<![CDATA[[MusicRatty] tag: guitar]]> http://www.musicratty.com/tag/guitar Mon, 13 Oct 2008 10:00:15 +0000 iRatty Engine http://blogs.law.harvard.edu/tech/rss <![CDATA[Number 531 - Elton John]]> http://www.musicratty.com/article/8b4cb168f307155603af73ee8327210b http://www.musicratty.com/article/8b4cb168f307155603af73ee8327210b


Number 531

Elton John

“Blue Eyes”

(1982)

.
.
.
Genre:Pop

print available @ marousha

Imagine, if you can, what it is like for us people celebrating (bloody) Xmas in the middle of summer? Yet, down under we have to tolerate Christmas advertising with a “White Out” theme. Snow, snowflakes, snowmen, snow-angels and yet its 25 degrees (77 Fahrenheit for our non metric friends) yet the media insist on a white Xmas, its crazy i tell you. Imagine Americans & Europeans standing around a BBQ in beach shorts on Christmas day! (Oh look … emails from people who live in Florida) naff naff.
art by blackfauve

Speaking of people who wear bizarre outfits such as Santa ‘the anagram‘ing Satan’ he is, leads me to another entertainer, Elton John, who also loves the flair of outrageous clothing too. I have been to two concerts of Elton’s now and i can say he has to be one of the best. I have never seen so many people who had enjoyed themselves so much. If you havent been to one of his concerts yet …. then go! He’s getting on now (60) so you better hurry before he throws the towel in and if your worried about his personal life, which i dont agree with either, just turn the other cheek. (Oh wait …. thats what Elton does)

art by pikyoo
Jump Up! (1982) was Elton John’s (piano/vocals) first full LP to have been recorded in the 1980s, and is best remembered for including “Empty Garden (Hey Hey Johnny)” — John and lyricist Bernie Taupin’s tribute to the their slain friend, John Lennon. While the pair had been writing together again, albeit infrequently, since the late ’70s, John continued to include material written with his primary non-Taupin collaborator, Gary Osborne. The latter team had previously scored big with “Little Jeannie” on John‘s 21 at 33 (1980), and to a lesser degree with the noir ballad “Chloe” from The Fox (1981). However, on Jump Up!, the quality of material dithers from the absurd and inane “I Am Your Robot” — featuring lead guitar work from Pete Townshend — or the insipid breakup opener “Dear John” to the sublime beauty of “Blue Eyes” or the cathartic value of the aforementioned “Empty Garden (Hey Hey Johnny).”
Um, wheres Daisy?
The dramatic “Legal Boys” is an understated masterpiece, marking the first public effort between John and Sir Tim Rice. The pair would garner Tony and Grammy awards 12 years later for their work on the original motion picture soundtrack to the animated feature film The Lion King (1994). John’s backing band includes many of the same musicians who contributed to his most recent recordings. Representing the “classic” personnel are Dee Murray (bass) and post-Captain Fantastic (1975) recruit James Newton-Howard (keyboards). Fleshing out the core combo are studio guitarist extraordinaire Richie Zito and Toto drummer (and another highly regarded session heavy) Jeff Porcaro. Steve Holly (drums), who worked with Wings as well as John circa A Single Man (1978), guests on the tracks “Ball & Chain” and “I Am Your Robot.” While far from a total washout, Jump Up! would remain tethered in the wake of the follow-up, Too Low for Zero (1983), marking a reunion between John and both his “classic” 1970s combo as well as Taupin. ~ [Lindsay Planer, All Music Guide]
Elton Trivia
Elton John decided with his fleet manager John Newman to sell 20 of his collection of 28 cars at Christie’s — including several Ferraris, Aston Martins, and six post-war Bentleys. His reason for selling them was stated as: I do not find enough time to drive them. The sale raised £2 million The cars sold included: 1993 Jaguar XJ220 — the most expensive car in the collection, with a 213mph top speed and only 852 miles on the clock — sold for £234,750. The auction room was told how Sir Elton’s chauffeur refused to drive the car after he “twitched it” on a flyover and was scared by its power.
1978 Aston Martin V8 Vantage Coupe — known as “The Beast”, because of its roar, went for £80,750. The car was painted in black, red and yellow; the colours of Sir Elton’s favourite Watford Football Club.
Two Ferraris — a 1992 512 Testarossa and a 1987 Testarossa given to John by MCA Records on the occasion of his 40th birthday. Rod Stewart had been among a group of friends who had ridden in the car.
1973 Rolls-Royce Phantom VI — Lawrence Cohen from Hertfordshire spent over twice as much on a car valued at £110,000. It was fitted with a 36-speaker stereo system which cost £28,000. It was so powerful that it once blew out the rear window, after which the glass in the car had to be reinforced.
1985 Bentley Continental Convertible — in Tudor Red, the car used in the video for Nikita. The car’s body was specially crafted by coachbuilder Mulliner Park Ward of Harlesden, and a long list of special fitments include colour-coded radiator veins and parchment trim piped in red.
1969 Rolls-Royce Silver Cloud Mk3 — supplied new in Arizona, it was a purchase by John in Atlanta and named Daisy after the film Driving Miss Daisy which was filmed close to his Atlanta home. Flown to the UK in 1994 by KLM, it spent two years being restored at the cost of £100,000. It sold for £90,000.
In 2003, Elton John sold the contents of his Holland Park home in a bid to create more room for his collection of contemporary art. The auctioneer Sotheby’s catalogue had a list of more than 400 items, expected to fetch £800,000, including: Biedermeier furniture; early 16th- and 17th-century items, including an Edward Bower estimated at £20,000–£30,000 and a portrait of Elizabeth Honeywood from the circle of William Larkin, which was estimated at £30,000–£40,000. John’s bedroom featured a painting by 19th-century French artist Jacques-Noël-Marie Frémy, which was exhibited at the 1814 Paris Salon, and is estimated at £12,000–£18,000.
Despite his extravagant lifestyle and excessive spending, John’s fortune is estimated at £250 million, making him one of the wealthiest people in the music and entertainment industry. ~ [Source:Wikipedia]
Roll Call …..
For John Lennon see Number 639

