700-676-Great Vocals
700. THE GREATEST ADVENTURE “The Hobbit” (1977)
Vocalist: Glen Yarbrough
Writer/Composer: Jules Bass (1977)
With his 2nd number on our list, Glen shifts his quivering, glorious vocals to give us a beautiful, delightful offering from the first televised version of the Tolkien’s “The Hobbit.” His extraordinary, warbling presentation is stunning here as he serves his golden voice on a platter, fully intact for this obscure animated classic. Never has a man had such beautiful, quivering vibrato in his tenor voice when delivering what is now considered a Folk melody. His unique sound in this performance lets his vocal conveys pure happiness as he sings about the joy of embarking on a new mystery and new adventure…This result is Simply Marvelous and Whimsical!
699. WALTZ SERENADE “Anchors Aweigh” (1945)
Vocalist: Katheryn Grayson / MGM Sudio Orch. (George Stoll cond.)
Writer/Composer: Based on Serenade for Strings by Peter Tchaikovsky / Lyrics by / Earl K. Brent (1945)
Her popularity in the 1940s and 50s was only topped by Judy Garland in Movies, and as this selection clearly shows, her beautiful soprano voice was unmatched at the time for its lilting, jaw-dropping, effortless performance. Practically all musical moviegoers got to see and hear her astonishing vocal range and prowess in those glory days of Technicolor Hollywood Musicals. She could easily glide through 3+ octaves, almost without a microphone, and sing with such innocence, sincerity, charm and with a bell-like quality, practically unheard of in quality musicals. Her high register reached birdlike, violin type notes, putting her in a category very few could reach. Stay with her on her ha-ha-ha- ha- ha trills as she runs the scales with her astounding athletic virtuosity. Her 2nd entry is a Crown Jewel…Stunning!
Link - Scene from 1945 - Anchors Aweigh with Frank Sinatra and Gene Kelly.
698. PEOPLE WILL SAY WE’RE IN LOVE “Oklahoma” (1955)
Vocalist: Shirley Jones / Gordon MacRae
Writer/Composer: Richard Rodgers / Oscar Hammerstein III (1943)
This superb duet was from the movie instead of the legendary, record-setting, Broadway production. That musical was a defining moment for the Musical Theater, achieving that by blending comedy, drama, dancing and songs to move along the plot, not just to offer a break in the story, so productions ran for years rather than months. Our selection features a breakout performance by Shirley and Gordon, and their careers were set permanently on through the 20th century. Shirley with her beauty and her sweet, clear mezzo soprano voice and Gordon, with his good looks and a booming baritone, resulted in a captivating duet. A special musical treat…Simply Adorable!
Link - Movie clip - Musical - Oklahoma - 1955.
697. THE GLOW WORM (Adapted from German operetta “Lysistrata”) (1952)
Vocalist: Mills Brothers / Hal McIntyre Orchestra
Writer/Composer: Paul Linke / Lilla C. Robinson (1908) - Johnny Mercer (1952)
Can you imagine listening to this ditty of a Jazz / Pop piece back in the early 1950s, trying to figure out the meaning of its strange rhyme and its message. It didn’t matter that Johnny Mercer took this German operetta and “rearranged” the lyrics, and the smash hit took the world by storm. Any way you slice it, the impeccable harmonies from this American 4-piece Pop vocal group, took this wonderful. clever, silly song to # 1 on the charts, their 4th entry on our list. The Mills brothers specialized in romantic pieces in their 40-year career, and their vocals were a wonder to behold, holding their own when music abruptly changed to Rock in the mid-50s…A Whimsical, Happy Delight!
Link # 1 Original recording 1952. Link # 2 Live up-tempo performance on the Nat King Cole Show, 1957.
696. JAVA JIVE (!975)
Vocalist: Manhattan Transfer (lead Janis Seagel)
Writer/Composer: Ben Oakland / Milton Drake (1940)
“I love coffee, I love tea / I love the java jive and it loves me / Coffee and tea and the java and me / A cup, a cup, a cup, a cup, a cup (boy!)” With that, we are introduced to a new brand of coffee—No, wait! It’s the popular 4-piece American Jazz group of 2 women and 2 men. This was not a commercial, it was a cool, smooth, Jazz piece, almost done in a cappella, (Only a lone guitar and one piano at the end.) Its unique delivery, its intentional silliness, and its vocal novelty equals an uncontested delight. This is a perfect blend of voices, not just to Jazz purists, but to Pop, R&B, and even Soul. Relax, sit back, and enjoy the ride…Absolutely Wonderful!
695. CRIMINAL (1997)
Vocalist: Fiona Apple (Maggart)
Writer/Composer: Fiona Apple (1996)
Her debut album, Tidal, spawned a great American female Rock / Blues number, and this award-winning song displays her talent as a Art/Pop / Art/Rock / pianist / songwriter as well as a singer. She has a solid following because of her fabulous use of the 2+ octaves and she deftly demonstrates it here with her low-key, sultry, smokey contralto voice. “What I need is a good defense / “Cause I’m feelin’ like a criminal / And I need to be redeemed /to the one I’ve sinned against / Because he’s all I ever knew of love.” And so goes the chorus that reminds us of her intro of being “a bad, bad girl.” What she lacks in hit records, she more than makes up with her songwriting skills…Superbly Mercurial!
Link # 1 Original lyric video 1997. Link # 2 Live peerformance on Jay Leno 1998.
694. THE LUCKY ONE (2001)
Vocalist: Alison Krause & Union Station (Jerry Douglas (dobro, lap steel & vocals) / Dan Tyminski (guitar, mandolin & lead vocal) / Ron Block (banjo & guitar) / Barry Bates (bass & vocals)
Writer/Composer: Robert Lee Castleman (2001)
The award-winning Country song from Alison and her group appeared in 2001, and not only did people think an angel was singing, but they thought the musicians who backed her were heaven-sent. With her 3rd entry on our list, she could do no wrong, and for over two decades, she held the record for the most Grammys ever won by a recording artist until 2021. This American singer / songwriter / fiddler possesses a crystal-clear soprano voice that soars into the heavens as she sings with confidence, strength, and perfect phrasing, almost unmatchable in the field of Country / Bluegrass and Folk—she seems to vocalize effortlessly as she serves it on a celestial Platter…Clearly Spellbinding!
Link # 1 Official music video 2001 Link # 2 Live performance with Union Station 2004
693. BORN TO BE WILD “Easy Rider” (1969)
Vocalist: Steppenwolf (lead John Kay)
Writer/Composer: Mars Bonfire (1969)
Thundering in on choppers, in the 1969 movie Easy Rider, comes three American misfits, uh, or were they the precursors to Heavy Metal? Whatever, this 5-piece Rock band was instrumental in developing Hard Rock, a sound that featured the attitudes prevailing in the young people who “dropped out” of the established order of things, known as anti-establishment. This Rock song by Canadian singer, John Kay’s lead, had a rough edge to it, but was greatly influential of the coming musical times ahead. Opening “Get your motor runnin’ / Head out on the highway / Lookin’ for adventure / And whatever comes our way.” This Steppenwolf song is…Totally Turbo-Charged!
Link - scene from the movie - Dennis Hopper / Jack Nicholson / Peter Fonda 1969
692. SPACE ODDITY (1972)
Vocalist: David Bowie (David Robert Jones)
Writer/Composer: David Bowie (1969)
English singer / songwriter / musician / actor David Bowie is perhaps one of the most enigmatic, hard to define, talented and sought after singing artists of the 20th century. Just when you thought you had him figured out, his next release would dazzle you with wonder again. His elusive persona worked beautifully for his chameleon-like image. His vocals were among the most influential in music, as this song clearly demonstrates, and his ability to reinvent himself kept his legions of fans fascinated. This musical set-piece was inspired by the 1968 film 2001-A Space Odyssey, and the uncertain future from a outer space drug trip, anyway it’s a Rock staple as well as Pop / Psychedelic Rock / Folk Rock. His baritone voice is celebrated for its skillful use of 3 to 4 octaves…Fascinating and Haunting!
Link # 1 Official music video 1972
691. LOOKING BACK (1958)
Vocalist: Nat King Cole (Arranged by Dave Cavanaugh w. Chorus)
Writer/Composer: Clyde Otis / Brook Benton / Belford Hendricks (1958)
His flawless phrasing, his warm melodic vocals, his piano skills, and over three decades of wonderful, beloved hit records, made him an American institution, mostly unequaled in the 20th Century. This song, a Blues / R&B / Jazz / Pop classic if there ever was one, has grown in appreciation over the passing years, and it is his 5th entry on our list. The song has every feature of a R&B / Blues song, and his vocalizing is a stunning example of pure clarity. “Looking back over my life / I can see I’ve caused you strife / But I know, oh yes I know / I’d never make that same mistake again.” This is an intimate portrait of taking the blame—a Contemplative Portrait of Self-Examination!
Link # 1 1962 remaster of the 1958 recording.
690. FINISHING THE HAT “Sunday in the Park with George” 1984
Vocalist: Mandy Patinkin
Writer/Composer: Stephen Sondheim / James Lapine (book) (1983)
Mandy again proves his legendary Broadway Theater status with this complex number from the Musical play. With his 4th song on our list, he demonstrates his tenor voice is more than capable or artistic, it’s authentic and a real showstopper. His highs and lows are truly all over the musical map, and he does it here with such incredible glee! The show emphasizes what a struggle it can be when George Seuret’s tries to balance and reconcile his art with his deeply conflicted personal life. Thus, Finishing the Hat shows something has to be sacrificed, but it cannot be at the cost of his art—oh, what a dilemma! Mandy torches this number…Definitely Spot-On!
Link - Directly from the Broadway play 1984.
689. SERBANI OGNOR “Semiramide” (1965)
Vocalist: Joan Sutherland / Marilyn Horne (London Synphony Orch. / Richard Boynynge cond.)
Writer/Composer: Gioacchino Rossini (1923)
This incredibly complex Opera duet is one that few opera divas want to tackle. Its obscure fan base results from the complex phrasing, and astonishing highs and lows, perhaps emphasizing technique rather than melody. Sutherland and Horne, with their 2nd entry each on our list, have embraced this as one of their signature duets—they repeated it for many years together in the 1960s in their long-storied careers. Their extraordinary soprano range is a marvel, even if opera is not your cup of tea. Stay with it until the very last, together…Stupendous!
688. CRY ME A RIVER (1955)
Vocalist: Julie London
Writer/Composer: Arthur Hamilton (1953)
In the mid-1950s, Jazz recordings were charting, even with advent of Rock, R&B and pure Blues. She was a well-known artist, a singer and actress, who made a difference introducing this torch song to American audiences. Now considered a Jazz classic, and covered by many other artists, this standard demonstrates her sultry, pleading, low-keyed, contralto voice. She had a very long career, recorded over 30 albums, and she is revered today by those in the Jazz community. If you feel sorry for yourself, play this remarkable recording, with her sparse vibrato, and her melancholy vocalizing…Sophisticated and Beguiling!
687. I OWE YOU ONE (1993)
Vocalist: Aaron Neville (Musical arranged by David Campbell / Chorus)
Writer/Composer: Wendy Waldman / Jon Lind / Philip Edward Galdston (1992)
There’s something totally disarming about American R&B / Soul singer Aaron Neville’s vocals. His floating sounds come across as if it’s a message from the heavens, drifting through our space as though we are magnetically attracted, unable to resist. His high tenor is actually misleading because of his ability to drop into a high baritone, and soar from there into an ethereal falsetto that soars with sumptuous vibrato—it’s uncanny! Yet, in this selection, his 3rd on our list, he sounds as if he’s in an echo chamber, with the chorus and musical arrangement. The musical arrangement is lush, the splendid chorus, barely detectable, but his voice, he bends the notes like no one else…Stunning!
Link # 1 Original music video from album The Grand Tour 1993. Link # 2 Video with lyrics.
686. (They Long To Be) CLOSE TO YOU (1970)
Vocalist: The Carpenters (Karen Carpenter)
Writer/Composer: Burt Bacharach / Hal David (1963)
Their 3rd offering on our list is a bona fide Pop Classic. This award-winning duo with Karen singing the lead and overdubbing backing vocals with her brother Richard singing backup with overdubs—this became a Pop masterpiece, showcasing Karen’s beautiful, crystal-clear, contralto delivery. She was more than capable of using her amazing 3-octave delivery and she made this obscure song into an instant classic. As an American singer / songwriter / musicians (She played drums, he played piano / keyboards,) everyone wanted to write songs for her smooth-as-silk voice, but she died at the early age of 32 and now is widely accepted by her peers as one of the very best contralto singers ever in Pop music…Pure, Impeccable Harmony and Enchanting!
Link # 1 Original recording and video 1970. Link # 2 Live Performance Ed Sullivan Show 1970
685. KISS ME (1998)
Vocalist: Sixpence None the Richer (lead Leigh Nash)
Writer/Composer: Matt Slocum (1997)
This American Rock 5-piece band with a strange name, adapted from C.S. Lewis’s book, Mere Christianity, broke through the logjam of Pop boy bands and Pop Queens with this Alt Pop / Alt Rock / Alt Folk…Indie, well—See what we mean, music didn’t know what genre to put them in! However, they appealed to all these categories, even their jangling guitars caught the worldwide masses too. Leigh Nash’s sweet, clear-sounding effervescence became ubiquitous in the 1990s, and she’s still going strong. As the band’s frontwoman and singer, she exhibits a nostalgia-like, soft 3-octave, contralto voice, and she’s also writing songs for Country music in Nashville. Her pixie-like presence and persona and her winsome appeal make her easy to look at and easy to listen to…Clearly Sublime!
Link # 1 One of three music videos 1997. Link # 2 Live performance
684. (I’VE BEEN) SEARCHING SO LONG (1974)
Vocalist: Chicago (lead vocals Peter Cetera - bass / Robert Lamm backing vocals - keyboards / Terry Kath backing vocal - guitars / Danny Seraphine drums / Lee Loughnane backing vocals - trumpet / James Pankow backing vocals - trombone / Walter Parazaider saxophone / James Haskell strings)
Writer/Composer: James Pankow (1974)
If this Soft-Rock piece doesn’t impress you, you have completely closed your mind—this piece proves Chicago’s ability to span musical genres and slowly build into a Jazz / Rock / Pop masterpiece. With their 2nd entry listed, this American 7-piece Rock band ventures into an unknown, surprising territory with James Haskell’s use of strings, turning the band into a symphony. Peter Cetera’s tenor vocals gather power as he lends his soaring 2 octaves to a love power ballad, travelling all over the musical map. It starts as a complex Pop song, slowly building, escalating to an incredible Rock / Jazz creation. His high fqlsetto pierces the ear as the band and orchestra slowly rises as the song gains its momentum…Absolutely Jaw-dropping and Astonishing!
Link # 1 Original recording 1974) Link # 2 LIve Performance at the Lyric 1974)
683. OH! LONESOME ME (1958)
Vocalist: Don Gibson (Chet Atkins guitar)
Writer/Composer: Don Gibson
1958 was a banner year for American Country singer / songwriter, Don Gibson, as he cut a unique two-sided hit record, this fast-paced selection, and his now classic Country & Western hit, I Can’t Stop Loving You. Both hits crossed over into Pop and Rockabilly, were stellar hits and productions, with none other than Chet Atkins backing Don up with those great versatile guitar licks. Very few Country songs went Pop on both sides of an 45 RPM record. Don’s 50-year career was legendary, he was a prolific songwriter, writing for multiple artists. It may be the most upbeat song ever about being lonesome. His silky, deep, influential, baritone vocal really shines…Irresistibly Marvelous!
Link # 1 Original recording 1958. Link # 2 Live on Dick Clark’s American Bandstand 1958
682. AIN’T THAT PECULIAR (1965)
Vocalist: Marvin Gaye / the Andantes (Smokey Robinson producer)
Writer/Composer: Smokey Robinson / Bobby Rogers / Pete Moore / Marv Tarplin (1965)
Link # 1 Original recording 1965. Link # 2 Live performance Tamla Records 1965.
This great R&B / Soul / Pop classic, like fine wine, gets better with age. With his 4th entry on our list, we get Marvin’s retro look into the past, a crystal-clear view of Motown music and how influential it was. The song was about the trouble with keeping a painful relationship, but clothed in an upbeat Soulful dance beat.—It was worth it! Marvin Gaye’s popularity was building like a slow avalanche, and that was in spite of his hits during the British Invasion of Rock bands—the public wanted more. With his songs, their catchy hooks, their keyboard riffs, and his sensational stage presence, he and his 3 to 4 octave, baritone voice really contributed to that Motown sound…An Auditory Elation!
Link # 1 Official recording 1965. Link # 2 Live Performance 1965.
681. OLIMPICO (2019)
Vocalist: Dimash Kudabergen (Dinmukhammed Kanatuly Kudaibergen)/ Igor Krutoy cond. & comp.
Writer/Composer: Igor Krutoy / Liliya Igorevna Vinogradova (2018)
This magnificent Kazakh singer / songwriter / performer shows up for his 2nd entry on our list, and it’s a very significant one. Known for being capable of vocals spanning 7 octaves, he has become one of the world’s most revered vocalists since 2010. Able to sing and perform in 15 languages, he captivates and stuns during live performances, this is an example of Operatic Pop and Classical crossover that has such wide appeal. He is now the most popular vocalist in Asia and the former Russian Republics. He begins this number in a low contralto and slowly elevates it to a very high tenor, sounding like a female soprano. He is Remarkable with this Unparalleled live Performance!
680. STOP IN THE NAME OF LOVE (1965)
Vocalist: The Supremes (lead Diana Ross) (The Andantes backup)
Writer/Composer: Eddie Holland / Lamont Dozier / Brian Holland / (1965)
The Supremes were supreme—they owned the 1960s as the most popular 3-girl singing group that ever lived. With their ongoing Motown roots and the excellent management of Berry Gordy, it seemed they could do no wrong. Almost every song went to #1 and Diana Ross’s sweet-as-honey sound just rode the airwaves with song after song from the HDH writing team. This song was massive, it became ubiquitous as a Pop / R&B / Soul classic, and next to the Beatles, they sold more records than anyone in that 1960s era. This signature song was complete with “traffic cop” choreography by all three, a delightful, and musical experience, and one of the biggest hits…A Musical Gemstone—Superb!
Link # 1 Original recording 1965. Link # 2 Live on Hollywood Palace 1962.
679. MAMAS, DON’T LET YOUR BABIES GROW UP TO BE COWBOYS (1978)
Vocalist: Waylon Jennings / Willie Nelson
Writer/Composer: Ed Bruce / Patsy Bruce (1976)
What is the quintessential anti-cowboy song? You would have to agree, it’s Waylon & Willie’s cover from their self-titled, award-winning song that takes on the hard life of a cowboy, with its canges and challenges. This Country & Western classic is now a music standard, with just enough Willie’s whining nasal delivery and just enough of Waylon’s “ big Texas baritone,” to be the perfect answer for Waylon’s “Outlaw Country movement.” The song has the intentional bravado of their stellar careers of way over a half century, this being Waylon’s’ 2nd entry and Willie’s 3rd. Their voices unite in a unique authoritative, sound as one of the best duets in Country history…Play On!
Link # 1 Original recording 1978. Link # 2 Live at Farm Aid 1984.
678. SONGBIRD (1996)
Vocalist: Eva Cassidy
Writer/Composer: Christie McVie (1977)
Some people have the gift of music, and never receive the fan base and popularity of those less-gifted. Eva is one of those treasures. Just on the cusp as a breakout artist, she died at the age of 33, but she left a trail which we could follow—with her celestial voice and recordings. This is one of those songs we should have ranked much higher—her reinvention of Christine McVie’s timeless Folk classic. With a voice that takes one to another time and place, we present a REAL songbird. She echoes the angels of heaven, with HEART!…Whew!…Absolutely Sublime!
677. UNCHAINED MELODY “Unchained” (1965)
Vocalist: The Righteous Brothers (Bill Hatfield solo)
Writer/Composer: Alex North / Hy Zaret (1955)
This remarkable recording was accomplished an amazing feat in music on its 1965 release. The 1955 song established itself as American record breaker as it had 3 different versions of the song in the top 10 Pop charts…at the SAME TIME! This version, their second song listed, with Bobby Hatfield’s soaring tenor delivery and his slightly changed melody, was a colossal hit, not from the original movie, but for the movie Ghost. Their Gospel inspired / R&B / Soul / Pop version was an amazing worldwide hit, delivering one of the most covered songs of the 20th century, and to date, there are over 600 versions of this great melody. Without any help this time from Bill Medley, Bobby sends this tune into planetary orbit with one of the greatest blue-eyed Soul records of all time…Simply Spellbinding!
Link # 1 Original 1965 recording. Link # 2 Live performance from the Andy Williams Show 1965
676. I’M EVERY WOMAN (1978)
Vocalist: Chaka Khan (Yvette Marie Stevens) / and Chorus
Writer/Composer: Nicholas Ashford / Valerie Simpson (1978)
Chaka’s emergence as an American R&B / Soul / Funk / Disco / Pop singer was no accident—she had too much talent to NOT have a career in those fields of music. From her days fronting the R&B / Funk band Rufus, she went solo and had an increasing entourage of fans who supported her every move in crossing genres as a singer / songwriter / producer and entertainer, including multiple songwriters supporting her charismatic style. Seems she could do no wrong from the 1970s through the 2000s, and her 2nd song on our list is living proof. Her 3 and a half octave vocal range as a mezzo soprano really comes alive here, and this hit showed why…Absolutely Electrifying!
Link # 1 Original music video 1978. Link # 2 Live TV performance 1978.
