bringing back "old" songs by such masters as Cole Porter while he was still a Big Band singer. He became a national institution in the '40s, and even though Ray Charles has praised the flawless technique of this Columbia period, Sinatra kept evolving. Starting in the '50s he concentrated on groundbreaking concept albums and a fresh Big Band sound with master arranger Nelson Riddle. Sinatra explored every nuance of emotion on these Capitol and Reprise albums and influenced the work of Ella Fitzgerald and Peggy Lee. Beginning in the '70s, when rock ruled, his voice and output became erratic but some brilliant work remains. Though Sinatra always viewed himself as a popular singer, jazz musicians hold his work in the highest esteem. Miles Davis and Lester Young often interpreted standards through his versions and avant-gardist John Zorn has said that in his own way, Frank Sinatra was as much a jazz improviser as Charlie Parker.
- Nick Dedina]]></description>
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<title>Michael Buble</title>
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<category>Pop Standards</category>
<pubDate>Sun, 27 Dec 2009 10:14:29 -0800</pubDate>
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<description><![CDATA[Michael Buble, the Canadian retro crooner, grew up listening to such influences as Stevie Wonder, Frank Sinatra, Bobby Darin and Ella Fitzgerald. Egged on by his grandfather, Buble became a showbiz kid who loved performing and at age 17 he won the top prize in the Canadian Youth Talent Search. After releasing a number of independent albums, Buble went stateside and joined the touring company of the much-praised Broadway show <I>Swing</I>. After being featured as a nightclub singer in the movie <I>Totally Blonde</I> (2001), Buble signed to Reprise Records -- the label started by Sinatra - and released his self-titled disc in 2003. Touring and TV appearances spotlighted Buble's stage presence and his "I don't need studio trickery" talent and resulted in the album hitting the charts a number of different times. Buble's skills as a live performer were highlighted on the strong seller <I>Come Fly With Me</I>, which was followed by <I>It's Time</I> (2005), which shot to No. 1 in Canada and topped the U.S. jazz charts.
- Nick Dedina]]></description>
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<title>Ray Charles</title>
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<category>Classic R&amp;B</category>
<pubDate>Fri, 25 Dec 2009 11:17:37 -0800</pubDate>
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<description><![CDATA[Heaven and earth battle it out in the music of Ray Charles, who combined gospel with the best of secular music and helped give birth to soul, rock, and hard bop. His early work showed the silky influences of the Nat "King" Cole trio and the piano blues great Charles Brown. Charles combined their sophisticated styles with R&B and gritty gospel to create his signature sound: hard, snappy piano combined with exquisite vocals that fall somewhere between a preacher gone bad and a yearning romantic balladeer. Charles absorbed styles like a sponge: big band jazz, country and pop were all added to his musical arsenal, and he built up a musical empire that kept him in the public eye for decades up until his untimely death, at the age of 73, in June 2004. Just prior to his passing, Charles cut his first duets record with such fans as Norah Jones, Willie Nelson, and Elton John, which illustrates a multi-generational sampling of the artists who list him as a prime influence. An American institution, Ray Charles' rendition of "Georgia on My Mind" has even become that state's anthem. If only the other 49 states could be as fortunate.
- Nick Dedina]]></description>
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<title>Nat King Cole</title>
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<category>Pop Standards</category>
<pubDate>Thu, 24 Dec 2009 13:15:23 -0800</pubDate>
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<description><![CDATA[Nat King Cole's great piano work with his jazz trio got overshadowed by his massive vocal success in the 1950s yet each phase of his career offers up so many riches that it proves that the lines between jazz and popular music just don't matter. Cole's easygoing vocals during the '40s matched his piano style charm for charm and his "lock-handed" approach and supple arrangements influenced everyone from Oscar Peterson to Diana Krall. But by the early 1950s, Cole weaned himself from the trio when his orchestrated and Big Band records sold in the millions. Thankfully, Cole's dreamy vocals just kept getting better and better when he didn't have the keyboard to preoccupy him and his concept albums for Capitol rank up there with Frank Sinatra's and Peggy Lee's in complete perfection. "Perfection" may just be the only word that can describe the true King's music.
- Nick Dedina]]></description>
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<title>Dean Martin</title>
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<category>Pop Standards</category>
<pubDate>Thu, 24 Dec 2009 13:15:19 -0800</pubDate>
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<description><![CDATA[The famously laid-back and unruffled Dean Martin was one of the greatest stars of the 20th century. He loomed large on stage, radio and screen (big and small), and had a parallel career in music. Martin, whose real name was Dino Crocetti, was a journeyman romantic crooner until, out of desperation, he created an anarchic nightclub show with bizarro spaz Jerry Lewis. Audiences had never before seen anything like the duo's wild performances, and they immediately became worldwide sensations. Martin was always a brilliant straight man and comic, but his singing and acting abilities improved greatly during his years with Lewis, and by the time their partnership was over, he was a major recording and movie star. Most of Martin's best music and movies come from the 1950s and early '60s (an era he's forever associated with), but, surprisingly, such classics as "Volare," "Just In Time," and the relentless Rat Pack theme, "Ain't That A Kick In The Head," didn't perform that well in the charts.(In fact, "Ain't That A Kick In The Head" was banned in the U.S. because it mentioned a king-size bed.) Martin's career was at its peak during the swinging '60s and early '70s, when his weekly variety show was a ratings sensation and he became the first musician to knock the Beatles off the top of the pop charts with "Everybody Loves Somebody." As a vocalist, Martin excelled at Italian ballads, uptempo swing, straight pop and even country music. Elvis Presley always stated that Dean Martin was a major influence on his singing style (a quick listen to Dino's "Memories Are Made of This" illustrates this perfectly), and the driven, brooding Frank Sinatra always wished he possessed his pal's famous nonchalance. That quality explains a major part of Martin's enduring appeal.He was an intelligent performer with a beautiful voice and a knowing twinkle in his eye, a glint that told his audiences that it was all a joke and he didn't take himself, them or anything else too seriously. Ain't that the definition of "cool"?
- Nick Dedina]]></description>
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<title>Ella Fitzgerald</title>
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<category>Vocal Jazz</category>
<pubDate>Sat, 26 Dec 2009 10:03:56 -0800</pubDate>
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<description><![CDATA[Thought by many to be the greatest female jazz singer ever, Ella Fitzgerald enjoyed unparalleled success via such standards as "Lady be Good" and "I Get a Kick Out of You." At home fronting both large orchestras and intimate string sections, Fitzgerald's greatest strength was her stirring ability to use her voice as a virtual musical instrument in much the same way Benny Goodman controlled his clarinet or Charlie Parker played his saxophone -- notes were hit so quickly and elegantly that their accuracy boggled mind and ear alike. In a career that spanned seven decades, Ella Fitzgerald was the portrait of vocal mastery and jazz improvisation.
- Charles Hodgkins]]></description>
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<title>Billie Holiday</title>
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<category>Vocal Jazz</category>
<pubDate>Thu, 24 Dec 2009 13:15:48 -0800</pubDate>
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<description><![CDATA[Long since gone, Lady Day still casts a spell. Like her musical alter ego, Frank Sinatra, interest in her personal life threatens to overshadow her importance to jazz and pop. Forget the tragedy, listen to the music. Holiday's attention to phrasing has influenced generations of singers and players. With her trademark gardenia in her hair, she advanced the art of singing by adding personal nuance and detail to each number. She practiced a subtle craft, telling a story with each lyric...her story. But even if all you speak is Esperanto, she has enough musicianship to duet with the likes of Lester Young and Ben Webster. Like them, her music dazzles with emotion, not empty gymnastics.
- Nick Dedina]]></description>
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<title>Nina Simone</title>
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<category>Vocal Jazz</category>
<pubDate>Sat, 26 Dec 2009 10:03:50 -0800</pubDate>
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<description><![CDATA[Singer Nina Simone's music has gone from gospel to jazz to pop to R&B and blues to a raging black protest that moved her off the supper-club circuit and into political rallies and soul concerts. Known since the late '50s as the "High Priestess of Soul," she enjoyed a renaissance in her sixth decade with the publication of her autobiography and the exposure given her music in a popular American film. Taking her stage name from French actress Simone Signoret, she epitomizes the soul diva.
<br><br>
Simone began singing in church and taught herself piano and organ by the time she was seven. She took classical keyboard lessons and attended New York's Juilliard School of Music, then began playing East Coast clubs and concerts. Her first hit was a 1959 gold record of Gershwin's "I Loves You, Porgy."
<br><br>
In the '60s she moved toward R&B, recording Screamin' Jay Hawkins' "I Put a Spell on You" and "Don't Let Me Be Misunderstood" (a subsequent hit for the Animals). This led to sizable popularity in England, where she had hits with "Ain't Got No/I Got Life" (from <i>Hair</i>) in 1968 and the Bee Gees' "To Love Somebody" in 1969.
<br><br>
By then she had become a black-power activist (her first protest song, "Mississippi Goddam," mourned the death of slain civil rights leader Medgar Evers), and politically oriented tracks like "Four Women" (on an out-of-print Philips album) alienated her white audience. She became even more intense and unpredictable in concert, and despite continuing critical acclaim, she gradually lost her commercial standing. Financially, she fell upon hard times, and she divorced her manager/husband (her first marriage had also failed). In 1974 Simone quit the music business.
Leaving the States, Simone took up residence in Switzerland, Liberia, Barbados, France, and the U.K. in the mid-'70s. By 1978, however, she had returned to music, releasing <i>Baltimore</i> and touring the U.S. again. While the early '80s were a fallow period, Simone experienced a comeback in 1987 when a television commercial for Chanel No. 5 perfume used her early recording "My Baby Just Cares for Me." Her candid 1991 autobiography, <i>I Put a Spell on You</i>, and an appearance on Pete Townshend's <i>Iron Man</i> boosted her revival. In 1993, with her music featured in the film <i>Point of No Return</i> and with a new studio album, <i>A Single Woman</i>, Simone gained a new audience for her fiercely elegant fare. In 1995 Simone was ordered to pay a $4,600 fine for shooting at two teenaged boys whom she maintained were disturbing her peace while she was gardening; that year also, she was fined $5,000 for leaving the scene of a car accident that had occurred in 1993. The '90s concluded, however, on a happier note, as her music was presented again in a number of well-crafted anthologies. In 2003, Simone died at age 70 after a lengthy battle with breast cancer.]]></description>
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<title>Louis Armstrong</title>
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<category>Traditional Jazz/Dixieland</category>
<pubDate>Thu, 24 Dec 2009 13:15:22 -0800</pubDate>
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<description><![CDATA["The Reverend Satchelmouth is the beginning and the end of music in America." So said Bing Crosby and how right he was because Armstrong is the single most important figure in twentieth century popular music. If there's an artist who wasn't directly influenced by his astounding improvisations, and most importantly, his phrasing, then he was influenced by those who were. Armstrong did more with time, nuance, and personality than whole armies of musicians. But forget about influencing others -- if his music doesn't fill you with tingles of joy and delight then you just may be dead. And don't fret if you are six feet under; Pops will be serenading you in heaven. For how can there be a heaven without Louis?
- Nick Dedina]]></description>
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<title>Tony Bennett</title>
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<category>Pop Standards</category>
<pubDate>Sat, 26 Dec 2009 10:03:52 -0800</pubDate>
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<description><![CDATA[The resurgence of Tony Bennett to the top of the charts was one of the most gratifying surprises of the 1990s. Bennett was a (very big) cog in the <I>Columbia</I> hit machine of the '50s and '60s and he had to fight Mitch Miller tooth and nail to do the jazz albums and classy material he loved. He toured extensively with Duke Ellington and become the first white star to record with Count Basie. The cream of this era is collected on the exceptional <I>Jazz</I>, a compilation which also features Art Blakey, Stan Getz, and Bennett's main ivory tinkler, Ralph Sharon. A few years after "I Left My Heart in San Francisco," Bennett got knocked down during the acid rock wave of the late '60s but he answered back with his own label, <I>Improv</I> and cut two great albums with Bill Evans. Always a warm and good-humored singer, age and experience took the brassy edge off Bennett's voice and he decided to stick with jazz accompaniment. In the late '80s he recorded with Dexter Gordon, Dizzy Gillespie and George Benson, and slowly rebuilt his base. The '90s MTV generation took to Bennett's music and his unruffled cool personality in a very big way. His music is timeless.
- Nick Dedina]]></description>
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<title>Harry Connick, Jr.</title>
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<category>Pop-Jazz</category>
<pubDate>Tue, 22 Dec 2009 10:24:19 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Harry Connick, Jr.</rhap:artist>
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<description><![CDATA[A gifted singer, pianist and actor, Harry Connick Jr. was poised to become one of the biggest stars of the 1990s. While that didn't quite happen, Connick <I>is</I> big -- both as an performer and actor. A native of New Orleans, he was a child prodigy who fell in love with jazz piano, and the rich musical legacy of his hometown has always informed his work. After moving to New York City, the handsome and charismatic Connick took a friend's advice and threw on some retro duds, he quickly landed a major recording contract. Connick's first two albums were jazz piano affairs, but when his pseudo-soundtrack for <I>When Harry Met Sally</I> (done in Frank Sinatra's patented 1950s <I>Swingin' Lovers</I> style) became a surprise smash hit that stayed atop the jazz charts for years, Connick kept the Sinatra thing going for a while. Then came an ill-advised but heartfelt New Orleans R&B detour. His old school R&B wasn't embarrassing, but since he'd always incorporated the feel of the city into much of his work, it did feel a bit redundant. When Connick returned to jazz-based pop music with 1997's <I>To See You</I>, one could hear his renewed enthusiasm - in fact, his recordings from this point on are often better and more exciting than some of his earlier, better-selling releases. Many critics have failed to see (or hear) how much Connick's singing, songwriting and piano playing have matured over the years. His single greatest development may be in the unheralded field of arrangements; his imaginative band charts on albums such as <I>Come By Me</I> and <I>Songs I Heard</I> show an originality and spark that would earn him acclaim in the jazz world if he weren't a pop star. At the same time, Connick take pains to strip all the other instruments away and show off his uncompromising jazz piano playing, often on Branford Marsalis' label. In 2007, he returned to New Orleans for <i>Oh, My Nola</i>, an album that contains all the verve and fire that his earlier efforts in the style sometimes lacked.
