100-76-Great Vocals
100. ONE MORE TRY (1988)
Vocalist: George Michael
Writer/Composer: George Michael (1987)
When British George Michael went solo from the Pop Group, Wham, he would become one of the most popular singers of the 1980s and 1990s. His remarkable voice, unique power and stage presence became a world phenomenon, dominating the charts with his version of blue-eyed Soul / Pop / Rock. Among his hits were Faith, Father Figure and Careless Whisper. His versatile musical performances surprised everyone but himself and this Blues offering clearly demonstrates his artistry, and his uncanny ability to put genuine emotion into his delivery…Prepare to be overwhelmed, He pleads in finality, “Because there ain’t no joy / For an uptown boy / who just isn’t willing to try / I’m so cold / Inside / Maybe just one more try.” Whew, such emotional strength and Soul!…Amazing, Astonishing!
Link #1 Original recording and video 1988.
99. ST LOUIS BLUES (1925)
Vocalist: Bessie Smith (Louis Armstrong coronet)
Writer/Composer: W. C. Handy (1914)
This landmark W. C. Handy song, one of the first Blues vocals to find success, as American audiences discovered and supported the Blues and Jazz in the 1920s on RADIO. This new music, was now being embraced by the Big Bands, and the singers of the new “Jazz Age.” Bessie was well known as the “Empress of the Blues”—her 10-year career and repertoire was loaded with almost all of the great Blues standards of the 1920s. She became enormously popular in the 1930s, riding her black experience into her repertoire of songs, appealing Jazz / Blues / Folk and Pop fans. Her voice was powerful, passionate, earthy and hard-edged, and does she ever personify the Blues in this offering—Listen and learn…Incredibly Authentic and Engaging!
98. ANNIVERSERY SONG (Based on 1880 song (Danube Waves) “The Jolson Story” (1947)
Vocalist: Al Jolson
Writer/Composer: Al Jolson / Saul Chaplin (1946)
For the first half of the 20th century, Al Jolson was arguably the most famous singer / songwriter / entertainer in the world. His Jewish and Vaudeville roots and his love of the Blues and Jazz, prompted him to perform many times in blackface, leading many modern artists to assume it was a putdown of black performers, but most writers and singers of his era agree that it was to pay homage to the creators of the music he loved. His theatrical delivery was punctuated by an extraordinary tenor voice that later became a beautiful full-throated baritone, as this song clearly reveals. This wonderful song deals with the appreciation on long lasting, loving. marriages. Listen to its poetic words. His usual stage and screen dynamics weren’t necessary for this extraordinary vocal performance…Absolutely Stunning!
Link #2 Original performance 1947. Link #2 Film clip, Larry Parks (voiced by Jolson) The Jolson Story 1947.
97. MISTER SANDMAN (1954)
Vocalist: The Chordettes
Writer/Composer: Pat Ballard (1954)
With this Pop standard of the 1950s, this American female quartet enjoyed enormous popularity with clever novelty songs (such as this one) and beautiful romantic love ballads. This tune was a beautiful example of taking melodious harmony to celestial heights. They possessed a very unique sound, very much unlike the popular contemporary female groups of that time with their great harmony and vocal versatility. Their individual talents helped them master barbershop quartet sounds for women, not an easy feat. Their harmonies were amazingly in sync, they could hum as well as sing, as this song illustrates. Their career ran from the late 1940s well into the 60s. As one of their biggest 1950s hits before the Rock era, their magnetic hum buzzes like a hive of sweet bees…A Delightful Joy!
Link - Original recording 1954.
96. A CASE OF YOU (1971)
Vocalist: Joni Mitchell
Writer/Composer: Joni Mitchell (!971)
She is one of the most gifted female singer / songwriters of the 20th century…Period! From the late 1960s on she specialized in Folk, but also embraced Rock, Jazz, even R&B. She started as a mezzo soprano and as she’s aged (like fine wine), her voice has turned into a lower chameleon-like contralto. This song, a complex melody, is a criterion on which poetry in song is based, a melody of love lost, and its flowing aching heartbreak. Her tunes in the early 1970s were wonders, they resounded with her audience for decades, and live on today. This example shows us the rare quality of singing thoughts, not just lyrics. She really stretches her wing here, rising and falling in changing its tempo, embracing each note…It’s a True, Genuine, Astonishing Experience!
Link #1 Original recording from the album Blue 1971. Live performance 1972.
95. DON’T CRY FOR ME, ARGENTINA “Evita” (1982)
Vocalist: Julie Covington (Anthony Bowles cond. / London Symphony Orch.)
Writer/Composer: Andrew Lloyd Webber / Tim Rice (1976)
Webber and Rice practically dominated Musical Theater from the early 1970s into the 2000s. This gorgeous song and melody is one of their most beautiful compositions, and Julie Covington does a stellar job here with her sensitive delivery and heartfelt emotion from the original cast. At his point she desires her fellow Argentinians to love her, not mourn her, and she passionately pleads for their love and affection. Her version, praised for its delivery, is a perfect challenge for multitudes of other female artists—its powerful orchestration sends chills…It’s an Absolute Epiphany!
Link - Live performance and recording 1982.
94. MARIA “West Side Story” (1960)
Vocalist: Johnny Mathis (Glenn Osser Orch.)
Writer/Composer: Leonard Bernstein / Stephen Sondheim (1957)
In 1957 Johnny Mathis hit the music world as the epitome of the beautiful, smooth, clear male voice—the Pop world would never be the same! He gave us hit after hit, well into the 1970s, songs such as It’s Not for Me to Say, Wonderful, Wonderful and Chances Are, all now considered classics. His interpretation of standards and Musical Theater songs, and his instantly recognizable, unique voice, has kept him in the musical limelight for decades. His stunning vocal control is amazing as he switches from middle tenor to a high falsetto, without labor or effort. He has never relied on vocal gymnastics to please his audience, and consequently, he has endured all changes in the music industry. This classic is done with such precision that he almost becomes a musical instrument…”MARIIAA”…Magnificent!
Link - Original recording from the album, Faithfully 1959.
93. BLACK COFFEE (1988)
Vocalist: k. d. Lang
Writer/Composer: Paul Francis Webster / Sonny Burke (1949)
One writer said this extraordinary voice was “blessed with destiny.” He was probably right, her vocals soar over the musical landscape with artistry, precision, and perfection, and she proves it here with her amazing control on this standard “torch” piece from the past. This Blues piece from her album Shadowlands, shows how she could stop her growing fan base in their tracks, as she lays down this song about the loneliness that’s left over from losing her committed relationship. People marvel at her control as she handles Blues, Jazz, Pop, and Country with excellent verve and interpretation. Her 1992 album “Ingenue” introduced her to worldwide audiences. Smooth and confident, she delivers this classic about solitude with perfect pitch and stunning power, without extravagance…Marvelous!
Link original recording 1988. Link #2 Live performance 1988.
92. HOTEL CALIFORNIA (1977)
Vocalist: The Eagles (lead Don Henley drums) / (Don Felder guitar / Glynn Frey backing vocals / Joe Walsh guitar / Randy Meisner bass)
Writer/Composer: Don Felder / Don Henly / Glenn Fry (1977)
“You can check out any time you want, but you can never leave.” These threatening and haunting words play out the conclusion of one of the most enigmatic Rock songs of all time. As Don Henley sings lead, those mysterious words showcase their biggest hit…Result, a signature song that guaranteed worldwide recognition. Alway ranking as one of the most esteemed, respected songs of the Rock era, the stellar vocals, harmonies, and production are all considered iconic masterpieces. This collaborative effort sounded as good in concert as the original recording. The song has endured the test of time, gathering momentum, rising high on everyone’s personal list as one of the best Rock songs of all time. Accolades to the Spanish style guitar intro of Don Felder & Joe Walsh…Wow!…Astonishing!
Link #1 Original recording and video 1977. Link #2 Live performance 1977.
91. MY HEROES HAVE ALWAYS BEEN COWBOYS “The Electric Horseman” (1980)
Vocalist: Willie Nelson
Writer/Composer: Sharon Vaughn (1976) ,
With one of the most distinctive voices in Country music, he is also blessed with one of the longest careers, going back to the early 1960s. A singer / songwriter and actor, he’s now a musical legend because of his longevity, (he’s in his 90s as of this writing) musical ability, also taking on Swing, Jazz, Folk and Pop. An expert at guitar lead or as a virtuoso, it’s his easy, hard-edged, nasal voice that’s won respect and adoration of the last three generations. Recorded first with Waylon Jennings in 1076 from the album, Wanted! The Outlaws, it sparked a movement in Country music featuring hard-edged compositions and performances. This song proves the timelessness of his message, so open up a cold one, relax, and go back wherever he takes you…Lofty, Memorable, and Awesome!
Link - Original recording and audio - 1980.
90. CALIFORNIA DREAMIN’ (1966)
Vocalist: The Mamas & the Papas (lead Denny Doherty)
Writer/Composer: John Phillips / Michelle Phillips (1966)
“All the leaves are brown / and the skies are gray.” From that opening moment, we know we witnessed one of the great sounds in vocal group history. This unique Folk / Rock group consisted of writers John & Michelle Phillips / Denny Doherty and “Mama” Cass Elliot. Their short career, !965-1970s, spawned many hits in the counterculture era of late 1960s. They sounded like no one else! Considered their signature song of the 60s, this “California sound,” also sported an excellent flute solo by Bud Shank. The group’s blended harmonies and “Mama” Cass’s strong vocal presence gave this group their phenomenal sound…Simply Amazing!
Link #1 Original recording 1966.
89. I AM A TOWN (1992)
Vocalist: Mary Chapin-Carpenter / (Edgar Meyer double bass)
Writer/Composer: Mary Chapin-Carpenter (1992)
Count her among the very best of singer /songwriters! She captures our heart by personalizing small-town America in a first-person point of view. From her heralded album “Come on, Come On,” she displays perfect cadence in her lower contralto delivery, and whether you consider it a Country or Folk classic, it is beautifully and poetically delivered. Her low dusky voice with an accompanying mournful cello touches us tearfully as she reminisces about those days gone by. With picture perfect images, we go back to that “town in Carolina.” An example, “I’m a town in Carolina / I am billboards in the fields / I’m an old truck up on cinder blocks / Missing all my wheels.” What can we say? She captivates us. Beautiful and…So Sublime!
Link #1 Original recording and video 1992. Link #2 Live performance 1993?
88. IT WAS A VERY GOOD YEAR (1966)
Vocalist: Frank Sinatra / (Gordon Jenkins Orch & arranger)
Writer/Composer: Erwin Drake (1961)
“Old blue eyes” never sounded better as he does in this, his 2nd selection. This nostalgic and melancholy song of retrospectively looking back on your life is a stunning example of romantic reminiscing, as he compares his life to “vintage wine from fine old kegs.” This Pop standard has become one of those splendid stand-out contemporary songs of the 20th century, and even when Sinatra turned 60 years old, his mature voice was still a thing of beauty, along with the lush musical arrangement by Gordon Jenkins. It won the Grammy Award for best Pop male vocal performance for the year and in retrospect, is now considered one of his finest recordings. Listen to his rear-view metaphor for life, comparing it to vintage wine …A Contemplative, Celebrated Masterpiece!
Link - Original recording from September of My Years album 1965.
87. E LUCEVAN LE STELLE “Tosca” (1981)
Vocalist: Placido Domingo (Philharmonic Orch. / James Levine cond.)
Writer/Composer: Giacomo Puccini (1900)
This romantic aria is done to perfection by this enormously popular Spanish tenor with one of the greatest Classical Opera recordings of all time. His voice shines as he displays his power, his resonant tone, his convincing timbre and his passion in delivery. In the last half of the 20th Century his stature, good looks, acting ability and presence have made him one of the most popular of all Opera stars—this is his second entry on our list. His unique voice has been described as velvety, magnetic, and enduring—His longevity reveals to us he is one of Opera’s greatest voices with over a 50 year career. This classical favorite is truly…Stunning!
Original recording from Tosca 1981.
86. DOGGIN’ AROUND (1960)
Vocalist: Jackie Wilson and chorus
Writer/Composer: Lena Agree (1959)
He was known as “Mr. Excitement” for a good reason. He could sing, could wail, had extraordinary stage presence, and if your career encompasses R&B / Soul / Blues / Pop musical legend, people certainly bought into it! In some cases, he was known to have mastered 4 octaves and this song proves he wasn’t just another R&B singer. He also mastered the Blues, and he proves here with a phenomenal dynamic performance. He takes this song to an almost operatic level, with some amazing skills, charisma and control. Check out his vocals at the intro verse, “You better stop, YEAH, doggin’ me around / If you don’t stop, YEAH, I’m gonna put you down.” Unbelievable! Very few singers could pull off such confidence in A capella. Absolutely Sensational!
Link #1 Original recording 1960. Link #2 Live performance of Lonely Teardrops on American Bandstand 1960.
85. EL PASO (1959)
Vocalist: Marty Robbins / harmony vocals (Bobby Sykes / Jim Glaser) / Grady Martin guitar)
Writer/Composer: Marty Robbins (1959)
As an American Country & Western singer / songwriter, Marty’s mellow, strong baritone voice was perfect for this classic #1 Country / Pop crossover selection. As one of the greatest story songs ever recorded, it featured Grady Martin’s distinct, rhythmic Spanish guitar sound and two beautiful backup harmonies adding great flavor to the chorus. It also proved that a good story tune could be over three minutes long, consequently it became his signature song, virtually assuring his 4-decade long career. Marty gave us hits such as A White Sport Coat, Don’t Worry, and Ruby Ann, all of which crossed over in Pop. “From out of nowhere Felina has found me / Kissing my cheek as she kneels by my side / Cradled by two loving arms that I’ll die for / One little kiss and Felina, goodbye.” …Brilliant and Beloved!
Link #1 Original recording 1959. Live performance in 1965.
84. THE MAGIC FLUTE (Der Holle Rache) “The Magic Flute” (1964)
Vocalist: Roberta Peters (Berlin Philharmonic Orch. / Karl Bohm cond.)
Writer/Composer: Wolfgang Amadeus Mozart (1791)
This Mozart piece of good versus evil is an extraordinary challenge for any Opera star. Roberta Peters not only meets the challenge, but she also excels, resulting in a jaw-dropping performance of imitating the unique sounds of the actual musical instrument. You may ask yourself, am I really hearing a human voice? She has captivated audiences as an integral part of the Metropolitan Opera through the last 35 years of the 20th century, and her coloratura soprano voice was respected as one of opera’s finest. Link on and see for yourself the capability of the human voice, astounding. She triumphs here… Stunning and Spectacular!
Link - Live performance from The Magic Flute 1964.
83. ROLLING IN THE DEEP (2011)
Vocalist: Adele (Adkins) / featuring Paul Epworth
Writer/Composer: Adele / Paul Epworth (2010)
This British singing, songwriting artist is one of the most successful, respected voices of the 21st century—she writes, performs, and owns her songs. She excels in Pop / Rock / R&B / Soul delivery, as this case clearly demonstrates—she can Rock with the best of ‘em! She captures attitude, unmistakable power, prowess, permanently etching her place as a musical icon. Her stand-out mezzo-soprano vocals display a rich and warm timbre, allowing her to easily sing in Blues with great emotion, and Rock with breathy self-assurance. She amazes us with her and Paul Epworth’s backing vocals with this number about a scorned lover. This song charted over for over a year and her “21” album spawning this hit, and it has become a musical landmark for the 21st century… Awesome!
Link #1 Official music video 2011. Link #2 Live performance 2012.
82. INNAMORATA “Artists and Models” (1956)
Vocalist: Dean Martin / Orch. Dick Stabile
Writer/Composer: Harry Warren / Jack Brooks (1955)
With his totally unique voice, he was more than a crooner, he proved to be one of the best conveyors of Pop music of the century. He swayed his adoring fanbase with a lazy, effortless persona and in the 1950s through the 1970s, and captivated his listening audience with his romantic and effervescent delivery that resulted in hit after hit, such as Everybody Loves Somebody, Return to Me. “Dino” had the ability to sing with a stunning, quivering vibrato, perhaps better than any other Pop singer, and with his easy-going, laid-back persona, it led to a long run on TV with his Dean Martin Show. This selection, (Italian for “Sweetheart”), showed the sensitive, relaxed ability he possessed as he poignantly glides through this number. If ladies are looking for a boyfriend, he is without a doubt…Totally Persuasive!
Link - Original recording 1955.
81. MORE THAN A FEELING (1976)
Vocalist: Boston (lead Brad Delp) / Tom Scholz electric, acoustic, bass guitar / Sib Hashian drums / Fran Sheehan live bass / Barry Godreau rhythm guitar, backing vocals
Writer/Composer: Tom Scholz (1975)
With guitars leading the way, and thanks to Brad Delp’s astounding hi-spirited vocals, this classic, legendary Rock song, from lift-off to infinity, breaks free from Earth’s gravitational pull and launches into a high atmospheric falsetto orbit, almost beyond our imagination. Could it be a masterpiece of studio production that didn’t require music videos to convince the public to build a fanbase? Yes—So relax if you can between double-takes and enjoy the ride. and let the music transport you to another dimension, and marvel at this musical feast for the ears. This amazing piece has arisen through the years with accolades and popularity, largely due to the precision guitar work of Scholz, but riding on what has become one of the greatest Rock vocals of all time, Brad Delp…Overwhelming and Beyond Belief!
Link #1 Original recording, official music audio 1976.
80. THEY CALL THE WIND MARIA “Paint Your Wagon” (1969)
Vocalist: Harve Presnell / and Chorus
Writer/Composer: Alan Jay Lerner / Frederick Loewe (1951)
This actor’s magnificent baritone voice captured everyone’s attention in Theater Musicals and Film recordings, especially in the 1960 - 1970s era. Noteworthy too is the rest of the cast in the film, Paint Your Wagon, were not professional singers. Harve’s amazing full-throated delivery is mesmerizing, and his magnificent vocal presentation displayed conviction and charisma. His stellar voice displays exceptional power, beautiful tone, amazing phrasing and extraordinary control. It makes this classic song a wonderful listening experience and—alas! a landmark song giving homage and respect to nature and her unpredictable weather…Absolutely Exceptional!
Link - Film clip of vocal performance - Paint Your Wagon 1969.
79. THE GIRL FROM IPANEMA (1964)
Vocalist: Joao & Astrud Gilberto (Stan Gets sax)
Writer/Composer: Antonio Carlos Jobim / Vinicius de Moraes / Norman Gimble (1962)
Sometimes collaborations work and the unexpected happens—even in two languages, Portuguese and English—and in this case, a huge international hit appeared! This Bossa Nova / Jazz song featured the lovely and beguiling female voice of Astrud Gilberto, the husky sounding saxophone of Stan Gets, the euphoric rhythm guitar of Joao Gilberto, and the rhythmic piano and male vocal of Antonio Carlos Jobim. The combined result was a worldwide sensation and a Grammy award for Song of the Year in 1965. This exemplary song was a silky smooth with a very rich sound, introducing us to a new type of Latin American Jazz. Needless to say the song swept the globe, becoming one of the unique, stellar songs defining the 1960s…A beautiful Stunning Surprise!
Link #1 Original recording 1965. Link #2 Live performance 1964.
78. PAPA WAS A ROLLING STONE (1972)
Vocalist: The Temptations (lead Dennis Edwards) / David Ruffin / Melvin Franklin / Otis Williams / Eddie Kendricks / Paul Williams / Paul Riser (Motown instrumentalist)
Writer/Composer: Barrett Strong / Norman Whitfield (1971)
As one of the most successful American R&B / Soul / Pop singing groups of the 1960s through the 1980s, they were the defining sound of Motown for male vocal singers. Amazing, in spite of personnel and lead singer changes, they took quality songs and turned them into great R&B classics, regardless of who sang lead. They were also known for their synchronized choreography. This time Dennis Edwards took the lead vocals into the musical stratosphere, with a remarkable tenor delivery, revealing his story in a mournful, distinctive, psychedelic presentation. They became one of the most popular groups in music history with multiple hits, selling millions of records and albums. In this extended long version, this becomes a true production masterpiece…A Marvelous Revelation!
Link - Original recording 1072.
77. HELLO YOUNG LOVERS “The King and I” (1956)
Vocalist: Marni Nixon (for Deborah Kerr)
Writer/Composer: Richard Rodgers / Oscar Hammerstein II (1951)
Meet Marni Nixon—the beautiful mystery soprano voice who has been used in so many major Musical Films. From Broadway to Opera, her voice had an eternal sweetness, and a remarkable lyrical resonance, so pleasing to our ears. This exhilarating selection is also very touching as she sings so delicately from a life of experience, “Don’t cry, young lovers, whatever you do / Don’t cry because I’m alone / All of my memories are happy tonight / I’ve had a love of my own,” She also sang for Natalie Wood (West Side Story), Audrey Hepburn (My Fair Lady) and for herself as a nun in (The Sound of Music). Her amazing chameleon-like dubbing made non-singing performers better actresses. Notice her compassionate tenderness here…Absolutely Beautiful!
Link - A scene from the film The King and I in 1956.
76. GIORNO D’ORRORE! “Semiramide” (1980)
Vocalist: Montserrat Caballe / Marilyn Horne (London Symphony Orch. / Richard Boynynge cond.)
Writer/Composer: Giochino Rossini (1923)
Something astonishing happens here as two of the world’s greatest soprano / divas deliver one of the greatest achievements in vocal harmony ever presented. This huge challenge is Caballe’s 3rd entry as both singers move beautifully through multiple octaves, in split-second timing, turning on a dime, and conquering this challenging piece with perfect pace, power and sublime technique. If you’re unfamiliar with it, prepare to be blown away, as two stunning artists stretching their wings, as few ever have, take you on a journey in one of the most complex Operas ever written and performed…an Absolute Epiphany!
Link - Live performance from the Opera Semiramide - 1980.