For Pete Townshend see Number 556

For Toto see Number 956

What does Rolling Stone think about Sir Elton?
Jump Up is the album that redeems Elton John from his famine years as a fallen superstar exiled to less verdant pastures. Showing more spunk than anyone might have expected at this late date, he’s put himself back on top simply by making a tour de force of a record that says he knows he’s worth it. Even if he never again comes close to inciting the mass hysteria of the mid-Seventies, the sheer stylistic breadth of Jump Up should secure Elton John’s reputation as a rare master of pop form.
From the muscular lurch of “Dear John” to the Philly-soul stylings of “Princess,” Elton is feeling frisky again. Those trademark piano rolls and crisp cadences never sounded so good as on “Spiteful Child,” and he’s found a new expressiveness in his singing (witness the dramatic, mock-Brechtian reading of “Legal Boys,” which redresses the paper chasers with eloquent vehemence). And, for a guest-celebrity change of pace, there’s “Ball and Chain,” a catchy little tune that rolls along to the inimitable percussive strum of Pete Townshend’s acoustic guitar.
Lyric-writing duties are divided between Gary Osborne and Bernie Taupin. The former seems to coax a more effervescent melody from John, while the latter plumbs for emotional intensity – be it vengeance (”Spiteful Child”) or sentimentality (”Empty Garden,” a heartfelt paean to John Lennon). Elton John just might be rock & roll’s equivalent of the Tin Man in The Wizard of Oz. His songs have a kind of mechanical vigor, he’s a one-man pop-music assembly line, but the guy’s got a heart that won’t quit. “I am your robot/I am your robot man,” he sings on Jump Up, in a way that suggests he’s content with this self-assessment. Yeah, he may be a robot, but he’s our robot, all right. God bless him. (RS 370)
Artist Fact File
Name:Elton John……………….Related to³:No-one
Yrs Active:1964 to now…………Site:www.eltonjohn.com
Best Song¹:Candle in the Wind.….#1fan:www.eltonfan.com
Best Album²:Captain Fantastic…..Grammy Awards:5
Albums Sold:250 Million +………Next best thing:Billy Joel
¹Number of downloads WINMX ²Artistdirect choice ³Associated acts or collaborations
Rolling Stone Top 500 Songs ranked this song at Number (Blue Eyes?) and the Album ranked at Number (No way)
This song has a crowbarred rating of 74.3 out of 108 pts
Lyrics to the song
Previous Song 530 ….. Next Song 532
Tags:, , , , ,, , ,, , , , , , , , , , , , , , , , ,
Search Artist here:1-2-3-A-B-C-D-E-F-G-H-I-J-K-L-M-N-O-P-Q-R-S-T-U-V-W-X-Y-Z
By The Year 1955 to 2005:

underlay
       ]]> Mon, 13 Oct 2008 16:25:53 +0000 elton john redeems elton john elton john john circa dear john john lennon elton trivia mellow mix volume Number 531 - Elton John <![CDATA[Number 532 - Hall & Oates]]> http://www.musicratty.com/article/3ffe151bfb990a67d4a48e0270a303c4 http://www.musicratty.com/article/3ffe151bfb990a67d4a48e0270a303c4


Number 532

Hall & Oates

“Maneater”

(1982)

.

.
Genre: Pop Rock

art by cuntracula
Right, where was i? Oh yes 2 girls 1 cup, no wait! That definitely wasn’t it! (For the record that video is truly disgusting). Anyway, back to another eating disorder is Hall & Oates “Maneater” from 1982, it was the duo’s biggest hit in their long career beginning in 1967. Back then it was OK for two men to sing in a duo, you hardly have anyone today doing that for the fear of abuse & ridicule, funnily enough at the turn of this century it was OK to have 5 lads in a “boys” band and not much was said. Name just one duo that are around today ….. and no …. Akon & Eminem don’t count. Nor Janet & Michael Jackson either smarty pants ….. that’s a completely different genre altogether. (In fact, it could be compared to the opening title)

We not benders mate
From their first hit in 1974 through their heyday in the ’80s, Daryl Hall and John Oates‘ smooth, catchy take on Philly soul brought them enormous commercial success — including six number one singles and six platinum albums — yet little critical success. Hall & Oates‘ music was remarkably well-constructed and produced; at their best, their songs were filled with strong hooks and melodies that adhered to soul traditions without being a slave to them by incorporating elements of new wave and hard rock. Daryl Hall began performing professionally while he was a student at Temple University. In 1966, he recorded a single with Kenny Gamble and the Romeos; the group featured Gamble, Leon Huff, and Thom Bell, who would all become the architects of Philly soul. During this time, Hall frequently appeared on sessions for Gamble and Huff. In 1967, Hall met John Oates, a fellow Temple University student. Oates was leading his own soul band at the time. The two students realized they had similar tastes and began performing together in an array of R&B and doo wop groups. By 1968, the duo had parted ways, as Oates transferred schools and Hall formed the soft rock band Gulliver; the group released one album on Elektra in the late ’60s before disbanding.
W’ere bloody famous now!
Although they had several minor hits between 1977 and 1980, the albums Hall & Oates released at the end of the decade were not as successful as their mid-’70s records. Nevertheless, they were more adventurous, incorporating more rock elements into their blue-eyed soul. The combination would finally pay off in late 1980, when the duo released the self-produced Voices, the album that marked the beginning of Hall & Oates‘ greatest commercial and artistic success. The first single from Voices, a cover of the Righteous Brothers’ “You’ve Lost That Lovin’ Feeling,” reached number 12, yet it was the second single, “Kiss on My List” that confirmed their commercial potential by becoming the duo’s second number one single; its follow-up, “You Make My Dreams” hit number five. They quickly released Private Eyes in the summer of 1981; the record featured two number one hits, “Private Eyes” and “I Can’t Go for That (No Can Do),” as well as the Top Ten hit “Did It in a Minute.” “I Can’t Go for That (No Can Do)” also spent a week at the top of the R&B charts — a rare accomplishment for a White act. H20 followed in 1982 and it proved more successful than their two previous albums, selling over two million copies and launching their biggest hit single, “Maneater,” as well as the Top Ten hits “One on One” and “Family Man.” The following year, the duo released a greatest-hits compilation, Rock ‘N Soul, Pt. 1, that featured two new Top Ten hits — the number two “Say It Isn’t So” and “Adult Education.”
art by paulieslim

