With his husky, soulful baritone, Michael McDonald became one of the most distinctive and popular vocalists to emerge from the laid-back California pop/rock scene of the late '70s. McDonald found the middle ground between blue-eyed soul and smooth soft rock, a sound that made him a star. He initially essayed his signature style with the Doobie... [+] Read More

With his husky, soulful baritone, Michael McDonald became one of the most distinctive and popular vocalists to emerge from the laid-back California pop/rock scene of the late '70s. McDonald found the middle ground between blue-eyed soul and smooth soft rock, a sound that made him a star. He initially essayed his signature style with the Doobie Brothers, ushering in the group's most popular period with hits like "What a Fool Believes" and "Taking It to the Streets." McDonald disbanded the group in 1982 to pursue a solo career, which was initially quite successful, but by the end of the decade his popularity had faded away, since he was reluctant to work regularly and hesitant to update his sound to suit shifting popular tastes.

After singing backup on several Steely Dan albums in the mid-'70s, Michael McDonald joined the Doobie Brothers in 1977. He was largely responsible for moving the group away from boogie rock and toward polished, jazzy blue-eyed soul. Prior to the Doobies' farewell tour in 1982, he sang harmony on several hit singles, including tracks by Donna Summer, Toto, Kenny Loggins, and Christopher Cross. As it turned out, McDonald's solo work was a cross between the Doobie Brothers' white-bread soul and Cross' adult contemporary ballads.

McDonald released his solo debut, If That's What It Takes, in 1982. The record climbed to number six on the strength of the number four single "I Keep Forgettin' (Every Time You're Near)," which also crossed over into the R&B Top Ten. In 1983, he had another Top 20 pop hit (and a Top Ten R&B hit) with his duet with James Ingram, "Yah Mo B There." McDonald didn't deliver his second solo album, No Lookin' Back, until 1985. The record wasn't as successful as its predecessor, producing only one moderate hit in its title track. He bounced back the following year, when his duet with Patti LaBelle, "On My Own," shot to number one and "Sweet Freedom," his theme for the Billy Crystal/Gregory Hines comedy Running Scared, climbed into the Top Ten.

Instead of capitalizing on his revitalized success, McDonald didn't release another album until 1990. The resulting Take It to Heart was a bomb, peaking at number 110. Two years later, his fortunes were revived somewhat when he sang on Aretha Franklin's minor hit "Ever Changing Times" and toured with Donald Fagen's New York Rock and Soul Revue. The following year, he released Blink of an Eye, which was ignored. In 1994, "I Keep Forgettin' (Every Time You're Near)" was sampled heavily in Warren G's smash hit "Regulate." By 1996, McDonald had returned to the Doobie Brothers, touring the oldies circuit with the reunited group. The following year, McDonald released Blue Obsession, his first album of new material in three years. He released a Christmas album (In the Spirit: A Christmas Album) in 2001, and began a series of recordings devoted to the Motown catalog with 2003's Motown. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Georgios Kyriacos Panayiotou (George Michael) achieved fame in the duo Wham! in his native U.K. in 1982. Through 1986, he and his partner, Andrew Ridgeley, scored hit after hit in a variety of styles from rap to up-tempo pop to slow ballads. As songwriter and lead singer, Michael gradually overshadowed the group, and by the time they split, he... [+] Read More

Georgios Kyriacos Panayiotou (George Michael) achieved fame in the duo Wham! in his native U.K. in 1982. Through 1986, he and his partner, Andrew Ridgeley, scored hit after hit in a variety of styles from rap to up-tempo pop to slow ballads. As songwriter and lead singer, Michael gradually overshadowed the group, and by the time they split, he was ready for a massively successful solo career. This began with the 1987 album Faith, which featured a series of chart-topping hit singles and sold more than seven million copies. That Michael had not achieved a similar critical success was evident from the title of his follow-up album, Listen Without Prejudice, Vol. 1, which must be considered a major commercial disappointment even though it sold a million copies, included two Top Ten hits, and hit number two. With Vol. 2 apparently shelved, Michael contributed several songs to the charity album Red Hot + Dance in 1992, and one of them, "Too Funky," reached the Top 20.

After the failure of Listen Without Prejudice, Michael engaged in a bitter legal battle with his record company, accusing them of not properly promoting the album and asking them to release him from his contract; he stated that he would refuse to release any records if he lost the lawsuit. He lost. After losing an appeal, Michael bought his way out of his Columbia contract and signed with the music division of Dreamworks, a fledgling entertainment corporation founded by Steven Spielberg, Jeffrey Katzenberg, and David Geffen. In 1996, he released Older, its sales clearly hampered by his long hiatus away from performing. In 1998, Michael made tabloid headlines when he was arrested for lewd conduct in a men's public restroom at a park near his Beverly Hills home; following the incident, the singer appeared on CNN and publicly revealed his homosexuality. The covers collection Songs From the Last Century followed in late 1999. ~ William Ruhlmann, All Music Guide [-] Hide

Although he synthesized disparate elements of both rock and pop traditions, singer/songwriter Harry Nilsson was at heart a maverick whose allegiance belonged to neither. His initial series of albums in the late '60s made him a personal favorite of the Beatles, who found a natural affinity with his knack for catchy melodies, witty lyrics, and... [+] Read More

Although he synthesized disparate elements of both rock and pop traditions, singer/songwriter Harry Nilsson was at heart a maverick whose allegiance belonged to neither. His initial series of albums in the late '60s made him a personal favorite of the Beatles, who found a natural affinity with his knack for catchy melodies, witty lyrics, and extraordinary vocal range. Thought of as a songwriter first and a performer second, he became a pop star himself in the late '60s and early '70s with "Everybody's Talking" and "Without You." He lost some of his original audience, however, with subsequent detours into pre-rock styles of pop, and did little recording over the last 15 years of his life.

Nilsson had been struggling to make inroads into the music business for over five years before his critically acclaimed 1967 album, Pandemonium Shadow Show. He made demos, sang commercial jingles, and shopped songs, all the while keeping his job at a Los Angeles-area bank. In the mid-'60s, he wrote a few songs with Phil Spector that were recorded by the Ronettes and the Modern Folk Quartet; occasionally he released records of his own. The Monkees recorded his "Cuddly Toy," and the Yardbirds did "Ten Little Indians" on a single in their waning days. But Nilsson didn't quit his bank job until after the release of Pandemonium Shadow Show, which gave him creative rein in the studio for the first time, and showcased his three-and-a-half-octave voice to full advantage.

The album caught the attention of the Beatles (helped, no doubt, by its ingenious medley of classic Beatle tunes, "You Can't Do That"). John Lennon and Paul McCartney named him as their favorite American singer at a press conference, an extraordinary accolade for an unknown. (Nilsson was sometimes even rumored to be joining the group.) Three Dog Night took his "One" into the Top Ten in 1969, and Nilsson's second LP, Aerial Ballet, continued the ambitious pop/rock direction of his debut, marrying his slightly eccentric, bouncy (if sometimes precious) tunes to baroque orchestral production. When one of its songs, "Everybody's Talkin'," was used as the theme for the Midnight Cowboy film, Nilsson had his first Top Ten hit. The irony was that, although Nilsson was primarily identified as a singer/songwriter, the song was actually a cover of a composition by folk-rocker Fred Neil.

But Nilsson would never be content to be pigeonholed into definite categories, as demonstrated by his two 1970 albums. One was devoted entirely to covers of songs by Randy Newman (then just emerging as a performer); another was his soundtrack to an animated children's special, The Point (including the hit "Me and My Arrow"). And it was another cover (of a Badfinger album track) that gave him his biggest single, the number one smash "Without You." Yet Nilsson didn't cash in on his stardom in a conventional manner; he never performed in concert (there were occasional television appearances), preferring to craft his artistry in the studio.

"Without You" appeared on 1971's Nilsson Schmilsson, which included a couple of other hits, the faux-tropical "Coconut" and the surprisingly gritty "Jump Into the Fire," which rates as his hardest-rocking cut. During the first half of the 1970s, he continued to broaden his range from the well-crafted, peppy, sensitive tunes that had dotted his early releases, cutting some tougher, more sour work. He lost some of his constituency, however, with 1973's A Little Touch of Schmilsson in the Night, a collection of pre-rock pop standards with an orchestra conducted by arranger Gordon Jenkins (most noted for his work with Frank Sinatra). His affection for the music wasn't entirely surprising, as there had always been a strong Tin Pan Alley flavor to much of his writing, but it wasn't exactly in step with the times.

Much of Nilsson's notoriety stems from a period in the mid-'70s when he was a drinking buddy of John Lennon in Los Angeles (where Lennon was living during a separation from Yoko Ono). The drunken pair were thrown out of L.A.'s Troubadour club in a well-publicized incident, following which Lennon offered to produce Nilsson's next album. The timing was not opportune; Nilsson lost his voice during the sessions, rupturing one of his vocal cords, keeping it a secret out of fear that Lennon would abandon the project. Released as Pussy Cats, it was his last album to make the Top 100. During the same period, he also embarked on a project with another L.A.-based ex-Beatle, Ringo Starr, acting and writing music for the little-seen Son of Dracula film.

The upper register of Nilsson's voice, which was ultimately his greatest asset, had been permanently (though not irredeemably) damaged. After a few rather unsuccessful late-'70s album, Nilsson withdrew from the studio into family life and other business ventures, spending much of his energies campaigning for gun control after Lennon was shot in 1980. In failing health in the 1990s, diagnosed with diabetes and suffering a massive heart attack, he died in early 1994, just after finishing the vocal tracks for a new album. ~ Richie Unterberger, All Music Guide [-] Hide

Born in Cambridge, England in 1948, the youngest child of Professor Brin Newton-John and Irene, daughter of Nobel Prize winning physicist, Max Born, Olivia moved to Melbourne, Australia with her family when she was five. By the age of fifteen, she had formed an all-girl group called Sol Four. Later that year she won a talent contest on the... [+] Read More

Born in Cambridge, England in 1948, the youngest child of Professor Brin Newton-John and Irene, daughter of Nobel Prize winning physicist, Max Born, Olivia moved to Melbourne, Australia with her family when she was five. By the age of fifteen, she had formed an all-girl group called Sol Four. Later that year she won a talent contest on the popular TV show, “Sing, Sing, Sing,” which earned her a trip to London. By 1963, Olivia was appearing on local daytime TV shows and weekly pop music programs in Australia. Olivia cut her first single for Decca Records in 1966, a version of Jackie DeShannon’s "Till You Say You’ll Be Mine." In 1971, she recorded a cover of Bob Dylan’s "If Not For You," co-produced by John Farrar, who she continues to collaborate with today.
Her 1973 U.S. album debut, "Let Me Be There," produced her first top ten single of the same name, with Olivia being honored by the Academy Of Country Music as Most Promising Female Vocalist and a Grammy Award as Best Country Vocalist. This proved to be only the beginning of a very exciting career. Her countless successes include three more Grammys, numerous Country Music Awards, American Music Awards and Peoples Choice Awards, five #1 hits including “Physical,” which topped the charts for ten consecutive weeks, and 15 top 10 singles.
In 1978, her co-starring role with John Travolta in “Grease” catapulted Olivia into super-stardom. This film led to the production of the most successful movie musical soundtrack in history, featuring the duets "You’re The One That I Want" and "Summer Nights," with Travolta, as well as her mega-hit, "Hopelessly Devoted To You." The film was re-released worldwide in 1998 in celebration of its 20th anniversary to even more acclaim, a true testament to the film’s timeless quality. Her other film credits include “Xanadu,” “Two Of A Kind,” “It’s My Party,” and “Sordid Lives.” She followed that success, by co-starring with her daughter, Chloe, in the Showtime movie, “The Wilde Girls.” Clearly following in her mother’s footsteps, Chloe has recently signed her first record label contract.
Olivia’s appeal seems to be timeless. With a career spanning more than three decades she is still a vibrant, creative individual that is adored by fans across the world. Throughout her career, the much-loved star, who danced with Gene Kelly in “Xanadu,” hosted the popular internationally syndicated “Wild Life” television show, was bestowed an O.B.E. (Order Of The British Empire) by Queen Elizabeth in 1979, has held many humanitarian causes close to her heart, particularly since the birth of her daughter Chloe in 1986. She served as Goodwill Ambassador to the United Nations Environment Programme and in 1991, the Colette Chuda Environmental Fund/CHEC (Children’s Health Environ-mental Coalition) was founded after the tragic death of Chloe’s best friend from a rare childhood cancer, with Olivia serving as National Spokesperson for ten years. Ms. Newton-John’s devotion and shared commitment to CHEC’s mission and goals enabled the organization to receive worldwide attention and support. (For more information visit www.CHECnet.org.)
Her charmed life has not been without its share of upset. In the 90’s, Olivia successfully overcame her own battle with breast cancer, which inspired her self-penned and produced album, “GAIA,” her most personal album reflecting upon her experiences with cancer. She used these experiences to gain greater self-awareness and became a positive inspiration to millions of people battling cancer. As a breast cancer survivor, Olivia has become increasingly well known and respected for talking openly about her battle with breast cancer and for promoting public awareness of the importance of early detection. Her personal victory against cancer led her to announce her partnership with Austin Health and the creation of the “Olivia Newton-John Cancer Centre” (ONJCC) on the Austin Campus in her hometown, Melbourne, Australia. The ONJCC will provide a comprehensive range of services and facilities for cancer treatment, education, training and research. (For more information visit www.oliviaappeal.com)
Olivia continues to give back to the community generously and has been acknowledged many times by charitable and environmental organizations for her ongoing efforts, among them: the American Red Cross, the Environmental Media Association, the Women’s Guild of Cedar’s Sinai Medical Center, the Rainforest Alliance and Concept Cure. Olivia promotes breast health awareness and has introduced the “Olivia Breast Self-Exam Kit,” an aid to help women perform self-exams with more ease and confidence (www.liv.com).
In the new millennium, her interational recognition continued to grow. She was invited by the Vatican on behalf of Pope John Paul II to perform at the Jubilee Celebration for the Sick and Healthcare Workers. Olivia was thrilled to perform at the Opening Ceremony of the Sydney 2000 Olympics to an estimated global viewing audience of four billion people. Adding to this Olympic experience is what Olivia feels is one of her most memorable moments – the honor of carrying the Olympic Torch during the Olympic Torch Relay. Her passion for Australia was ignited again when Olivia reunited with friend and business partner, Pat Farrar, to promote the Koala Blue brand with distinctly Australian wines to proudly bring “the taste of Australia” to the rest of the world. Her healing spirit also led to the opening of the GAIA Retreat & Spa in her homeland of Australia (www.GaiaRetreat.com.au).
Olivia shows no signs of slowing down with recording. In 1999, her album, "Back With A Heart," garnered her an Emmy Award for her songwriting. In 2000/2001, Olivia released her only live album, "One Woman’s Live Journey," followed by “Magic - The Very Best of Olivia Newton-John,” which celebrated thirty years of recording. And if that wasn’t enough, she also released her first holiday album, “The Christmas Collection.” In 2002, a CD of duets simply titled, “2,” was recorded in Australia and features a host of talented Ozzies along with a couple of her American friends, followed by “Indigo: Women of Song,” a tribute to some of her favorite female performers.
The CD “Stronger Than Before,” release in 2005, features songs of inspiration, courage and hope that relate to the complex emotions cancer patients and their loved ones experience. A portion of the CD’s proceeds benefit cancer research.
Her latest recording, “Grace and Gratitude,” a CD for relaxation to promote spiritual balance and physical and emotional healing, was released in September 2006 and coincided with the launch of Olivia’s signature line of body, heart and spirit wellness products for women available exclusively at Walgreens stores.
In 2002, Olivia was inducted into the prestigious Australian Music Hall Of Fame at the 16th Annual Aria Awards. Her latest honors include receiving the Lifetime Achievement Award by friend John Travolta at the G’Day L.A. Ball in 2006.
Olivia was also appointed as an Officer of the Order of Australia by the Queen for her “service to the entertainment industry as a singer and actor, and to the community through organizations supporting breast cancer treatment, education and training research, and the environment.”
With her current “Grace and Gratitude” concert tour, ongoing projects and philanthropic endeavors, Olivia’s worldwide popularity is as strong as ever!
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Out of all the former Beatles, Paul McCartney by far had the most successful solo career, maintaining a constant presence in the British and American charts during the '70s and '80s. In America alone, he had nine number one singles and seven number one albums during the first 12 years of his solo career. Although he sold records, McCartney never... [+] Read More

Out of all the former Beatles, Paul McCartney by far had the most successful solo career, maintaining a constant presence in the British and American charts during the '70s and '80s. In America alone, he had nine number one singles and seven number one albums during the first 12 years of his solo career. Although he sold records, McCartney never attained much critical respect, especially when compared to his former partner John Lennon. Then again, he pursued a different path than Lennon, deciding early on that he wanted to be in a rock band. Within a year after the Beatles' breakup, McCartney had formed Wings with his wife Linda, and the group remained active for the next ten years, racking up a string of hit albums, singles, and tours in the meantime. By the late '70s, many critics were taking potshots at McCartney's effortlessly melodic songcraft, but that didn't stop the public from buying his records. His sales didn't slow considerably until the late '80s, and he retaliated with his first full-scale tour since the '70s, which was a considerable success. During the '90s, McCartney recorded less frequently, concentrating on projects like his first classical recording, a techno album, and the Beatles' Anthology.

Like Lennon and George Harrison, Paul McCartney began exploring creative avenues outside the Beatles during the late '60s, but where his bandmates released their own experimental records, McCartney confined himself to writing and production for other artists, with the exception of his 1966 soundtrack to The Family Way. Following his marriage to Linda Eastman on March 12, 1969, McCartney began working at his home studio on his first solo album. He released the record, McCartney, in April 1970, two weeks before the Beatles' Let It Be was scheduled to hit the stores. Prior to the album's release, he announced that the Beatles were breaking up, which was against the wishes of the other members. As a result, the tensions between him and the other three members, particularly Harrison and Lennon, increased and he earned the ill will of many critics. Nevertheless, McCartney became a hit, spending three weeks at the top of the American charts. Early in 1971, he returned with "Another Day," which became his first hit single as a solo artist. It was followed several months later by Ram, another home-made collection, this time featuring the contributions of his wife Linda.

By the end of 1971, the McCartneys had formed Wings, which was intended to be a full-fledged recording and touring band. Former Moody Blues guitarist Denny Laine and drummer Denny Seiwell became the group's other members, and Wings released their first album, Wild Life, in December 1971. Wild Life was greeted with poor reviews and was a relative flop. McCartney and Wings, which now featured former Grease Band guitarist Henry McCullough, spent 1972 as a working band, releasing three singles -- the protest "Give Ireland Back to the Irish," the reggae-fied "Mary Had a Little Lamb" and the rocking "Hi Hi Hi" -- in England. Red Rose Speedway followed in the spring of 1973, and while it received weak reviews, it became his second American number one album. Later in 1973, Wings embarked on their first British tour, at the conclusion of which McCullough and Seiwell left the band. Prior to their departure, the McCartney's theme to the James Bond movie Live and Let Die became a Top Ten hit in the U.S. and U.K.. That summer, the remaining Wings proceeded to record a new album in Nigeria. Released late in 1973, Band on the Run, was simultaneously McCartney's best-reviewed album and his most successful, spending four weeks at the top of the U.S. charts and eventually going triple platinum.

Following the success of Band on the Run, McCartney formed a new version of Wings with guitarist Jimmy McCulloch and drummer Geoff Britton. The new lineup was showcased on the 1974 British single "Junior's Farm" and the 1975 hit album Venus and Mars. At the Speed of Sound followed in 1976, and it was the first Wings record to feature songwriting contributions by the other bandmembers. Nevertheless, the album became a monster success on the basis of two McCartney songs, "Silly Love Songs" and "Let 'Em In." Wings supported the album with their first international tour which broke many attendance records and was captured on the live triple-album Wings Over America (1976). After the tour was completed, Wings rested a bit during 1977, as McCartney released an instrumental version of Ram under the name Thrillington and produced Denny Laine's solo album, Holly Days. Later that year, Wings released "Mull of Kintyre," which became the biggest-selling British single of all time, selling over two million copies. Wings followed "Mull of Kintyre" with London Town in 1978, which became another platinum record. After its release, McCulloch left the band to join the re-formed Small Faces and Wings released Back to the Egg in 1979. Though the record went platinum, it failed to produce any big hits. Early in 1980, McCartney was arrested for marijuana possession at the beginning of a Japanese tour; he was imprisoned for ten days and then released, without any charges being pressed.

Wings embarked on a British tour in the spring of 1980 before McCartney recorded McCartney II, which was a one-man band effort like his solo debut. The following year, Denny Laine left Wings because McCartney didn't want to tour in the wake of John Lennon's assassination; in doing so, he effectively broke up Wings. McCartney entered the studio later that year with Beatles producer George Martin to make Tug of War. Released in the spring of 1982, Tug of War received the best reviews of any McCartney record since Band on the Run and spawned the number one single "Ebony and Ivory," a duet with Stevie Wonder that became McCartney's biggest American hit. In 1983, McCartney sang on "The Girl Is Mine," the first single from Michael Jackson's blockbuster album Thriller. In return, Jackson dueted with McCartney on "Say Say Say," the first single from Paul's 1983 album Pipes of Peace and the last number one single of his career. The relationship between Jackson and McCartney soured considerably when Jackson bought the publishing rights to the Beatles songs from underneath McCartney in 1985.

