150-126-Great Vocals
150. I’M SORRY (1960)
Vocalist: Brenda Lee
Writer/Composer: Ronnie Self (1960)
With one of the great, low, alto, expressive voices of the 20th century, this 4’10” Pop American female singer was a hit-making juggernaut. Since 10 years of age, she had no fear of stage fright—she was only 15 when this song hit number 1. From the late 1950s and into the 70s, she was a dominant force in conquering Pop, Country, Soul and Holiday music—she sold more records in the 1960s than any female artist, only outdone by the Beatles, Elvis Presley and Ray Charles. Her delivery here showcases her confidence, sincerity, unique and instantly recognizable voice, with her signature “hiccup” sound…Amazing!
149. LIKE A ROLLING STONE (1965)
Vocalist: Bob Dylan (Al Kooper organ)
Writer/Composer: Bob Dylan
Considered a pioneer in the field of Folk, Rock and Pop, he is also one of the great American songwriters. After knocking around since the early 1960s, this was his breakthrough record, his 2nd on our list. He took the heat from the folk culture for bringing the electric guitar into Folk music, however, any way you view it, he’s been a fixture in music over a half century. His voice has always been criticized as unthinkable and unsingable—but he found a way around that, he embraced it to be his signature sound! Whether half singing or half talking, this song put him on the music map permanently…“A complete unknown / Like a rollin’ stone!”…Awesome!
148. ROCKET MAN (1972)
Vocalist: Elton John
Writer/Composer: Elton John / Bernie Taupin (1972)
Since 1970 this British singer / pianist / composer is one of the most successful singers of all time. He charted hits almost every year into the 2000s, selling over 300 million records. He has many signature songs; this is one of his best. He started out as a tenor with smooth bluesy delivery, however, after throat surgery in 1987, he turned into an unstoppable baritone. He and writing partner Bernie Taupin have an uncanny knack for incredibly catchy melodies, his gifted piano playing is off the charts, his vocals resonate with honesty and sincerity, and he covered Rock, Pop, R&B, and Soul…What a Production!
147. YOU CAN’T HURRY LOVE (1966)
Vocalist: The Supremes (lead Diana Ross)
Writer/Composer: Lamont Dozier / Brian Holland / Eddie Holland (1966)
The Supremes were by far the most popular American female singing group of the 1960s / early 70s. Even the “British invasion” did not slow down this hit-making machine. Their R&B / Soul / Pop sound crossed all generations, and they had more number 1 hits than any girl group in history. This song is a great example of their Motown music catalogue and their Dozier / Holland / Holland writing team. It exhibits their crystal-clear expressions and the wonderful, innocent sweetness in Diana’s lead vocals. Many music historians agree, this classic reminds us—almost all songs were about love…A Joy, Behold!
146. IMAGINE (1971)
Vocalist: John Lennon
Writer/Composer: John Lennon / Yoko Ono (1971)
After the Beatles broke up, John Lennon introduced this (his 2nd song) world-famous classic of international brotherhood to the world. With Phil Spector producing, this Soft-Rock / Pop gem has become a hymn for love, peace and equality, and his honest, sincere vocals make this one of the most widely praised and recognized songs of the last century. Lennon’s heartfelt message makes this an appeal to better our world by looking beyond the divisive institutions that tear our world apart, be it political, social or religious. “You may say that I’m a dreamer / But I’m not the only one / I hope someday you’ll join us / And the world will live as one.” Its effect and identity, make it more than just for dreamers…If THEY would only listen. It takes on a spiritual nature…Enlightening, Hopeful and Heartrending!
Link #1 Original official video, 1971.
145. UNBREAK MY HEART (1996)
Vocalist: Toni Braxton
Writer/Composer: Diane Warren (1996)
A true wonder hit the mid-1990s music world—The arrival of Toni Braxton, an R&B / Soul / Pop artist whose voice was so unique it guaranteed worldwide attention and admiration. She owns a 3-octave delivery that is an absolutely stunning example of the total control and ownership of a very rare, low, feminine voice, a beautiful contralto, can be described as sultry, husky, emotional, brimming with Soul. This song highlights those qualities—one of the best recordings of heartbreak in the 1990s. It resonates in our head and captures the very essence of emotion. We feel every word, “Unbreak my heart, oh baby / Come back and say you love me / Un-break my heart, sweet darlin’ / Without you I just can’t go on.” This Grammy-winning smash deserved it—Without a doubt…Mesmerizing!
Link #1 Official live performance music video, 1996.
144. ROUNDABOUT (1972)
Vocalist: Yes (lead Jon Anderson) / Steve Howe guitar / Chris Squire bass / Bill Bruford drums / Rick Wakeman keyboards
Writer/Composer: Jon Anderson / Steve Howe (1972)
Yes!! One of the premier English Progressive Rock groups of the 1970s-1990s; this is now considered a masterpiece of stellar, complex production values and sheer raw talent at each instrument. Anderson’s high notes as lead singer, Steve Howe’s amazing guitar work, Chris Squire’s uncanny bass playing, Bill Bruford’s astute bass work and Rick Wakeman’s astonishing and elaborate keyboard work, make this a musical jaw-dropping experience for the ages. Music historians also rank this song high due to the tight 3-part harmonies, repeated eight times during its over eight-minute length. This song passes the test of time, it also begs the listener for the first time to experience it, every part elevates the other, and each player. Musicians love ‘em, So do the fans…Absolutely Mind-blowing!
Link #1 Original recording and official video, 1971. Link #2 Live performance, Close to the Edge Tour, 1972.
143. OL’ MAN RIVER “Showboat” (1951)
Vocalist: William Warfield & chorus
Writer/Composer: Oscar Hammerstein II / P. G. Wodehouse (1927)
This is the 2nd entry for this Showboat classic, largely because of American singer William Warfield’s deep, full-throated baritone to bass vocals, allowing his voice to become a musical instrument. One music writer noted, “They reveled in his voice for its pure sound, from its warm, rich depths to its particularly beautiful soft high tones.” Its richness gave it full recognition as perhaps one of the most resonant male voices of the century, allowing him entry into Theater, Movies, Operas and Inspirational musical realms. With utmost respect from the world over, this performance is…Stunning and Unforgettable!
Link - From the musical Movie clip, Showboat, 1951.
142. OLD CAPE COD (1957)
Vocalist: Patti Page
Writer/Composer: Clair Rothrock / Milton Yakus / Allan Jaffrey (1957)
Patti Page practically owned the female Pop charts in the 1950s—her singing sound of sweetness and innocence took her recording career into new heights from the late 1940s well into the 1960s. Her voice was remarkable in that she could seem to span alto, low tenor and soprano. This enabled her to be the first solo artist to overdub her own voice, allowing her to be her own backup singer, as she does in this beautiful song. She does all the 4 harmonies voices here, echo and all—it’s a stunning recording, “You’re sure to fall in love with old Cape Cod.” She was the biggest selling female artist of the 1950s and some of her recordings crossed over into Country and Blues territory. Listen carefully as she dazzles us with her 4-part harmony…Absolutely Impeccable!
Link - Original recording, 1957.
141. GO REST HIGH ON THAT MOUNTAIN (1995)
Vocalist: Vince Gill (backup Patty Loveless / Ricky Skaggs)
Writer/Composer: Vince Gill (1995)
He is certainly one of the most gifted and talented singer / songwriters to ever grace the fields of Country and Pop music. From the mid 1970s into the present day, he captures our heart and attention, not just with his marvelous tenor voice, but with his extraordinary picking—from guitar to banjo, from Bluegrass to Rock and everything in between. And how can one describe his voice? He can blend in with almost any type of music, slowly rising from tenor into an astonishing falsetto, or he can sing in old-style Honky-Tonk Blues such as early Country stars Hank Williams or George Jones. He sang this tune in honor of George Jones’ funeral. Tears may flow because the touching passion he puts into this now Country classic…Moving and Emotional!
Link - Original recording and official music video, 1995.
140. SYMPHONY No. 3, Opus 36 (Symphony for Sorrowful Songs) FIRST MOVEMENT - LENTO - SOSTUNUDO Ma CANTABILE (1992)
Vocalist: Dawn Upshaw / London Symphony Orch. / David Zinman cond.
Writer/Composer: Henryk Gorecki (1976)
Polish composer Henry Gorecki’s Symphony No. 3 is a modern Classical piece that swept the world in the early 1990s. An inspired, minimal composition of tone and melody and accompanied by the extraordinary work of orchestral strings, this First Movement is said to have been written from the tragic perspective of a mother who laments the loss of her child in the Holocaust. However, on release, a sensation occurred, especially in Europe, when this prayer piece crossed over onto Pop culture radio stations. Some listeners were so overcome; they pulled off the roadway. Result? Over 1 million records sold! With David Zinman at the helm, and soprano Dawn Upshaw’s minimum but uplifting vocals, this piece stuns imagination and it grabs the heart! Hold onto your emotions…Overwhelming!
Link - Original recording, the longest piece attached to our music links.
139. MARBLE HALLS “Bohemian Girl” (1991)
Vocalist: Enya (Produced by Nicky and Roma Ryan)
Writer/Composer: Michael William Balfe (1846)
Irish singer / songwriter Enya (Patricia Brennan), sister to Maire (Moya) Brennan of Clannad fame, is considered by many as one of the most engaging, successful Celtic artists of all time. As a leader in the Celtic, Folk and New Age music genres, she and her production partners specialized in vocal techniques using the art of layering or overdubbing her lush, sumptuous, mezzo-soprano voice many times over, as she does in this beautiful melodic song. Performing and making albums from the 1980s well into the 2010s, this song, a re-invention of an Irish operatic lullaby, suits her astonishing floating vocals, described by some as a choir of angels…A Stunning and Ethereal melody!
Link - Original studio recording and official video, 1991.
138. CARRY ON WAYWARD SON (1977)
Vocalist: Kansas (lead Steve Walsh / Violin vocals Robby Steinhardt) / Kerry Livgren guitar/keyboards / Rich Williams guitar / Dave Hope bass / Phil Ehart drums
Writer/Composer: Kerry Livgren / Steve Walsh (1977)
This 6-piece American band is made up with incredibly gifted musicians, even featuring violin in their Rock selections. Steve Walsh’s amazing vocals carry this song into the great beyond, along with awe-inspiring harmonies and eclectic instrument solos. As singer / songwriters, they were fan favorites, conquering Hard Rock, Progressive Rock, Art Rock and Folk Rock. It’s no surprise that they sold millions of albums, filled stadiums, and were a real Rock presence in the 1970s / 1980s. Walsh’s voice was not bombastic yells or screams; he belted out crystal-clear lyrics that were meaningful and absolute. His soaring vocals and their terrific harmonies make this song a quintessential Rock masterpiece, “Lay your weary head to rest / Don’t you cry no more.”…Magnificent!
Link - Official music video, 1977.
137. WHAT A DIFFERENCE A DAY MAKES (1959)
Vocalist: Dinah Washington
Writer/Composer: Maria Grever / Stanley Adams (1934)
Dinah’s vocal style, known for never singing a song the same way twice, was convincingly influential and celebrated—Oh! she could sing the Blues, and R&B, Jazz, Gospel and Pop, all to the envy of other musicians. From the 1940s and into the 1960s, she could deliver songs by “bending the notes,” way before it was stylistic or customary, some music critics declaring she was “50 years ahead of her time.” Her 3-octave, soprano voice especially captured the raw essence of Blues and Jazz, and she never seemed to disappoint. As one of the most unique voices of the 20th Century, she is aided here by excellent backup musicians and singers in this offering, and listen closely as she teases the line, “Lord, what a difference a day a makes.”…She is Absolutely and Iconically, a Legend!
Link - Official recording, 1959.
136. HOW DEEP IS YOUR LOVE “Saturday Night Fever” (1977)
Vocalist: The Bee Gees (2 leads Barry Gibb / Robin Gibb) / Maurice Gibb vocals / Alan Kendall guitar / Blue Weaver keyboards
Writer/Composer: Barry Gibb / Robin Gibb / Maurice Gibb (1977)
The Bee Gees, singer / songwriters from Australia, were perhaps the most popular, best-selling Rock / Pop group of the 1970s. Their iconic sound and their ubiquitous, distinctive vocals went worldwide, dominating that decade. Incredibly popular from the late 1960s through the 1990s, the Gibb’s sound that was immediately recognizable, some defined it as a hive of buzzing bees. The enormously successful movie “Saturday Night Fever” only served to enhance their name and fame. Their clear vibrato, with three-part harmonies, aided by the highest of falsettos, produced hit after hit…This slower selection is amazingly smooth and tranquil and touching…Beautiful!
Link #1 Official music video, 1977.
135. THE HOUSE OF THE RISING SUN (1964)
Vocalist: The Animals (lead Eric Burdon / Alan Price keyboards / Hilton Valentine guitar / Chas Chandler bass / John Steel drums)
Writer/Composer: (Traditional) Folk tune / Early recordings Tom Ashley 1930s / Josh White / Arranged by Alan Price / Mickie Most 1964
This British 5-man Rock group was heavily influenced by American Blues, and as any music purist would agree, Eric Burdon had the voice for it. As part of the “British invasion” of music in 1964, the group released many recordings in those 1960s. Singer / songwriter Eric’s vocals allowed him to conquer Rock / Blues / R&B / and even Funk. He did it with gusto, with aggressive power, high on decibel, with deep full-throated bravado. Check out Alan Price’s standout keyboard work in the song. Some say it’s the first British Folk / Rock song, others say it’s Psychedelic Blues, but it doesn’t matter—the recording always stops us in our tracks. “Mother, tell your children / Not to do what I have done / Spend your life in sin and misery / In the house of the rising sun.” Enjoy the ride…Phenomenal!
Link - Original recording and video, 1964.
134. CLIMB EVERY MOUNTAIN “The Sound of Music” (2013)
Vocalist: Audra McDonald
Writer/Composer: Richard Rodgers / Oscar Hammerstein II (1958)
Audra McDonald is it’s safe to say, one of the great gifted Broadway Musical actress / singers! Starting in the 1990s, her versatile talents were extraordinary, and she has won more theater awards (6 Tony’s) than any other performer. Her classical and lyrical soprano voice captivates all, and her version of this Sound of Music classic number is stunning, as she sings it with every fiber of her being. She vocalizes here with great confidence and power, mastering her 3-octave range, and delivering this hopeful, encouraging number with heavenly emotion and the inspiration it deserves. When she reaches its climax, “Climb every mountain / Ford ev’ry stream / Follow ev’ry rainbow / ‘Til you find YOUR DREAM,” you know you’ve experienced the zenith of great performances…Uplifting and Celestial!
Link - Live from the Kennedy Center Honors in 2013.
133. JUST MY IMAGINATION (Running Away with Me) (1971)
Vocalist: The Temptations (lead Eddie Kendricks)
Writer/Composer: Norman Whitfield / Barrett Strong (1971)
Our 2nd Temptations selection is truly one of the great Motown romantic songs of all time. This time tenor Eddie Kendricks (what a falsetto!) takes lead in the vocalizing with a spot-on, smooth-as-silk, swooning song of heartfelt sincerity. This song from the stellar year of 1971 universally expresses all the feelings ever felt for those head-over-heels in love. On this number, these R&B / Soul singers waxed poetic, collaborating on this beautiful Norman Whitfield / Barret Strong composition with a gentle love offering about the hopefulness and hopelessness of true love, with the varying chorus repeating, “But it was just my imagination / Runnin’ away with me / It was just my imagination / Runnin’ away with me…R&B never sounded so good!…Truly and Lovably Captivating!
Link #1 Original recording 1971. Link #2 Live on the Ed Sullivan Show in 1971.
132. IT HAD TO BE YOU “Show Business” (1944)
Vocalist: Dick Haymes / Helen Forrest (Victor Young Orch.)
Writer/Composer: Isham Jones / Gus Kahn (1924)
Dick Haynes was known as having one of the richest baritone among the crooners of the 1940s / 1050s. This enormously popular Argentinian singer / actor’s claim to fame was performing with the big bands, in radio broadcasts and early TV. His voice was sumptuous, masculine and effortless. Helen Forrest collaborated with him on many songs, and she was consequently considered by many as the queen of the big band era, supplying her jewel of a voice to many of the most renowned big band leaders. Her voice had remarkable clarity, sweetness and sincerity, as we see in this wonderful Pop / Swing duet in one of the most perfectly structured songs ever written. You could simply sing, “It had to be you / It had to be you / It had to be you / It had to be you,” through the whole tune…Simply Wonderful!
Link - Original recording, 1944
131. THE WAYWARD WIND (1956)
Vocalist: Gogi Grant (Myrtle Aubrey Arinsberg) / Buddy Bregman musical arranger
Writer/Composer: Stanley Lebowski / Herb Newman (1956)
This song and its musical arrangement became one of the most popular songs of the 1950s, and rightly so. People instantly fell in love with her crystal-clear, strong, soprano to contralto, resonant voice. She was a genuine American Pop / Jazz singer and one of the few female vocalists who dominated 1956 with her vocal presence, in spite of the male domination and landslide of Rock and Roll. This natural Western sounding song about a man’s wanderlust in staying free from attachments, also appealed to Country audiences with its glorious orchestral sound. “In a lonely shack by a railroad track / He spent his younger days / But I guess the sound of the outward bound / Made him a slave / To his wonderin’ days.” The VOICE, powerful, self-assured, confident, wins us over…Absolutely Exquisite!
Link #1 Original recording 1956.
130. CHE GELIDA MANIMA “La Boheme” (1973)
Vocalist: Placido Domingo (Studio Orch. / Georg Solti cond.)
Writer/Composer: Giacomo Puccini (1896)
Spanish tenor/baritone Placido Domingo is without doubt one of the great Opera / Classical superstars of the 20th century. He achieved legendary status as one of the most influential and versatile of all opera stars. Proof? He has fearlessly recorded over 100 different complete operas! This is his second entry on our list, including The Three Tenors. His career spans from the early 1960s well into the 2000s. He does wonders with this romantic classic—This aria presents him as Rudolpho, meeting Mimi for the first time. His voice is described as resonant, beautiful, yet with majestic power…Majestically Awe-Inspiring!
Link - Original recording from La Boheme, 1973.
129. ME AND BOBBY McGEE (1971)
Vocalist: Janis Joplin
Writer/Composer: Kris Kristofferson / Fred Foster (1969)
Janis’s @nd entry is an absolute revelation! Again, she combines Blues, Rock, Pop and even Country, and does she ever deliver! She swings for the fences and knocks it out of the park! Sad to say, this became her smash posthumous hit at the time when she died tragically at 27 years of age. The song is a wayward, happy traveling odyssey, and she made it her swan song, and who can forget the lyrics in a carefree singalong? “Windshield wipers slapping time, / I was holding Bobby’s hand in mine, / We sang every song that driver knew.” She uses her raspy, course, distinctive voice to the full here, filled with emotion and grit, with a few wails thrown in, to anticipate Bobby’s acceptance and her euphoric welcoming of him…A Truly Spectacular Vocal!
Link - Original recording 1971.
128. IN THE AIR TONIGHT (1980)
Vocalist: Phil Collins
Writer/Composer: Phil Collins (1980)
Genesis was one of the truly great Progressive Rock Groups from the 1970s through the 1990s. Formally the British Genesis lead singer / songwriter, Phil Collins, their amazing renowned drummer, made his debut solo here, and this became his signature song. The production / studio sound here is mesmerizing, and it is also known for one of music’s greatest moments, the spectacular drum intro, opening the last verse. He also possessed a unique voice—described as astonishing, magnetic, abrasive and raw. The 80s were particularly good to Phil, with hit such as Against All Odds, One More Night and Take Me Home. A master musician embracing Rock, Pop, Jazz and Fusion, he really rocks here, starting at a slow pace and carefully ascending to a thundering at the end…Simply Legendary!
Link #1 Original official recording and video, 1980. Link #2 A stunning live performance in 1980.
127. RAINY NIGHT IN GEORGIA (1970)
Vocalist: Brook Benton
Writer/Composer: Tony Joe White (1969)
Since the late 1950s and into the 1980s, American singer / songwriter Brook Benton, has made a treasure trove of outstanding recordings. This song, a classic example of pure unadulterated blues, plainly showed us his mastery of reaching deep down and displaying those low smooth baritone to bass notes. Few people could match his style and delivery, and his voice has been described as “warm molasses.” With his distinctive voice, he mastered R&B, Soul, Pop, Gospel, even Rock, and was a true entrepreneur of vocal styles. His line from the song was perfectly delivered in this deep Blues scenario, “I feel like it’s raining all over the world.” … Marvelous!
Link #1 Original recording 1970. Link #2 Live performance, 1971.
126. MY HEART WILL GO ON “Titanic” (1997)
Vocalist: Celine Dion
Writer/Composer: Will Jennings / James Horner (1997)
In a decade (1990s) when female vocalists dominated the Pop charts, this song was a shining example of the Horner / Jennings writing duo, composing one of the most successful Movie scores of all time. Canadian singer Celine Dion took this song and, like the movie, launched it into the heavens—it became ubiquitous as a world phenomenon. She used her soprano, 3 to 4 octaves utilizing her power, passion and magnetism to help set the standards for nuanced, modulated and stylized delivery—the public embraced her! Her delivery of the piece is haunting and captivating, it has remained an instant classic ever since, “You’re here, there’s nothing I fear / And I know that my heart will go on / We’ll stay forever this way / You are safe in my heart and / My heart will go on and on.”…Amazingly Sensational!
Link #1 Official music video with Titanic scenes, 1997. Link #2 Video version showing film clips from Titanic, 1997.