Hall & Oates had surpassed the Everly Brothers as the most successful duo in rock history, earning a total of 19 gold and platinum awards. Released in October of 1984, Big Bam Boom expanded their number of gold and platinum awards, selling over two million copies and launching four Top 40 singles, including the number one “Out of Touch.” Following their contract-fulfilling gold album Live at the Apollo with David Ruffin & Eddie Kendrick, Hall & Oates went on hiatus. After the lukewarm reception for Daryl Hall’s 1986 solo album, Three Hearts in the Happy Ending Machine, the duo regrouped to release 1988’s Ooh Yeah!, their first record for Arista. The first single, “Everything Your Heart Desires,” went to number three and helped propel the album to platinum status.
art by baddaruma
However, none of the album’s other singles broke the Top 20, indicating that the era of chart dominance had ended. Change of Season, released in 1990, confirmed that fact. Although the record went gold, it only featured one Top 40 hit — the number 11 single, “So Close.” The duo mounted a comeback in 1997 with Marigold Sky, but it was only partially successful; far better was 2003’s Do It for Love and the following year soul covers record Our Kind of Soul. ~ [Stephen Thomas Erlewine, All Music Guide]
But? ……………… What is Maneater????
art by Odalha
“Maneater” is a single recorded by American duo Hall & Oates from their 1982 album H2O. It reached #1 on the Billboard Hot 100 chart on December 18, 1982. In 2006, the song and its subject matter were adapted and re-interpreted by Nelly Furtado for her song, also called Maneater from her album Loose. The song was sampled once more in 2006 when the Ying Yang Twins (featuring Wyclef and Mr. Collipark) released the song “Dangerous“. The Hall & Oates version features a saxophone solo by Charles “Mr. Casual” DeChant.
Vote change … dont vote old
The Hall & Oates music video opens with a woman walking down a red staircase, and the band playing in a dimly lit studio with shafts of light projecting down on them. This may be an attempt to mimic a bar-dance club setting. The band members step in and out of the light for their lip sync. A young woman in a short party dress is shown in fade-in and fade-out shots, along with a black jaguar, hence the song line “The woman is wild, a she-cat tamed by the purr of a Jaguar”, which likely refers to a gold digger who prefers to ride in an up-scale luxury automobile such as a Jaguar. The song refrain is “Whoa, oh here she comes; watch out boy, she’ll chew you up; whoa, oh here she comes, she’s a maneater”. ~ [Source:Wikipedia]
What does Rolling Stone think about Hall & Oates?
It’d be a disservice to the considerable inventiveness and daring of Daryl Hall and John Oates to suggest that after ten years of trying, they’d finally hit on a perfectly tailored pop success formula. Nevertheless, their well-steeped brew of gunshot percussion, hooky daubs of synthesizer and soulful, swooping vocals – which revived their career on Voices and spawned four hit singles from their last LP, Private Eyes–is heavily in evidence on their latest effort, H2O. But with only a few exceptions, the more austere elements of their music are unleavened by wit or generosity of spirit, and the result is a competent but off-putting album whose icy virtuosity makes Kraftwerk sound as down-home as a bluegrass band.
you looking at me??
The LP’s first track, “Maneater,” sets the tone. A bouncy, hard-edged rhythm line straight from the Supremes‘ “You Can’t Hurry Love” gives the song a promising kickoff. But the hooks never turn up, and the musty misogyny of the lyrics (”She’s deadly, man, and she could really rip your world apart”) only adds to the tune’s aridity. Hall dominates side one, and without John Oates’ warm vocal tone and lighter touch, his world view seems cramped. You can’t even dance to it. This isn’t to say Hall can’t be a genuinely moving singer. His gorgeous falsetto in the chorus of “One on One” manages to breathe some life into the song’s tired game-of-love metaphor. In “Art of Heartbreak,” he gets to blast more straightforwardly over guitar-powered orchestration. But too often, Hall’s vocal flourishes don’t reverberate with enough emotional force.
Who ate the onion dude?
Fortunately, the heat gets turned up on side two. Mike Old-field’s “Family Man” lets Hall and Oates percolate in a romp in the style of “I Can’t Go for That (No Can Do),” and “Guessing Games,” with its stuttering, Casiofueled rhythms and bleeps, incites Hall to some evocative wailing. Most welcome of the lot, though, is Oates’ “Italian Girls,” a light, poppy lament (”I drink, I drink so much vino rosso, no more amarone”) that sounds like Steely Dan having a good time, if such a thing were possible. Both the song and the performance are fun, funky and unoppressive – a particularly significant virtue on this chilly, hemmed-in LP. ~ [Source:RS 383]
Roll Call …….
For Michael Jackson see Number 621 & Number 580
For Eminem see Number 932
For the Supremes see Number 716
For Steely Dan see Number 907
Artist Fact File
Name:Hall & Oates……………..Related to³:No-one
Yrs Active:1967 to now…………Site:www.hallandoates.com
Best Song¹:I Cant Go For That…..#1fan:www.iwc.pair.com
Best Album²:Private Eyes……….Grammy Awards:0
Albums Sold:60 Million +……….Next best thing:Little River Band
¹Number of downloads WINMX ²Artistdirect choice ³Associated acts or collaborations
Rolling Stone Top 500 Songs ranked this song at Number (Duo? Men????..) and the Album ranked at Number (Real men don’t kill coyotes)
This song has a crowbarred rating of 74.3 out of 108 pts
Lyrics to the song
Previous Song 531 ….. Next Song 533
Tags:, , , , ,, , ,, , , , , , , , , , , , , , , , ,
Search Artist here:1-2-3-A-B-C-D-E-F-G-H-I-J-K-L-M-N-O-P-Q-R-S-T-U-V-W-X-Y-Z
By The Year 1955 to 2005:

underlay
       ]]> Mon, 13 Oct 2008 16:12:28 +0000 hall successful duo successful albums albums hall duo american duo hall mellow mix volume hall frequently Number 532 - Hall & Oates <![CDATA[Number 533 - Talking Heads]]> http://www.musicratty.com/article/98bdec900a5a779e52c58c36b9a6b9b2 http://www.musicratty.com/article/98bdec900a5a779e52c58c36b9a6b9b2


Number 533

Talking Heads

“Psycho Killer”

(1977)
.
.

.
Genre:Alternative

When Talking Heads screamed onto our planet of ears, you would have thought music had just landed “arse up”. Remember, 1977 was a land of Disco & Love Ballads and not forgetting the bastard offspring “Punk“. New Wave was around the corner, so WTF was Talking Heads all about then? Well as luck would have it, Talking heads was the Timelords missing link between Punk & New Wave…. sort of like a “marriage made in rock’s heaven” or “Sid Vicious holds hands with Lou Reed“. If you think that’s confusing, try and understand this gem of a chart for Genealogy Of Music. (Ai yi yi) Now if only they can figure who Rap is related to (OK … who yelled out Sesame Street ! ???)

At the start of their career, Talking Heads were all nervous energy, detached emotion, and subdued minimalism. When they released their last album about 12 years later, the band had recorded everything from art-funk to polyrhythmic worldbeat explorations and simple, melodic guitar pop. Between their first album in 1977 and their last in 1988, Talking Heads became one of the most critically acclaimed bands of the ’80s, while managing to earn several pop hits. While some of their music can seem too self-consciously experimental, clever, and intellectual for its own good, at their best Talking Heads represent everything good about art-school punks.
art by bven49
And they were literally art-school punks. Guitarist/vocalist David Byrne, drummer Chris Frantz, and bassist Tina Weymouth met at the Rhode Island School of Design in the early ’70s; they decided to move to New York in 1974 to concentrate on making music. The next year, the band won a spot opening for the Ramones at the seminal New York punk club CBGB. In 1976, keyboardist Jerry Harrison, a former member of Jonathan Richman‘s Modern Lovers, was added to the lineup. By 1977, the band had signed to Sire Records and released its first album, Talking Heads: 77. It received a considerable amount of acclaim for its stripped-down rock & roll, particularly Byrne’s geeky, overly intellectual lyrics and uncomfortable, jerky vocals.
Sooooo young
 For their next album, 1978’s More Songs About Buildings and Food, the band worked with producer Brian Eno, recording a set of carefully constructed, arty pop songs, distinguished by extensive experimenting with combined acoustic and electronic instruments, as well as touches of surprisingly credible funk. On their next album, the Eno-produced Fear of Music, Talking Heads began to rely heavily on their rhythm section, adding flourishes of African-styled polyrhythms. This approach came to a full fruition with 1980’s Remain in Light, which was again produced by Eno. Talking Heads added several sidemen, including a horn section, leaving them free to explore their dense amalgam of African percussion, funk bass and keyboards, pop songs, and electronics.
After a long tour, the band concentrated on solo projects for a couple of years. By the time of 1983’s Speaking in Tongues, the band had severed its ties with Eno; the result was an album that still relied on the rhythmic innovations of Remain in Light, except within a more rigid pop-song structure. After its release, Talking Heads embarked on another extensive tour, which would turn out to be their last; it’s captured on the Jonathan Demme-directed concert film Stop Making Sense. After releasing the straightforward pop album Little Creatures in 1985, Byrne directed his first movie, True Stories, the following year; the band’s next album featured songs from the film. Two years later, Talking Heads released Naked, which marked a return to their worldbeat explorations, although it sometimes suffered from Byrne’s lyrical pretensions.
art by ST4TIK
After its release, Talking Heads were put on “hiatus”; Byrne pursued some solo projects, as did Harrison, and Frantz and Weymouth continued with their side project, Tom Tom Club. In 1991, the band issued an announcement that they had broken up. Five years later, the original lineup minus Byrne reunited as the Heads for the album No Talking Just Head. Then in 1999, all four worked together to promote a 15th-anniversary edition of Stop Making Sense. ~ [Stephen Thomas Erlewine, All Music Guide]

For Modern Lovers see Number 994
For Lou Reed see Number 918 & Number 953

What does Rolling Stone think about Talking Heads?
Talking Heads are the last of CBGB’s original Big Four to record (following Patti Smith, the Ramones and Television), and their debut is an absolute triumph. Dressing like a quartet of Young Republicans, playing courteously toned-down music and singing lyrics lauding civil servants, parents and college, Talking Heads are not even remotely punks. Rather, they are the great Ivy League hope of pop music. I can’t recall when I last heard such a vital, imaginatively tuneful album. David Byrne’s music is refreshing, abundantly varied and fun to listen to. He takes the buoyant, post-Beatles singles format of the Sixties—brisk pacing, great hooks, crisp playing, bright production—and impulsively veers off on unexpected tangents that are challenging without becoming inaccessible.

Vocally, Byrne’s live-wired personality vibrates his precise musical framework like a caged tiger rattling its bars. (That he sings in a stiff, reedy, “bad” voice, grasping for higher notes like a drowning man lunging for air, only heightens the drama.) Exploring the logic and disorientation of love, decision making, ambition and the need for selfishness, he gropes for articulation like a metaphysician having difficulty computing emotions. Given his relatively unlyrical nature, Byrne’s burgeoning persona is not in the least tentative. “No Compassion” asserts all the impatience of Lou Reed in a bad mood, while “Psycho Killer” pulses with vehemence.

For me, the direct, crisp, jaunty Talking Heads and the abstracted, unrestrained, fiery Television stand as the Beatles and Rolling Stones of the restless, displaced Seventies. Not only is this a great album, it’s also one of the definitive records of the decade. ~[Source:Rolling Stone 251)
Pyscho Killer?
Tina Weymouth(legend)
“Psycho Killer” is the name of a new wave song from the 1977 Talking Heads album Talking Heads: 77. It was written by David Byrne with Chris Frantz and Tina Weymouth. The lyrics are supposed to represent the thoughts of a serial killer. According to the preliminary lyric sheets copied onto the 2006 remaster of Talking Heads: 77, the song started off as a semi-narrative of the killer actually committing murders. Byrne has said of the song: “When I started writing this (I got help later), I imagined Alice Cooper doing a Randy Newman-type ballad. Both the Joker and Hannibal Lecter were much more fascinating than the good guys. Everybody sort of roots for the bad guys in movies.”

For Randy Newman see Number 958
For the Beatles see Number 947, 894 & 587
For Rolling Stones see Number 767 & Number 689

Artist Fact File
Name:Talking Heads…………….Related to³:Modern Lovers
Yrs Active:1971 to 1991………..Site:www.talking-heads.net
Best Song¹:Once in a Lifetime.….#1fan:www.thismustbetheplace.net
Best Album²:Talking Heads 77……Grammy Awards:0
Albums Sold:Unknown……………Next best thing:Violent Femmes
¹Number of downloads WINMX ²Artistdirect choice ³Associated acts or collaborations
Rolling Stone Top 500 Songs ranked this song at Number (Not quite Velvet are they..) and the Album ranked at Number 290 (Oh yeah, but the albums ok .. kaff)
This song has a crowbarred rating of 74.2 out of 108 pts

Search Artist here:1-2-3-A-B-C-D-E-F-G-H-I-J-K-L-M-N-O-P-Q-R-S-T-U-V-W-X-Y-Z
By The Year 1955 to 2005: