Feedage RSS directory - Chart Music |
| Posted: 05 Jun 2008 10:21 PM CDT  |
| 2) au DOWNLOAD MUSIC CHART blog2 Posted: 05 Jun 2008 10:21 PM CDT au DOWNLOAD MUSIC CHART blog2  |
| 3) Chart Chat with JK and Joel Posted: 05 Jun 2008 10:21 PM CDT The gossip and news from the week's Official UK Chart along with interviews with the stars. JK & Joel countdown the top ten singles and albums, talk to the number one artist and other big names in the Top 40. They also preview what is coming up in the chart and give you all the facts and trivia you need. Radio 1 is the home to the Official UK Charts used by the British music industry. Hear the Chart Show with JK and Joel on Radio 1 in the UK every Sunday from 4pm. To find out more, and for the podcast Terms of Use go to www.bbc.co.uk/radio1  |
| Posted: 05 Jun 2008 10:21 PM CDT Which singer or band tops your chart? Discuss!  |
| 5) Music Videos by C.W. McCall on Rhapsody Online Posted: 05 Jun 2008 10:21 PM CDT So here's a weird story. Remember that trucking craze in the mid 1970s that spawned the film Convoy, starring a shirtless Kris Kristofferson? Well, it was all C.W. McCall's fault. But his real name isn't C.W. McCall it's William Fries. And he really wasn't a big rig driver who honked it up on his C.B.; he was an advertising executive who stumbled into a music career by accident. While working on a radio campaign for an Omaha, Nebraska bakery, Fries invented McCall as a promotional tool: a character who would haul loads of bread and call Omaha radio stations from roadside truck stops, spurting out hilarious ramblings sprinkled with C.B. radio jargon (such as his "handle," Rubber Duck) to the delight of listeners. The campaign was a huge success, with everybody in the region talking about this funny C.W. McCall guy and his crazy trucker lingo. The fabricated character was such a hit that Fries decided to do what any red blooded American would do cash in. He recorded an album of quasi countrypolitan/urban cowboy songs that were all about trucking, truckers and life on the road. McCall soon had a chart topping hit in "Convoy," which inspired critically acclaimed filmmaker Sam Peckinpah to unleash an unintentionally campy film with the same name in 1978 starring Kristofferson, who, as mentioned above, seemed to lose his shirt four minutes into the film (this delighted Ali MacGraw, who was experimenting with a new perm as well as a script that was much lighter than Love Story). Six albums later, Fries hung up the McCall moniker and became an environmental activist before moving to Ouray, Colorado where he eventually became Mayor. Eric Shea  |
| 6) Music Videos by Placido Domingo on Rhapsody Online Posted: 05 Jun 2008 10:21 PM CDT Few classically trained singers have had the continued crossover success that Placido Domingo enjoys. He's reached the top of the charts with both his solo selections and his immensely popular collaborations with Pavarotti and Carreras. His strength as a performer is the classic love scene, as audiences melt to hear his powerful versions of great themes by Verdi, Wagner, and others. Outside of Opera, Domingo has enjoyed success with traditional Spanish love songs, as well as with pop music ("Perhaps Love" with John Denver and "Till I Loved You" with Jennifer Rush were huge chart toppers). In regard to Christmas music, it's just another day, another dollar for Domingo: his nearly annual holiday releases satisfy discerning listeners who are tired of Manheim Steamroller, while filling his coffers all the more. But let's not knock his talent for making money. Domingo is a true talent perhaps one of the greatest of the modern age. Jessy Terry  |
| Posted: 05 Jun 2008 10:21 PM CDT http://podsafemusicchart.podomatic.com  |
| Posted: 05 Jun 2008 10:21 PM CDT Dave Coroner plays music from the Bands at www.unsignedchart.com  |
| 9) BBC Music Latest Pop/Chart Releases Posted: 05 Jun 2008 10:21 PM CDT These are the latest releases from Pop/Chart on BBC Music.  |
| 10) 90's Rap/Hip Hop Music Videos on Rhapsody Online Posted: 05 Jun 2008 10:21 PM CDT The decade began with a whimper, climaxed with two separate shootings and then concluded with a global cultural blitzkrieg. Following the riotous summer of 1989 when Public Enemy dropped an agitprop A bomb in the form of "Fight the Power," which provided a fitting bookend for hip hop's first "golden age" rap in 1990 focused largely on pop chart presence. The genres first two genuine pop superstars, MC Hammer and Vanilla Ice, released their breakthrough albums that year. And while hip hop had been pop since Run DMC opened their "Rock Box," the one two punch of Hammer's "You Can't Touch This" and Ice's "Ice Ice Baby" caused a backlash, and the genre retreated inwards in an attempt to define itself before others did the job for it. What emerged on both Coasts was a more violent malaise that reflected both the nation's dire socio economic circumstances and the street's desire to essentially reclaim their genre. In the West, it began with Ice Cube. His seminal early '90s albums, from Amerikkka's Most Wanted to Predator, were the soundtracks to the turbulent years around the 1992 Los Angeles riots. Meanwhile, on the East Coast, rappers became increasingly brazen about their political inclinations. Acts such as Brand Nubian, X Clan as well as Pete Rock and CL Smooth injected themes of black pride and, in some cases, racial separatism into their lyrics. Less radical acts such as the Jungle Brothers, Tribe Called Quest and De La Soul also confronted these issues in a more inclusive fashion. This era came to a halt in approximately 1993 with the sudden explosion of a new era of New York hip hop acts. Following the success of groundbreaking group EPMD, crews such as the Wu Tang Clan, Boot Camp Clik and DITC began to emerge, while hardened nihilistic lyricists such as Nas, Big Pun, AZ and Mobb Deep's Prodigy were chronicling the fallout from the crack epidemic. With producers such as Pete Rock, DJ Premier, RZA, Da Beatminerz and Large Professor, their medicine was chased with a teaspoon of grimy jazz.While the East may have been undergoing a renaissance, the West was dominating the pop charts thanks to Dr. Dre. His groundbreaking 1992 album, The Chronic, and its spiritual cousin, Snoop's 1993 Doggystyle, wore their gang colors on their sleeves though they were also less restless than either their East Coast counterparts or their late '80s antecedents. This would all change with the emergence of Tupac Shakur and Death Row CEO Suge Knight. Perhaps the greatest irony in all of hip hop history is the extent to which bitter rivals Tupac and the Notorious B.I.G. will forever be linked together in the hearts and minds of fans. Both were immensely talented, both changed the face of hip hop before their murders and both would prove as influential in death as they ever were while alive. Losing two of its biggest and most talented stars in 1996 and 1997 signaled the end of an era. For the East Coast, it was a first step down a dark and lonely road. For the West, it was the equivalent of stepping off the side of a cliff, and it would take over a decade for that region to stumble back to the high ground. Out of this vacuum, Southern rap emerged. Outkast and Goodie Mob brought politically conscious funk. Jermaine Dupri and his Atlanta ilk focused on creating pop hop. And New Orleans crews such as No Limit and Cash Money filled the void for grimy, gutter hip hop. Most importantly though was the genre's return (with a vengeance) to the pop music arena. What began with P. Diddy's bling culminated with Eminem's angst. The white boy from Detroit was perhaps the most transformative music figure since Bob Dylan, and he carried an ailing hip hop nation on his back. By the end of the decade, hip hop had claimed the throne as the most popular music genre as well as the most prevalent youth culture in the world. It was an odd end to a strange and bloody decade  |
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