- Nick Dedina]]></description>
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<title>Bobby Darin</title>
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<category>Brill Building Pop</category>
<pubDate>Fri, 25 Dec 2009 11:17:23 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Bobby Darin</rhap:artist>
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<description><![CDATA[Beginning as a '50s teen idol, Bobby Darin kept his musical life afloat through the '60s and '70s by swinging from pop, rock and folk, while hitting the Las Vegas lounge circuit along the way. Darin helped immortalize rock 'n' roll's earliest years with songs such as "Splish Splash" and "Dream Lover." By the end of the '50s, Darin marked his style change with an album of pop standards. Among the songs on this 1959 album was the most enduring version of Brecht-Weill's "Mack the Knife." The '60s saw Darin trapse through the Vegas circuit then morphing into a politically active, Dylan-influence folk singer with a number of Rolling Stones covers rounding out his set. As the '70s rolled around, Darring again donned his tuxeudo and returned to the world of the Vegas nightclubs and even briefly hosted a television show. In 1973, at the age of 37, Darrin died during open-heart surgery, leaving behind a wonderfully eclectic collection of music. In 1990 Darrin was inducted into the Rock 'n' Roll Hall of Fame.
- Jaan Uhelszki]]></description>
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<title>Bing Crosby</title>
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<category>Pop Standards</category>
<pubDate>Sat, 26 Dec 2009 10:03:56 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<description><![CDATA[Bing Crosby was a revolutionary figure in music -- he adopted singing to the microphone, brought jazz into white pop, and was our first multimedia star (radio, records, movies, TV). He crooned it all -- from Hawaiian to Country --but was at his best on easygoing, improv heavy rhythm tunes. Crosby always paid his respects to Louis Armstrong (and loved working with him) but much of his best jazz recordings are currently out of print. This is a shame because to paraphrase Tony Bennett, Crosby was the first cool white man in American music.
- Nick Dedina]]></description>
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<title>Sarah Vaughan</title>
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<category>Vocal Jazz</category>
<pubDate>Thu, 24 Dec 2009 13:15:33 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<description><![CDATA[Sarah Vaughan first amazed Bop musicians and the public when she was a teenager singing with Billie Eckstine's big band. She earned the nickname "Sassy" for her salty tongue, but Vaughan quickly became known as the "Divine One" for her awe-inspiring vocal abilities. Vaughan had a multi-octave range that she could employ with (seemingly) wild abandon or with surgical precision to get at the core of a song and during the 1950s and '60s she cut a remarkable mix of trio, Big Band and orchestral albums for the Mercury label. Whether Vaughan reconfigured the melody of a standard, sang a show tune straight, or slowed a ballad down to a crawl, the song became her own. She had the same struggles as other star vocalists when jazz was bumped from the pop scene in the mid-1960s but she rebounded nicely in the '70s with a great string of recordings on the Pablo label. While Sarah Vaughan remains one of the most influential singers in jazz and pop history -- Anita Baker, Dianne Reeves and others still carry her torch -- no one has ever topped her at her own game.
- Nick Dedina]]></description>
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<title>Peggy Lee</title>
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<category>Pop Standards</category>
<pubDate>Thu, 24 Dec 2009 13:15:23 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Peggy Lee</rhap:artist>
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<description><![CDATA[Peggy Lee gives everybody "Fever." She brought a certain sizzle to her Big Band canary days with Benny Goodman, and attained star status while on Decca and Capitol Records in the '50s. Lee continued as the reigning cult goddess of vocal jazz and pop until her death in 2002.
- Nick Dedina]]></description>
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<title>Rosemary Clooney</title>
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<category>Pop Standards</category>
<pubDate>Sat, 26 Dec 2009 10:03:52 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Rosemary Clooney</rhap:artist>
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<description><![CDATA[Rosemary Clooney carries on the interpretive jazz singing tradition of Billie Holiday and Frank Sinatra. Clooney may have been forced to record plenty of Mitch Miller-produced corn during the 1950s, but she also released acres of great material during this period. Besides being the first major vocal star to do an album with Duke Ellington (and <i>Blue Rose</i> is amazing), Clooney also recorded with such heavyweights as Benny Goodman, Harry James and (her secret love) Nelson Riddle. After a complete breakdown, Clooney resurfaced to great critical acclaim in the mid-'70s on the Concorde jazz label -- accent on the jazz. Now Clooney is free to concentrate on great standards instead of silly tunes and crossover material. While her once pure, perfect voice has aged, Clooney's sense of swing, nuance, and emotion has only grown richer over the years.
- Nick Dedina]]></description>
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<title>Perry Como</title>
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<category>Good Old Days</category>
<pubDate>Sat, 26 Dec 2009 10:03:53 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Perry Como</rhap:artist>
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<description><![CDATA[One of the most popular singers of the post-World War II years, Perry Como's vocal style and personal demeanor were always relaxed, unruffled and seemingly untroubled. Como studied the "crooner" style of Bing Crosby and fellow Italian-American Russ Columbo, mellowing it out even further and becoming a beloved presence on radio, record, and television well into the 1960s. Sadly, it's hard to think of another American singer who was as big as Como was, for as long as he was, yet whose recorded legacy has almost completely disappeared from the public consciousness. Though he deserves better, two things have probably kept Como's vast catalogue of songs from seeming relevant decades after they were recorded (the way that Frank Sinatra, Tony Bennett, and Dean Martin's catalogues have). First, Como never fought against the tidal wave of goofy novelty numbers labels and publishers passed his way, so digging out the gems requires some patience. Second, his serene "sailing above the clouds" style lacks the attention to lyrics and the jazz foundation that even Bing Crosby, the king of the lackadaisical crooners, displayed. This is a shame because Como was a very good singer, and much of his material, especially his swing era work, is a whole lot of fun. If all you've heard is "Magic Moments," you may want to check out the fun, Crosby-on-Quaaludes side of the cardiganed crooner, which can be found on such CD reissues as <I>Perry Como With the Fontaine Sisters</I> and the first couple discs in the box set <I>Yesterday & Today: A Celebration in Song</I>.
- Nick Dedina]]></description>
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<title>Dinah Washington</title>
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<category>Pop Standards</category>
<pubDate>Thu, 24 Dec 2009 13:15:02 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Dinah Washington</rhap:artist>
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<description><![CDATA[A great jazz and pop vocalist who excelled at the blues, Dinah Washington had a sharp, powerful voice that she wielded with knife-like precision. Washington's open and direct (yet smartly controlled) style was extremely popular throughout the 1950s with black audiences, and by the late-'50s she had crossed over to the white pop market with big hits such as "What A Diff'rence A Day Makes," which combined a jazz and blues feel with Nashville-style arrangements. Washington loved after hour jam sessions, and also released a stellar series of jazz albums on Mercury (now Verve Records) that included many of the greatest musicians of the day. Known for her full figure, strong personality, hard-living lifestyle, and multiple marriages, Washington was something of an Elisabeth Taylor/Marilyn Monroe for the African-American community: always in the news, she was almost as famous for newspaper headlines, funny quips, and her fun fashion sense as she was for her music. She died of an accidental overdose while going on a crash diet in December 1963. Washington rightly remains extremely popular in jazz and vocal circles, and she's a major influence on R&B in general and artists such as Ray Charles, Etta James and Aretha Franklin in particular.
- Nick Dedina]]></description>
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<title>Nancy Wilson</title>
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<category>Vocal Jazz</category>
<pubDate>Thu, 24 Dec 2009 13:14:55 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Nancy Wilson</rhap:artist>
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<description><![CDATA[A highly successful and respected jazz and soul singer, Nancy Wilson bridges the gap between the classic pop vocal era of Peggy Lee, Frank Sinatra and Ella Fitzgerald and the belting R&B divas of today. Though Nancy Wilson has always cited the emotionally naked, androgynous vocal style of Jimmy Scott as her primary influence, her voice carries definite echoes of Dinah Washington and Sarah Vaughan. Yet Wilson also has always had a strong feeling for post-Sam Cooke soul and the tartness of her delivery carries more than an echo of the sometimes-icy Lena Horne. Young and heart-stoppingly beautiful, Wilson was discovered singing in a N.Y.C. jazz club in the late 1950s by Cannonball Adderley, who told his management at Capitol Records that they needed to scoop her up before another label did. Wilson was immediately signed and started recording for Capitol, the premier vocal label of the 1950s and '60s. She released a couple of very respectable LPs with star arranger Billy May but actually crossed over to radio and the pop charts with two small group jazz platters with her bestselling label mates (one with George Shearing (<I>The Swinging's Mutual</I>) and the other with Cannonball Adderley). Catapulted to the pop stratosphere, Wilson was the bestselling artist on Capitol Records' roster (beating out everyone from Nat King Cole to the Beach Boys) until the Beatles crossed the pond and eclipsed everything and everybody in their culture-changing wake. Other fine albums from this '60s period include <I>Yesterday's Love Songs, Today's Blues</I> and <I>But Beautiful</I>, a jazz ballad set led by pianist Hank Jones. In the '70s and '80s, Nancy Wilson slowly made the transition from pop star to adult contemporary soul singer. From the 1990s to the present day, Wilson returned to alternating jazz standards, quiet storm and adult contemporary ballads, while putting on a sensational jazz show in concert. The longevity of Wilson's career and the continuing strength of her voice are almost unheard of in modern pop music, though her career -- and her affinity with jazz, blues and soul -- shares many parallels with one-time Capitol labelmate Lou Rawls.
- Nick Dedina]]></description>
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<title>Lou Rawls</title>
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<category>Soul</category>
<pubDate>Thu, 24 Dec 2009 13:15:56 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Lou Rawls</rhap:artist>
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<description><![CDATA[It's good to have a mega hit but Lou Rawls has been too firmly associated with "You'll Never Find Another Love Like Mine" over the years. Yes, it's a great Philly Soul number, but Chicago's own Lou Rawls has done much in a long, illustrious career. He excelled at gospel with Sam Cooke, at jazz with Les McCann and Benny Carter, and with the blues-drenched jazz 'n' soul on his own R&B hits. It took a serious car accident and a short coma to get Rawls to throw caution to the wind and try for a solo career and he immediately caught the attention of musicians in the early 1960s. His earliest Capitol recordings rank among his best but Rawls didn't catch on with the public until 1966's incendairy <I>Live!</I>, which contained his famed pre-song "raps" which helped set the stage for Isaac Hayes, Gil Scott-Heron and Barry White. Rawls classics at the time included "Black and Blue" and "Dead End Street" which helped define the civil rights movement but as Rawls got increasingly popular he helped light up dance floors and bedrooms with some of the tastiest Philly Soul of the 1970s. In 1989 Rawls returned to recording top shelf blues and jazz material, first with Blue Note, then with his own label. While his albums can contain uneven material, Rawls is justly famous for his searing live show and his older material is newly popular with British youth. Rawls passed away from cancer in 2006.
- Nick Dedina]]></description>
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<title>Doris Day</title>
<link>http://www.rhapsody.com/goto?rcid=art.5541&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Pop Standards</category>
<pubDate>Sun, 20 Dec 2009 09:42:37 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<description><![CDATA[Forever associated with her perky, Hollywood created "girl next door" image, Doris Day was one of the biggest singers and movie stars of the 1940s, '50s and '60s. A much finer (and jazzier) vocalist than people care to remember, Doris Day started singing professionally with the Bob Crosby and Les Brown big bands while she was still in her teens. Day's pure, unaffected voice (think of a non-scatting Ella Fitzgerald) swung, even on ballads, and she became a star before her fresh-faced beauty helped her land a movie contract. Day's bright appeal developed in Tinsel Town but her movie roles and recordings slowly started to turn into chirpy, upbeat vehicles. Even then, Day still cut good albums it's just that her sugary fluff for Columbia Records sold so well and was so popular with the public that it came to dominate her recording time. Day's vocal purity and her love of swing-era jazz would've found a better home at Capitol Records (home of Peggy Lee, Frank Sinatra and Nat Cole) than Columbia but she was usually just happy to sing anything between movie roles. Every once in a while Day put her foot down and instead of cutting novelty numbers and goofball tunes, she would record fine band sides with Paul Weston and small group jazz sessions with Andre Previn, Harry James and others.
- Nick Dedina]]></description>
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<title>Jane Monheit</title>
<link>http://www.rhapsody.com/goto?rcid=art.34686&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Vocal Jazz</category>
<pubDate>Sun, 25 Oct 2009 10:21:31 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<description><![CDATA[Jane Monheit was one of many young jazz and classic pop based vocalists to benefit from the rise of Diana Krall in the 1990s. An old world beauty raised on Long Island, the 20 year-old Monheit first came to the public's attention at a prestigious jazz competition that was attended by a bevy of musical legends. Monheit possesses a beautiful, crystal clear tone that sets her apart from most modern singers, in or out of the jazz world. Her chops are more powerful than those of musician/singers such as Diana Krall or Peter Cincotti and she is more approachable in her use of jazz improvisation. Monheit signed with the indie label N-coded and released her debut, <I>Never Never Land</I>, in 2000, kicking off the set with the self-deprecating "Please Be Kind." Monheit needn't have worried, since the CD was a big hit, shooting up to the No. 2 spot in the jazz charts and reaching No. 3 in the then-new Internet sales chart. Her 2001 follow-up did even better, going to the top spot in the jazz charts and featuring a cover of Joni Mitchell's "A Case of You" that shows that Monheit could've easily entered the Sarah McLachlan pop realm if she had wished to. <I>In the Sun</I>, released in 2002, grafted lush string arrangements onto a small-group jazz palette, while the next year's <I>Live at the Rainbow</I> surprisingly had more of an old-fashioned, Streisand-in-the-1960s vocal feel to it than her studio albums. Monheit signed to Sony in 2004 and released <I>Taking a Chance On Love</I>, a run-through of the standards originally written for MGM films. Another mix of small-group and orchestral numbers, the album returned Monheit to No. 1 in the jazz charts and showcased her strengths as both a jazz and classic pop vocalist.
- Nick Dedina]]></description>
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<title>Robbie Williams</title>
<link>http://www.rhapsody.com/goto?rcid=art.42891&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Pop</category>
<pubDate>Tue, 15 Dec 2009 10:30:56 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<description><![CDATA[A success story of purely British proportions, Robbie Williams went from being a teen pinup in the U.K's version of New Kids on the Block (Take That) to being a teen pinup for the post-Brit Pop generation. After the demise of Take That, Robbie "The Tough One" Williams took to hardening his image by surrounding himself with drugs, solo records, and Oasis. His singles have been the perfect blend of teen-pop all dressed up in lad-rock clothing. His smirking confidence, roguish good looks and genuine stage presence have seen him do surprisingly well with the American market.
- Jon Pruett]]></description>
</item><item>
<title>Andy Williams</title>
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<category>Vocal-Pop</category>
<pubDate>Sat, 26 Dec 2009 10:03:54 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.7125&amp;variant=data&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Andy Williams carried on the crooning cardigan tradition of Perry Como deep into the rock 'n' roll years. A good singer with seamless technique, Williams had a bright TV personality and a string of hit singles ("I Can't Get Used to Losing You," and "Moon River" are the two that still get plenty of spins on AM radio) throughout the late 1950s, '60s and '70s. In a surprise twist, Williams became every vengeful woman's fantasy when he stood by ex-wife Claudine Longet after she shot and killed skiing legend/paramour Spider Sabich in 1976. Since those heady days, Williams' recording career has slowly wound down, but he continues to be a big concert draw and has his own theatre in Branson, Missouri.
- Nick Dedina]]></description>
</item><item>
<title>Steve Tyrell</title>
<link>http://www.rhapsody.com/goto?rcid=art.52710&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Vocal Jazz</category>
<pubDate>Fri, 18 Dec 2009 12:08:57 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Steve Tyrell</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.52710&amp;variant=data&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:data-href>
<description />
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<title>Julie London</title>
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<category>Pop Standards</category>
<pubDate>Sat, 19 Dec 2009 10:51:20 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Julie London</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.9491&amp;variant=data&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:data-href>
<description />
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<title>Judy Garland</title>
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<category>Cabaret</category>
<pubDate>Sat, 26 Dec 2009 10:03:56 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Judy Garland</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.61241&amp;variant=data&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Judy Garland survived childhood stardom and continued in film, cabaret and TV. Her singing style was often over the top, but she could be a subtle vocalist as well, and often had a dancer's sense of swing that Ethel Merman could only dream about.
- Nick Dedina]]></description>
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<title>Cole Porter</title>
<link>http://www.rhapsody.com/goto?rcid=art.3118&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Musicals</category>
<pubDate>Sat, 12 Dec 2009 11:16:33 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Cole Porter</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.3118&amp;variant=data&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Cole Porter is considered the single greatest songwriter to work in the American theater. His songs
allow you to enter a rarified, adult world full of sophisticated lovers who embrace frivolous fun while
nursing broken hearts. To Porter, love was a martini that caused one hell of a high, but an even worse hangover. His music was as intelligent as his lyrics, and could be complex and catchy at the same time. Such songs as "Night and Day," "I've Got You Under My Skin" and "I Get a Kick Out of You" are still recorded regularly by vocalists and jazz musicians. A Cole Porter song is the perfect marriage between style and substance.
- Nick Dedina]]></description>
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<title>Cassandra Wilson</title>
<link>http://www.rhapsody.com/goto?rcid=art.68163&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Vocal Jazz</category>
<pubDate>Sun, 6 Dec 2009 09:55:40 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Cassandra Wilson</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.68163&amp;variant=data&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[When Cassandra Wilson became a crossover sensation in the early 1990s, she had already been a well-respected jazz singer for years. What's more surprising is that she achieved such a high level of success while continuing to experiment with her voice, in her choice of material and with her musical backings. Wilson was part of the experimental New York jazz scene when she signed with a major label and released <I>Blue Light Till Dawn</I> in 1993. The album lived up to its title by combining her serious jazz chops with a bluesy, nocturnal feeling on ancient tunes and modern pop classics that don't usually appear on vocal albums (only the lead off track, "You Don't Know What Love Is," can be considered a standard). <I>Blue Light</I> established Wilson as a star, sailed to the No. 1 spot on the jazz charts, and stayed in the top 20 for two years. Her follow-up album, 1995's <I>New Moon Daughter</I>, was even more successful and won a Grammy for best jazz vocal. Promoting these smashes may well have slowed Wilson's recording of more solo projects; in the interim, the more traditional Diana Krall replaced her as the nation's young jazz singer of choice. But that break seems to have done Wilson well: her subsequent albums have contained even greater strains of country blues, experimental rock and world music, and they've all hit the No. 2 spot on the jazz charts (behind Krall or Norah Jones).
- Nick Dedina]]></description>
</item><item>
<title>Connie Francis</title>
<link>http://www.rhapsody.com/goto?rcid=art.2994&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Brill Building Pop</category>
<pubDate>Sun, 20 Dec 2009 09:42:24 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Connie Francis</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.2994&amp;variant=data&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Born Constance Franconero, Connie Francis is a key figure in the era that saw the transition of pop music sung by vocalists to pop music sung by rock 'n' rollers. MGM had Francis try everything under the sun, and this New Jersey native's vocal style always leaned towards crossover country. Her Nashville work is fairly decent, but she also recorded nightclub standards, jazzy swingers and somewhat bleached Italian folk tunes. Francis has had her share of personal tragedies (which adds poignancy to her old teen tragedy tunes), but her career has nevertheless lasted for decades. She also co-starred in the ever-popular <i>Where the Boys Are</i>, and her most enduring hit -- a lightly R&B-ish reading of "Who's Sorry Now" -- still gets considerable airplay on oldies stations.
- Nick Dedina]]></description>
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<title>Mel Torme</title>
<link>http://www.rhapsody.com/goto?rcid=art.55039&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Vocal Jazz</category>
<pubDate>Mon, 30 Nov 2009 10:00:57 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Mel Torme</rhap:artist>
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<description><![CDATA[The bobby socks generation knows him as the Velvet Fog for his light, smoky voice. The children of television recognize him from appearances on <I>Night Court</I> and <I>Sienfeld</I>. Jazz fans know Mel Torme as the singer who best exemplified the Cool West Coast sound. A child prodigy, Torme entered show biz at the age of three. A short stint as a big band drummer left him with a firm grasp of complex rhythms and he enjoyed a brief period as a crooning teen idol in the 1940s (film roles included). During the 1950s, Torme began a collaboration with arranger/pianist Marty Paich, and together they brought the Miles Davis/Gerry Mulligan "Birth of the Cool" sound to popular music on a series of classic albums. These remain his finest recordings, but Torme was popular during the '80s, where sold-out concert crowds were dazzled by his high-flying scat abilities and razor wit. Torme also wrote many songs, including the standard "Stranger in Town," penned when he was fifteen years old, as well as "The Christmas Song" ("...chestnuts roasting on an open fire").
- Nick Dedina]]></description>
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<title>Carmen McRae</title>
<link>http://www.rhapsody.com/goto?rcid=art.55034&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Vocal Jazz</category>
<pubDate>Fri, 27 Nov 2009 10:25:12 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Carmen McRae</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.55034&amp;variant=play&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.55034&amp;variant=data&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[McRae was one of the great jazz singers, a refined vocalist who worked hard at making it all seem so natural and easy. Though influenced by Billie Holiday and Frank Sinatra, McRae brought an emotional and stylistic coolness to the party -- a style which even surfaces in her amazing scats. Some of her deserving 1950s albums are finally surfacing on the GRP and Verve labels, and McRae's 1980s Concord sessions are widely available.
- Nick Dedina]]></description>
</item><item>
<title>Karrin Allyson</title>
<link>http://www.rhapsody.com/goto?rcid=art.38095&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Vocal Jazz</category>
<pubDate>Fri, 20 Nov 2009 12:50:55 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Karrin Allyson</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.38095&amp;variant=play&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.38095&amp;variant=data&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Karrin Allyson is one of the best young jazz singers on the scene today. She may have a feeling for lyrics that recalls Susannah McCorkle, but Allyson mixes in Post Bop jazz leanings and even touches of Blue-Eyed Soul (think of Dusty Springfield or Shelby Lynne learning from Miles and 'Trane). Allyson also knows how to mix modern tunes (by such talents as Randy Newman) with classic standards. The way she discovers new insights into material both old and new puts her ahead of most of her peers. On <i>From Rio to Paris</i>, Allyson shows that she doesn't even have to sing in English to get at the heart of a song, though it was <i>Ballads: Remembering John Coltrane</i> (2001) that finally broke this talent to most jazz audiences. With a hit album under her belt, Allyson looks like someone who could actually receive the kind of reception with the general public that Diana Krall enjoys.
- Nick Dedina]]></description>
</item><item>
<title>Shirley Bassey</title>
<link>http://www.rhapsody.com/goto?rcid=art.68609&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Vocal-Pop</category>
<pubDate>Fri, 18 Dec 2009 12:08:12 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Shirley Bassey</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.68609&amp;variant=play&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.68609&amp;variant=data&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Who else but the sexy, sassy and ultra-dramatic Welsh Bassey could blast out "Goldfinger" and other Bond themes in the 1960s and still have hits with synth bands like Yello and the Propellerheads in the '90s?
- Nick Dedina]]></description>
</item><item>
<title>Susannah McCorkle</title>
<link>http://www.rhapsody.com/goto?rcid=art.39683&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Vocal Jazz</category>
<pubDate>Sat, 6 Jun 2009 08:29:31 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Susannah McCorkle</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.39683</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.39683&amp;variant=play&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.39683&amp;variant=data&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[There are many excellent young jazz singers out there, but Susannah McCorkle is one of the few who could hold up to comparisons with the great singers of the past. This California native didn't get into jazz until after college in the late 1960s, but she must have swing in her blood because soon she was sharing the stage with everyone from Ben Webster to Dexter Gordon. An excellent lyricist and writer herself, McCorkle had the knack that Billie Holiday and Sinatra had for marrying the musical with the narrative; instead of going for flashy vocal pyrotechnics, McCorkle communicated with nuance. She also had a great feeling for material and has unearthed many a buried treasure that deserve to be standards. All of her releases on the Concord label are winners, and <i>From Broken Hearts to Blue Skies</i> (1999) may just be her finest release. Tragically, McCorkle was a longtime sufferer of deep depression. She committed suicide in 2001.
- Nick Dedina]]></description>
</item><item>
<title>Anita O'Day</title>
<link>http://www.rhapsody.com/goto?rcid=art.5666&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Vocal Jazz</category>
<pubDate>Sun, 13 Dec 2009 10:14:07 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Anita O'Day</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.5666&amp;variant=play&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.5666&amp;variant=data&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[This dizzy dame can scat like a woman possessed, then turn right around and quietly perform a perfect torch song. Hitting the big time with Gene Krupa, O'Day origianally sounded like Billie Holiday and unfortunately, shared her bad habits. But right off the bat, she had her own goofy sense of humor and a loose, improvisational style that was fresh and by the time Stan Kenton signed her up, O'Day was completely unique. From there, she went solo and recorded a great series of records on Verve. Whether with big bands, West Coast innovators or small groups, her vocal prowess dazzled. She's still at it today and has been embraced by a whole new swing generation.
- Nick Dedina]]></description>
</item><item>
<title>Lena Horne</title>
<link>http://www.rhapsody.com/goto?rcid=art.61144&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Pop Standards</category>
<pubDate>Sun, 20 Dec 2009 09:42:28 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Lena Horne</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.61144&amp;variant=play&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.61144&amp;variant=data&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Lena Horne has always been a wonderful popular singer who knows how to swing or get the blues. A raging beauty in a racist country, she was known for singing standards in a defiant, borderline angry tone. You can often hear a vinegar sting in Horne's delivery, but that element of her tone has been overstated by critics -- she can sound like a wounded lamb as well as a snarling lioness. Horne began at the Cotton Club, singing with numerous top Swing bands. While much of her time was wasted on a contract with MGM, she spent decades recording and touring the world with her husband and musical director, Lennie Hayton. Horne made a series of outstanding records on RCA during the 1950s and early '60s, on which she was often backed by the charts of such Cool Jazz modernists as Marty Paich and Shorty Rogers. Horne's recent recordings with Blue Note are well worth hearing and stand up to her best material.
- Nick Dedina]]></description>
</item><item>
<title>Sophie Milman</title>
<link>http://www.rhapsody.com/goto?rcid=art.7527450&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Vocal Jazz</category>
<pubDate>Thu, 8 Oct 2009 11:45:27 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Sophie Milman</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.7527450&amp;variant=play&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.7527450&amp;variant=data&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>Shirley Horn</title>
<link>http://www.rhapsody.com/goto?rcid=art.1698&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Vocal Jazz</category>
<pubDate>Tue, 15 Dec 2009 10:31:02 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Shirley Horn</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.1698&amp;variant=play&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.1698&amp;variant=data&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Few people in jazz or pop know how to stretch out a ballad the way that Shirley Horn did. What made her music special was how her piano playing relied on what she sang, and visa-versa. Horn's piano filled in just the right amount of space around her vocals, with the silences being essential to her unique sound. That spare, distilled, often-glacial quality owed a lot to the cool 1950s musical world of Ahmad Jamal, Bill Evans and Miles Davis. And while it was Davis who first championed Horn's work, his enthusiasm was soon matched by Quincy Jones, who both arranged and produced sessions for her. Even though the quality of Horn's small group and orchestral sets during this time was top-shelf, she never really caught on with the public during the 1960s, mainly because her laid-back, spare and sophisticated style was slightly out of place during an era when black America was embracing tougher, more R&B-fueled jazz. Then, when Horn became a parent, she stopped touring and would only play dates in her native Washington, D.C. During this period, Miles Davis always had her open for him whenever he came to town, and when her children left the nest, it was Davis who helped reintroduce Horn to the jazz community. She went on to cut a series of well-regarded albums for the boutique label Steeple Chase until Verve Records came calling in 1987. Miles Davis backed Horn on the title track to that year's <I>You Won't Forget Me</I>, resulting in her first No. 1 jazz album. Davis died before the two could cut an entire album together,
but Horn would continue racking up No. 1 jazz poll positions and Grammy awards for Verve. While originally Horn had to fight to be able to accompany herself on piano, her finest album may be <I>Here's to Life</I> (1991), an orchestral set she recorded with master arranger/composer Johnny Mandel. Though Shirley Horn could do up-tempo swingers with the best of them, the ballad "Quietly There," from <I>Here's to Life,</I> may best sum up her approach. Shirley Horn valiantly kept performing and recording even as her body was being attacked by diabetes and cancer. Severe illness kept her from playing the piano for her final album, <I>May the Music Never End</I> (2003), a powerful but typically clear-eyed look at love, regret and mortality. Horn passed away in 2005, but not before influencing such followers as Roberta Flack, Diana Krall and Norah Jones, giving her far greater impact on modern music than name recognition would imply.
- Nick Dedina]]></description>
</item><item>
<title>Renee Olstead</title>
<link>http://www.rhapsody.com/goto?rcid=art.5294334&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Adult Contemporary</category>
<pubDate>Wed, 20 May 2009 11:55:18 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Renee Olstead</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.5294334&amp;variant=play&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.5294334&amp;variant=data&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[You might recognize Renee Olstead from the CBS television show <I>Still Standing</I> or the lighthearted movie hit <I>13 Going On 30</I>. Since she's only a teenager, perhaps her acting skills explain Olstead's uncanny ability to sound just like greats such as Patsy Cline, Billie Holiday or Ella Fitzgerald. Or maybe she's a live antenna to the spirit world, channeling ghosts of music history.
- Eric Shea]]></description>
</item><item>
<title>June Christy</title>
<link>http://www.rhapsody.com/goto?rcid=art.2201&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Vocal Jazz</category>
<pubDate>Thu, 24 Dec 2009 13:15:23 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">June Christy</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.2201&amp;variant=play&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.2201&amp;variant=data&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[The beatnik Doris Day, June Christy combined a sunny "girl-next door" appeal with darkly melancholic songs and an independent streak that meshed perfectly with the free-thinking coffeehouse crowd of the 1950s. Often associated with the West Coast jazz movement, Christy's ties to the style go back to its roots in the Boyd Raeburn and Stan Kenton big bands. June Christy quickly became a star with Kenton, and was renowned for deftly handling the experimental musical curveballs he would throw at her. After numerous hits as Kenton's featured singer, Christy left his orchestra and joined Capitol Records, <I>the</I> label for jazz singers in the 1950s. She recorded <I>Something Cool</I>, her brilliant debut L.P, in 1953 with her old Kenton cohort Pete Rugolo and a host of the West Coast's best cool jazz musicians (including her husband, saxophonist Bob Cooper). <I>Something Cool</I> was a major success and instantly became one the biggest sellers of its time. At once accessible and challenging, the album became a benchmark for the rest of her career. It showcased her knack for finding offbeat and often bleak tunes (the famed title track, for instance, is about a lonely, deluded woman who scares away a potential pick-up at a bar). After that artistic and commercial high-water mark, Christy was given free rein at Capitol and split her time between orchestral albums with Rugolo and small group jazz sessions, often with her husband. Even though she was a popular concert draw, Christy never enjoyed touring; when rock supplanted classic pop in the album charts in the mid-'60s, she called it a day, coming out of retirement occasionally to sing with the old cool jazz crowd until her death in 1990.
- Nick Dedina]]></description>
</item><item>
<title>Johnny Hartman</title>
<link>http://www.rhapsody.com/goto?rcid=art.2229&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Vocal Jazz</category>
<pubDate>Tue, 22 Dec 2009 10:24:23 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Johnny Hartman</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.2229&amp;variant=play&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.2229&amp;variant=data&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[On the shortlist of the greatest jazz singers of all time, Johnny Hartman possessed a beautiful voice, good looks and an engaging stage presence, yet the crossover fame he richly deserved eluded him during his lifetime. Hartman's lush baritone was similar to Billy Eckstine's, but less mannered; Hartman always cited Frank Sinatra and Nat "King" Cole as his primary influences. You can hear it in his naturalistic phrasing and attention to the narrative detail of a lyric. While Hartman sadly recorded infrequently over a four decade career (especially in comparison to his peers), <I>Songs From the Heart</I> (1955), <I>I Just Dropped By to Say Hello</I> and <I>John Coltrane & Johnny Hartman</I> (both 1963) easily rank alongside the greatest jazz albums ever, vocals or no vocals. <I>Esquire</I> magazine even chose his collaboration with Coltrane as the greatest album ever made, and while rock fans would argue that point, the masterpiece is certainly one of the most exquisitely beautiful ever recorded. Although a select group of loyal fans and (especially) jazz musicians loved these albums, by the late-1960s Hartman was working primarily in Japan and Australia (where he even starred in his own TV specials). By the late-'70s Hartman was working back in the States, where he earned a Grammy nomination in 1980. Then, just as his career was taking off again, he developed cancer and died in 1983. In the mid-'90s, longtime fan Clint Eastwood included a handful of Hartman tracks in his darkly romantic adaptation of <I>The Bridges of Madison County</I>. The film introduced Hartman to a whole new generation of listeners, and the resulting soundtrack CD, as well as two re-issued Hartman albums, quickly sold more than any of his work had during his lifetime.
- Nick Dedina]]></description>
</item><item>
<title>Fred Astaire</title>
<link>http://www.rhapsody.com/goto?rcid=art.44025&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Musicals</category>
<pubDate>Thu, 24 Dec 2009 13:15:47 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Fred Astaire</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.44025&amp;variant=play&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.44025&amp;variant=data&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>Vic Damone</title>
<link>http://www.rhapsody.com/goto?rcid=art.1120&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Pop Standards</category>
<pubDate>Sun, 20 Dec 2009 09:42:39 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Vic Damone</rhap:artist>
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<description><![CDATA[Sinatra is often quoted as saying, "Vic Damone has the best pipes in the business." The rest of the sentence is not often printed: "but he doesn't always know what to do with them." That's the Damone curse. He has a glorious voice -- like a 1940s Sinatra with a touch of Torme -- that has hardly aged a day over the years, but he often glides over standards instead of sinking into them. Sinatra's "Laura" is a disturbing study of obsession, while Damone's version is a beautiful love song about a girl. But when it's time for pillow talk, Damone's pure tone works better than Paris in the spring. He has made some swell records over the years, like the excellent <I>This Game of Love</I> (1959) featuring a small jazz group, and his easy-going manner meshes perfectly with hard-swinging big bands. The world needs beautiful love songs now more than ever -- and Vic Damone is just the man to deliver them.
- Nick Dedina]]></description>
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<title>Patti Page</title>
<link>http://www.rhapsody.com/goto?rcid=art.69238&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Good Old Days</category>
<pubDate>Thu, 24 Dec 2009 13:14:55 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Patti Page</rhap:artist>
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<description><![CDATA[The songs Patti Page sang may have mostly consisted of novel standards and Vocal-Pop Standards, but it was her seductive and playful voice that seemed to woo the original cocktail generation. Whether she was doing childlike inflections on "(How Much Is) That Doggie In The Window" or romantic escapism as heard on the household hit "Tennessee Waltz," Page's voice displayed a versitility that has influenced many female singers to this day. Although she stopped recording in 1968, she continued to perform into the 1990s, and over the course of her career, Page has sold more than 100 million records.
- Eric Shea]]></description>
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<title>Dinah Shore</title>
<link>http://www.rhapsody.com/goto?rcid=art.39912&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Pop Standards</category>
<pubDate>Thu, 24 Dec 2009 13:14:55 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Dinah Shore</rhap:artist>
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<title>Peter Cincotti</title>
<link>http://www.rhapsody.com/goto?rcid=art.65348&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Pop Standards</category>
<pubDate>Mon, 2 Nov 2009 10:53:12 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Peter Cincotti</rhap:artist>
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<description><![CDATA[Part of a new wave of singing jazz pianists, Peter Cincotti has already found more success in his first two decades than most people find in a lifetime. A Manhattan native, the precocious pianist first performed live with Harry Connick, Jr. when he was a mere seven years old. By age 12, Cincotti was playing in New York jazz clubs, and by 18 he was holding court at the fabled Algonquin Hotel, forever known as the definition of pre-hippie, adult sophistication. Given that he was already a hardened veteran, it's not surprising that Concord Records snatched Cincotti up right out of high school. His self-titled debut was released in 2003 and showcases his relaxed Harry Connick, Jr. vocal style and fluid piano skills. The album immediately topped the jazz charts and was followed the next year by the more pop orientated <I>On the Moon</I> (2004). Time will tell if Cincotti will cross over to the pop world the way that Norah Jones and Jamie Cullum have.
- Nick Dedina]]></description>
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<title>Jo Stafford</title>
<link>http://www.rhapsody.com/goto?rcid=art.2415&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Pop Standards</category>
<pubDate>Thu, 24 Dec 2009 13:15:41 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Jo Stafford</rhap:artist>
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<title>Joe Williams</title>
<link>http://www.rhapsody.com/goto?rcid=art.60158&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Vocal Jazz</category>
<pubDate>Sun, 15 Nov 2009 11:03:42 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Joe Williams</rhap:artist>
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<description><![CDATA[One of the few great male jazz singers in history, Williams got his start in the late 1930s in Chicago. But it wasn't until the '40s, and his sessions with renowned vibraphonist Lionel Hampton, that he rose to national stardom. In the '50s, Williams sang for Count Basie's big band, where he recorded his first hit, "Every Day I Have the Blues," in 1951. Unlike his flute-voiced predecessor in Basie's band, Jimmy Rushing, Williams sang in a buttery-smooth, dark baritone. His naturalistic phrasing -- inspired by Frank Sinatra -- combined with his subtle slides in pitch make his voice sound warm and comfortable. And his vibrato states its presence without dominating. Williams' greatness stems in part from his versatility as a singer. Tunes such as "Boogie Woogie (I May Be Wrong)" showcase his considerable talent as a blues singer. His scatting on "How High the Moon" reveals a keen, bebop-influenced sense of melody, while "Getting Some Fun Out of Life" demonstrates his understated yet sensitive treatment of ballads.
- Noah Enelow]]></description>
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<title>Frank Loesser</title>
<link>http://www.rhapsody.com/goto?rcid=art.6967&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss</link>
<category>Musicals</category>
<pubDate>Wed, 16 Dec 2009 11:56:27 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=67&amp;rws=%2Fvocal-easy-listening%2Fvocal%2Fpop-standards%2Fartist-chart.rss">Top Pop Standards Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Frank Loesser</rhap:artist>
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<description><![CDATA[Loesser brought swinging cynicism to Broadway with his fab scores to <i>Guys and Dolls</i> and <i>How to Succeed in Business Without Really Trying</i>.
- Nick Dedina]]></description>
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