McCartney directed his first feature film in 1984 with Give My Regards to Broad Street. While the soundtrack, which featured new songs and re-recorded Beatles tunes, was a hit, generating the hit single "No More Lonely Nights," the film was a flop, earning terrible reviews. The following year he had his last American Top Ten with the theme to the Chevy Chase/Dan Aykroyd comedy Spies Like Us. Press to Play (1986) received some strong reviews but the album was a flop. In 1988, he recorded a collection of rock & roll oldies called Choba B CCCP for release in the USSR; it was given official release in the US and UK in 1991. For 1989's Flowers in the Dirt, McCartney co-wrote several songs with Elvis Costello; the pair also wrote songs for Costello's Spike, including the hit "Veronica." Flowers in the Dirt received the strongest reviews of any McCartney release since Tug of War and was supported by an extensive international tour, which was captured on the live double-album Tripping the Live Fantastic (1990). For the tour, McCartney hired guitarist Robbie McIntosh and bassist Hamish Stuart, who would form the core of his band through the remainder of the '90s.

Early in 1991, McCartney released another live album in the form of Unplugged, which was taken from his appearance on MTV's acoustic concert program of the same name; it was the first Unplugged album to be released. Later that year, he unveiled Liverpool Oratorio, his first classical work. Another pop album, Off the Ground, followed in 1993, but the album failed to generate any big hits, despite McCartney's successful supporting tour. Following the completion of the "New World" tour, he released another live album, Paul Is Live, in December of 1993. In 1994, he released an ambient techno album under the pseudonym the Fireman. McCartney premiered his second classical piece, "The Leaf," early in 1995, and then began hosting a Westwood One radio series called Oobu Joobu. But his primary activity in 1995, as well as 1996, was the Beatles' Anthology, which encompassed a lengthy video documentary of the band and the multi-volume release of Beatles outtakes and rarities. After Anthology was completed, he released Flaming Pie in the summer of 1997. A low-key, largely acoustic affair that had the some of the same charm of his debut, Flaming Pie was given the strongest reviews McCartney had received in years and was a modest commercial success, debuting at number two on the U.S. and U.K. charts; it was his highest American chart placing since he left the Beatles. Flaming Pie certainly benefited from the success of Anthology, as did McCartney himself -- only a few months before the release of the album in 1997, he received a Knightship.

On April 17, 1998, Linda McCartney died after a three-year struggle with breast cancer. A grieving Paul kept a low profile in the months to follow, but finally returned in the fall of 1999 with Run Devil Run, a collection primarily including cover songs. The electronica-based Liverpool Sound Collage followed a year later, and the pop album Driving Rain -- a successor, of sorts, to Flaming Pie -- coming a year after that. The live album Back in the U.S. appeared in America in 2002 with the slightly different, international edition Back in the World following soon after. McCartney's next studio project included sessions with super-producer Nigel Godrich, the results of which appeared on the mellow Chaos and Creation in the Back Yard, released in late 2005. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Carole King brought the fledgling singer/songwriter phenomenon to the masses with Tapestry, one of the most successful albums in pop music history. A remarkably expressive and intimate record, it's a work of consummate craftsmanship. Always a superior pop composer, King reaches even greater heights as a performer; new songs like the hits "It's... [+] Read More

Carole King brought the fledgling singer/songwriter phenomenon to the masses with Tapestry, one of the most successful albums in pop music history. A remarkably expressive and intimate record, it's a work of consummate craftsmanship. Always a superior pop composer, King reaches even greater heights as a performer; new songs like the hits "It's Too Late" and "I Feel the Earth Move" rank solidly with past glories, while chestnuts like "You've Got a Friend," "Will You Still Love Me Tomorrow," and "(You Make Me Feel Like) A Natural Woman" take on added resonance when delivered in her own warm, compelling voice. With its reliance on pianos and gentle drumming, Tapestry is a light and airy work on its surface, occasionally skirting the boundaries of jazz, but it's also an intensely emotional record, the songs confessional and direct; in its time it connected with listeners like few records before it, and it remains an illuminating experience decades later. [The 1999 CD reissue on Sony adds two bonus tracks: the previously unreleased outtake "Out in the Cold" and a previously unreleased live 1973 version (on solo piano) of "Smackwater Jack."] ~ Jason Ankeny, All Music Guide [-] Hide

Richard Marx's second album is almost as strong as his first, even if it shows that his songwriting has a tendency to slip into sappy, saccharine clichés. Nevertheless, it contains some major hit singles -- "Satisfied," "Right Here Waiting," "Angelia," "Children of the Night," and "Too Late to Say Goodbye." ~ Stephen Thomas Erlewine, All Music...

Richard Marx's second album is almost as strong as his first, even if it shows that his songwriting has a tendency to slip into sappy, saccharine clichés. Nevertheless, it contains some major hit singles -- "Satisfied," "Right Here Waiting," "Angelia," "Children of the Night," and "Too Late to Say Goodbye." ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

One of the interesting things about Chicago from 1969-1974 was that their albums always contained a combination of material that sounded great on AM radio alongside very long album rock tracks that didn't have a chance of getting anywhere near the pop charts. Unfortunately, by the time of Chicago VIII, the band's collective eccentricities took a... [+] Read More

One of the interesting things about Chicago from 1969-1974 was that their albums always contained a combination of material that sounded great on AM radio alongside very long album rock tracks that didn't have a chance of getting anywhere near the pop charts. Unfortunately, by the time of Chicago VIII, the band's collective eccentricities took a back seat to Peter Cetera's vocals and the pop ballad formula. The follow-up to Greatest Hits (Chicago IX) contains material from that era, including "Baby, What a Big Surprise," "Gone Long Gone," and "If You Leave Me Now." However, It does contain a few tracks from the previous era that didn't make onto the first set, including "Dialogue, Pt. 2" and "Questions 67 & 68." ~ Al Campbell, All Music Guide [-] Hide

Rhino's Greatest Hits is a definitive collection, chronicling B.J. Thomas' peak of popularity in the late '60s and early '70s. All of his big hits are here -- "I'm So Lonesome I Could Cry," "Hooked on a Feeling," "Raindrops Keep Fallin' on My Head," "I Just Can't Help Believing," "No Love at All," "Rock & Roll Lullaby," "(Hey Won't You Play)... [+] Read More

Rhino's Greatest Hits is a definitive collection, chronicling B.J. Thomas' peak of popularity in the late '60s and early '70s. All of his big hits are here -- "I'm So Lonesome I Could Cry," "Hooked on a Feeling," "Raindrops Keep Fallin' on My Head," "I Just Can't Help Believing," "No Love at All," "Rock & Roll Lullaby," "(Hey Won't You Play) Another Somebody Done Somebody Wrong Song" -- along with a generous selection of lesser-known singles and album tracks. The end result may not change anybody's mind about Thomas -- he was simply a good mainstream pop singer, which pleases some listeners but not others -- but there's no denying that this is the ultimate Thomas collection. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Sonically, Just Another Day in Paradise is standard-issue soft-rock, featuring light, catchy melodies, cooing backing vocals, and lush arrangements that can blend into the breakground. What makes it distinctive is Bertie Higgins' bizarre obsession with '40s movies and Humphrey Bogart in particular. No less than two songs, "Key Largo" and... [+] Read More

Sonically, Just Another Day in Paradise is standard-issue soft-rock, featuring light, catchy melodies, cooing backing vocals, and lush arrangements that can blend into the breakground. What makes it distinctive is Bertie Higgins' bizarre obsession with '40s movies and Humphrey Bogart in particular. No less than two songs, "Key Largo" and "Casablanca," mention Bogie films by name, while the entire album is driven by a romantic fantasy of adventure and old-fashioned love affairs. Higgins' melodic skills might not be exceptional, but they are pleasant enough to make his cinematic obsessions engaging, particularly on the hit single "Key Largo," which has an exceptionally smooth chorus: "We had it all/Just like Bogie and Bacall." It doesn't really matter that the only thing Bogart and Higgins have in common is that they've both seen Casablanca, because Bertie's affection makes Just Another Day in Paradise an enjoyable soft-rock artifact. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide