250-226-Great Vocals
250. KING OF THE ROAD (1964)
Vocalist: Roger Miller
Writer/Composer: Roger Miller (1964)
He was an American singer / songwriter / musician / actor, and his Honky-tonk Novelty style combined with a modern Nashville sound, enabled him to become one of the premier Country/Folk acts of the 1960s. He was a family favorite on numerous TV guest appearances, all due to his laid back, easygoing, humorous style and homespun delivery. His clever whimsical lyrics, displayed a voice that to this day, was totally unique in music. His voice, described as a growling low bass to a scat-singing high tenor, added to his popularity for three decades. A vocal genius, his singing was…A True Treasure!
Link # 1 Original recordings. Link # 2 In person performance on TV.
249. BETTE DAVIS EYES (1981)
Vocalist: Kim Carnes
Writer/Composer: Donna Weiss / Jackie DeShannon (1974)
From its opening synthesizer, this award-winning song became one of the biggest worldwide sensations of the 1980s. This American singer/songwriter excelled in Rock / Pop / Country and Folk, becoming an iconic global phenomenon with her distinctive, raspy, unlike-any-other, immediately recognizable voice, embraced by fans everywhere. This clever and seductive song took on a life of its own spending 9 weeks at number-1, holding its own against the British New Wave invasion in popular music. Described as a female Rod Stewart, she even collaborated with other singing stars with her unique vocal style…An Amazing Surprise!
248. YOU’RE IN MY HEART (The Final Acclaim) (1977)
Vocalist: Rod Stewart (And chorus)
Writer/Composer: Rod Stewart (1977)
British Rock / Pop star Rod Stewart surprised legions of his fans when he took a detour from traditional Hard Rock roots and began opening a new chapter in his vocal style—embracing romantic love ballads. With one of the longest careers in Rock, spanning from the mid 1960s into the 2000s, this iconic recording artist even took on the American Songbook of the great songwriters of the 20th century. With a voice described as a hoarse, gravelly rasp, he took on this heartfelt, sincere, beautifully crafted ballad, validating his popularity through five decades. Listen intently at his amazing backup musicians too…A Stunning Poignant Revelation!
Link # 1 Official music video. Link # 2 Live with the New York Philharmonic Orchestra
247. I HONESTLY LOVE YOU (1974)
Vocalist: Olivia Newton-John / (Piano arrangement Alan Hawkshaw)
Writer/Composer: Jeff Barry / Ellie Greenwich (1974)
This award-winning song solidified her status as perhaps the biggest selling female singing artist of the 1970s / 1980s. In those two decades this Australian singer mastered Pop / Country / R&B / Disco / Soft Rock & Showtunes. In this selection she sings of an unrequited and misplaced love. Her vocal starts at the low-end of her scale, slowly builds, displaying her crystal clear, pitch perfect soprano clarity, and her ability to gracefully move through her 3 octaves, even ending in a whisper. She was a master at phrasing and blending her purity of pitch with this genuine, sincere, supple delivery…Simply Superb
246. RETURN TO ME (1958)
Vocalist: Dean Martin (Gus Levene Orch. & Chorus)
Writer/Composer: Carmen Lombardo / Danny DiMinno (1958)
Dean Martin’s beautiful crooning here puts this entry as his third on our list. This beautiful arrangement by Gus Levene’s Orchestra & Chorus is a musical treasure. When we really listen, we can almost experience his stage persona in this lilting bravura vocal performance. Don’t forget he was also an Actor / TV star / Recording star and Live performer who embraced everchanging musical challenges in the 1960s with his extraordinary tenor / baritone vibrato, and his dazzling romantic deliveries such as this one are simple wonderful. His vocal here presents warm mirth, sincerity, joy, and effervescence…Simply Romantic, Blissful and Sublime!
Link # 1 Original 1958 recording. Link # 2 Live televised Performance in 1971.
245. BLUE (1994)
Vocalist: Lee Ann Rimes
Writer/Composer: Bill Mack (1958)
This American Country / Pop thirteen-year-old recording star did something that only Brenda Lee and Tanya Tucker did—she conquered two musical genres at the same time! How did she do it? She possessed a larger-than-life voice that was admittedly influenced by Patsy Cline of the 50s and 60s. This remarkable vocal showed how she ‘understood’ Country, and she could warble, yodel and perfectly bend the “blue” notes, perhaps better than any of her contemporaries. The result is an astonishing display of confidence and vocal control, as she helped fuel the tremendous resurgence of Country music in the 1990s…Amazing and Beautiful!
Link # 1 The 1994 hit recording. Link # 2 Live performance on TV
244. SUNRISE, SUNSET “Fiddler on the Roof” (1967)
Vocalist: John Gary (Mitchell Ayers Orch.)
Writer/Composer: Sheldon Harnick / Jerry Bock / Mitchell Ayers (1964)
Very few American male singers or crooners could match the artistic flow and breath control of John Gary, as he proves here with this magnificent rendering from the Broadway play. The 1960s were full of his recordings, concerts, and many TV appearances, but his 3+ octave range was largely overlooked by the rapid changes in the music business such as the British invasion. He smoothly glided through high tenor to full baritone while his contemporaries would drop their jaws in admiration at the beauty and tenderness in his voice. As close to perfect as possible…Sublime and Stunning!
243. PRIDE AND JOY (1983)
Vocalist: Stevie Ray Vaughan & Double Trouble
Writer/Composer: Stevie Ray Vaughan (1983)
Stevie Ray shuffles into our chart line-up with his second offering, a pure Electric Blues Rock song that just reeks with that Texas-based extraordinary guitar sound. This singer/songwriter/guitarist gave the Blues a unique voice in the 1980s—a black vocal sound coming from a white performer. His backup band Double Trouble was uniquely amazing as well. His popularity grew like a wild prairie fire in the 1980s and 1990s. The song, written for his girlfriend, hooks us from the very beginning: “She my sweet little thing / She my pride and joy / She my sweet little baby / I’m her little lover boy.” …Incredibly Magnetic and Dazzling!
Link # 1 Sudio Version of the record. Link # 2 Live version in Montreal, Canada.
242. I NEVER LOVED A MAN (The Way I Love You) (1967)
Vocalist: Aretha Franklin (and Chorus)
Writer/Composer: Ronnie Shelton (1967)
Aretha’s third entry on our list is pure southern Soul, with that Memphis/Muscle Shoals sound and absolutely validating her as “Lady Soul.” This song, her first hit, remains a staple in the Soul / R&B / Rock / Pop category, remarkable as it was in the middle of the British Rock invasion. Very few Soul singers could ever match her unmistakable, unique vocal style, very few could passionately deliver the goods as she does here about relying on a two-timing man who doesn’t deserve her love. Her Gospel-tinged offering takes this message to piercing new heights, with unbelievable vocal control. The result—one of the greatest examples of a Soul song awash in Blues, staggering our imagination…Astonishing!
241. I’M REVIEWING THE SITUATION “Oliver!” (1968)
Vocalist: Ron Moody
Writer/Composer: Johnny Green / Lionel Bart (1960)
Some song selections from movies are not based on great voices, they are based entirely on superb theatrical delivery, and this is without doubt, one of those great standouts. Ron Moody as Fagin tries to convince himself to abandon crime and go straight, so he sings to himself one of the great production numbers of all time. “I’m reviewing the situation / Can a fellow be a villain all his life? / All the trials and tribulations! / Better settle down and get myself a wife.” And after reasoning to himself to acquire a conscience, what does he conclude? “I think I’d better think it out again.” The vocal performance is Wondrous, Amazing, and Hilarious!
240. WHEN YOU SAY NOTHING AT ALL (1995)
Vocalist: Alison Krauss & Union Station
Writer/Composer: Paul Overstreet / Don Schlitz / (1988)
What can we say about this cover of the Keith Whitley tune that she made all her own? She didn’t just fiddle around, even though she became one of the best fiddlers in Folk / Country / Bluegrass / Pop / Inspirational music. She also possesses one of the most angelic beautiful voices in ANY kind of music. Silky, warm, heavenly—her vocals are hard to describe, because since the early 1990’s, she has been an eternal Grammy and award-winning artist who touches the heart with her astonishing sweet offerings. This is a consensus winner of her many critically acclaimed songs, and it begs you to listen intently as she gracefully moves through her 3+ octaves…Absolutely Stunning!
239. I SEE YOUR FACE BEFORE ME (1980)
Vocalist: Johnny Hartman
Writer/Composer: Arthur Schwattz / Howard Deitz (1937)
Some vocalists remain unknown to mass audiences by choice; some do not get the breakthrough hits that accompany fame, but this American Jazz vocalist was well-known to the world of Jazz in the 1960s-1980s. His beautiful, rich, deep, bass-baritone voice simply exuded romance, and this selection was highlighted in the film The Bridges of Madison County. He was also the only vocalist who ever recorded with legendary saxophonist John Coltrane. He chose romantic ballads, gliding effortlessly through those signature low notes, perhaps better than any of his contemporaries. Considered “a master of emotional expression,” he displayed quintessential sincerity…Intimately Beautiful!
238. BAILERO “Chants d’Avergne” (1983)
Vocalist: Kiri Te Kanawa (The English Chamber Orch. / Jeffrey Tate cond.)
Writer/Composer: Joseph-Marie Cantalube (1930)
This Opera piece, written in a fading language dialect that was only native to south-central France, is a hidden gem in the world of Classical music, aided by the stellar conducting of Jeffrey Tate, and Te Kanawa’s great soprano performance. Considered one of New Zealand’s gifts to the world, and blessed with a pure, vibrant, confident and unforced sound, it led to her enormous popularity from the 1970s and into the 2000s. This selection, has withstood the test of time, continuing to be discovered and embraced exponentially all over the world. She has turned numerous listeners toward Classical music. Her delivery here is…Poetic and Captivating!
237. 25 OR 6 TO 4 (album version) (1970)
Vocalist: Chicago (lead Peter Cetera)
Writer/Composer: Robert Lamm (1969)
This astonishing combination of Rock and Jazz brought global recognition to this stellar 7-piece American Rock band. Lead tenor and bass player Peter Cetera’s voice stands out, as do the harmonies of Terry Kath at lead guitar, and pianist Robert Lamm. Take special note of Kath’s 2 guitar solos and Danny Seraphines power packed drumwork, some of the best ever recorded. Chicago’s career lasted over 3 decades and even into modern times, they transcend current Rock/Pop music groups for their amazing, gifted vocals and musicianship. Reaction to their music from the last two generations is a Jaw-dropping Experience…Extraordinary!
236. MISTY (1959)
Vocalist: Sarah Vaughan (Quincy Jones / French Violins orch.)
Writer/Composer: Errol Garner / Johnny Burke (1954)
This beautiful rendering is legendary great Jazz / R&B / Soul / Pop, Sarah Vaughan’s third entry on our list. It still is one of the great Jazz vocals that crossed over into Pop in the 1950s. He beautiful 3-octave contralto is astonishing here, and it validates her as being among the greatest female Jazz vocalist of ANY century. Quincy’s Jones’s lush musical arrangement of violins and harp adds definition to her amazing vibrato as she soars with ease through this beautiful Jazz standard. This love ballad begins;”Look at me, I’m as helpless as a kitten up a tree,” and we’re hooked from the very beginning…Extraordinary and Superb!
235. IRIS “City of Angels” (1998)
Vocalist: Goo Goo Dolls (lead Johnny Rzeznik)
Writer/Composer: Johnny Rzeznik (1998)
This signature Rock/Pop song by this American 3-man group was phenomenal. The eternal sadness of this love ballad rapidly caught on, became ubiquitous, stayed popular on the charts well over a year, sold millions of copies and displayed the voice of Rzeznik as one of the stellar vocalists among the Alternative Rock / Punk / Post Grunge singer/songwriters. This song kept its traction as pure Rock slowly morphed into Youth Pop, becoming the most listened to song of the late 1990s / early 2000s. His sterling vocals can be described as a remorseful, honest, mournful moan, immediately recognizable. “And I don’t want the world to see me / ‘Cause I don’t think that they’d understand / When everything’s made to be broken / I just want you to know who I am.” …A Riveting Performance!
Link # 1 Official 1998 music video, Link # 2 The astonishing 2004 Buffalo N.Y. outdoor concert in a cloudburst.
234. SEND IN THE CLOWNS “A Little Night Music” (1975)
Vocalist: Judy Collins
Writer/Composer: Stephen Sondheim (1973)
The soft, sincere, melancholy cover of this award-winning song by American Folk singer/songwriter Judy Collins is her second entry on our ranking, and this song is now a legendary standard of the Broadway Theater. Her sublime storytelling of this piece is about the mistakes we make when we expect lifelong commitments…to the wrong person—we become clowns! From the beginning notes of a lone bassoon, and with the soft touch of a feather, her voice resonates through the air, delivering this beautiful melody, in a quiet, remarkable, heavenly style. One writer expressed…“Soothing and Devastating!”
Link # 1 Original 1975 recording. Link # 2 Live with the Boston Pops in 1976.
233. TWILIGHT TIME (1958)
Vocalist: The Platters (lead Tony Williams)
Writer/Composer: Buck Ram / Artie Dunn / Morty Nevins / Al Nevins (1944)
This beautiful lyrical melody was written by the last three writers who were known as the Three Suns in the 1940s. Buck Ram composed the poetic lyrics and it became a smash hit in both R&B and Pop music. The Platters were amazing in the 1950s with 4 number 1 hits. This beautiful song is one of their best featuring Tony’s wonderful lead vocals for the 4 man / 1 woman group. His breath control and pitch perfect sound soar to new heights, making him one of the best voices of his era. The chorus - "Here in the afterglow of day / we keep our rendezvous beneath the blue / Here in the sweet and same old way / I fall in love again as I did then,” …Absolute Splendor!
232. OVERS (1967)
Vocalist: Simon & Garfunkel (Paul Simon lead)
Writer/Composer: Paul Simon (1967)
This Folk/Rock Pop piece is from their heralded masterpice album Bookends. Its unique delivery is amazingly unconventional, with Paul Simon’s lament of a worn out, tired of each other marriage, in which he expresses remorse over the lost love, and without poetry, without rhyme. His lone guitar accompanies him and just when you think he delivers this song alone, Art Garfunkel’s ethereal high tenor eases in to join him in the last verse. With almost no harmony this time around, it doesn’t matter—it overwhelmes our sense of loss and regret. Their distant delivery is…to put it succinctly…Beyond Beautiful!
Link # 1 FRom their stllar album in 1967 “Bookends.” Link # 2 Live a few years later.
231. BE MY LOVE “The Toast of New Orleans” (1950)
Vocalist: Mario Lanza (Ray Sinatra Orch. / Jeff Alexander Choir)
Writer/Composer: Nicolas Brodsky / Sammy Cahn (1950)
Truly one of the most gifted singers of any genre in the 20th century, his powerful and passionate voice is preserved in at least seven movies from 1949-1959, and yes, he became one of the first iconic matinee superstars of Opera. His fame introduced Classical / Opera music to the world and two of his recordings sold millions, even hitting number 1 on the Pop charts! His ability to glide smoothly through 3 registers, from high powerful tenor to superb baritone captivated audiences the world over, and only his early death at 38 years ended his “meteoric” career. He was considered the world’s most famous tenor, his influence on future stars was astonishing, his voice…Beautiful and Magnificent!
Link striaght from the 1953 film “Be My Love.”
230. SWEET OLD-FASHIONED GIRL (1956)
Vocalist: Teresa Brewer (Dick Jacobs Orch. and Chorus)
Writer/Composer: Bob Merrill (1956)
This power-packed performance comes from from one of the most prolific and popular American female Pop vocalists of the 1950s, selling millions of records. Her musical career lasted well into the 1980s in Pop / Jazz / R&B and Novelty. She was known for her pipes, she could belt it out with the best them, and some include this number as an early Rock influence. One writer suggested, “The first half of each verse she sings soft and pretty, accompanied by a ‘SCOOBY DOOBY DUM’—for the second half she sings with a brash, gut-bucket growl!” The result was an undercutting voice of amazing dichotomy, performed with incredible vocal dexterity, way ahead of its time!…Surprising and Sensational!
Link # 1 Original recording in 1956. Link # 2 Live on the Ed Sullivan.
229. FIRE AWAY (2015)
Vocalist: Chris Stapleton (Morgane Stapleton harmony)
Writer/Composer: Chris Stapleton / Danny Green (2015)
Since around 2010 this American Country / Bluegrass singer/songwriter hit the music world by storm and this selection from his album, Traveller, precisely shows why. He sings with passion, honesty and power, and his gruff, raspy, bluesy voice is unique and unmistakable. He arrived on the scene like a shooting star, and his award-winning tunes are ubiquitous on YouTube reaction videos. He has brought something to the table that’s rare—combining pure, simple, primitive Country with Blues and Soul, and this vocal performance is a game changer. His numerous awards have launched him to superstardom…Moving—Beyond Expectation!
Link # 1 Live 2022 Link # 2 Official music video, to some very disturbing.
228. I HAVE NOTHING “The Bodyguard” (1992)
Vocalist: Whitney Houston
Writer/Composer: Linda Thompson / David Foster (1992)
Here she is again with her second entry on our list and she proves she was not just a flash in the pan for R&B / Pop / Soul audiences, she was a bonified worldwide diva phenomenon, fully utilizing her 3 octaves. She takes this romantic love ballad to an astonishing trajectory with her mezzo-soprano voice. She could belt it out with grace and showmanship capturing the attention of even the most ardent music critics. Amazing indeed is the ease with which her high notes would soar, and the beauty of her subdued vocal gymnastics, not letting them overpower the rich vibrato she possessed. This memorable song…Moving and Captivating!
Link: From the movie “The Bodyguard”
227. SECRET LOVE “Calamity Jane” (1954)
Vocalist: Doris Day (Ray Heindorf & Orch.)
Writer/Composer: Sammy Fain / Paul Francis Webster / 1954)
Her great musical career, from 1939 into the late 1960s, ran alongside her great acting career, and she was beloved in both fields as a singer/entertainer. This wonderful music arrangement backs up her extraordinary take (1 take in the studio) and preserved her place in the celebrity world as one of the finest Pop singers of the 20th century. Her vocals were crystal-clear with perfect pitch, so luscious and dependable, that she became the only female singer who started from the Big Band era in the 1940s, to become a bonified career singing star. This award-winning seleection is among her best…Simply Romantic and Marvelous!
Link # 1 Movie clip from 1973’s “Calamity Jane”
226. LIVING FOR THE CITY (Ed.) (1973)
Vocalist: Stevie Wonder
Writer/Composer: Stevie Wonder (1973)
In this case, Stevie’s second entry on our list, his genius as a singer / writer / producer / instrumentalist, is on full display as he demonstrates a personal and emotional connection to understanding discrimination and hard times. This stellar work from his award-winning 1973 Innervisions album prove again he was one of the premier singing/writing artists, from the 1960s through the 1990s. In this example he sings the first verse in his normal range before dropping down to a growl in his desperation on being unjustly arrested. The social statement is deftly made and in presenting his case, you can feel the anger…Captivating, Enthralling!
Link # 1 Original recording. Link # 2 Live in 1974.
