Vic Damone (born Vito Rocco Farinola; June 12, 1928 – February 11, 2018) was an American traditional pop and big band singer, actor, radio and television presenter, and entertainer. He is best known for his performances of songs such as the number one hit "You're Breaking My Heart", and "On the Street Where You Live" (from My Fair Lady) and "My Heart Cries for You" which were both number four hits.

Mothermania is a collection of previously released tunes culled from the first three Mothers of Invention albums. So why bother? Well, it's the only early collection actually compiled by FZ. Verve released a bunch of early compilations without permission, but more importantly, this is the only place you can hear some of these mixes and edits.

Known for their country-rock ease and light harmonies, Poco netted two of the finest soft rock tunes of the late '70s in "Crazy Love" and "Heart of the Night," which highlight Crazy Loving, one of the more accessible compilations from this California band. After these tracks, the rest of this package takes minor hits from rather lackluster albums such as Blue and Gray, Under the Gun, and Cowboys and Englishmen, gradually losing interest along the way. Although the group's countrified feel wraps itself tightly around songs like "Too Many Nights Too Long," "Indian Summer," and the instrumental "Ashes/Feudin," Poco's occasional knack for a catchy hook or a sincere lyric fails to rise to the top on most of these cuts.

Any serious pop music collection begins here. The list is based on commercial success as well as quality and timelessness of the artist's music. Suggested tracks are included to get you started. These performers are the bedrock of popular music.

For an artist who's doggedly album-oriented, plus a songwriter who revels in subtlety, Van Morrison doesn't seem like a logical candidate for a successful greatest-hits compilation. Nevertheless, The Best of Van Morrison is a crackerjack compilation, tracing Van the Man from his days with Them, through his best-known tunes ("Brown-Eyed Girl," "Moondance," "Blue Money," "Wild Night"), to highlights from the '70s and '80s cult efforts, topped off by "Wonderful Remark," a song first heard on the King of Comedy soundtrack. This collection makes Morrison's work seem a little more immediate and accessible than it usually is, but that's a blessing, since it provides a great summary of his hits and a nice introduction for the curious. Yes, it could have dug deeper into the catalog, but as a sampler, it can't be faulted.

For her second live album, Lena Horne recorded in the familiar environs of the Sands Hotel in Las Vegas. Her set paid tribute to some of musical theater's most prominent songwriters; there were medleys of the songs of Jule Styne, Rodgers & Hammerstein, and E.Y. Harburg, and the set list also included music by George & Ira Gershwin. Horne's song choices ranged from the very familiar to the very obscure. For example, Johnny Burke and James VanHeusen, primary songwriters for Bing Crosby for much of his later film career, had scored a hit with "You Don't Have to Know the Language" from the 1948 film Road to Rio, one of Crosby and Bob Hope's "road" pictures, but "Get Rid of Monday,"

Mel Tormé (born September 13, 1925 in Chicago, Illinois, USA - died June 05, 1999 in Beverly Hills, Los Angeles, California, USA) was an American jazz singer, composer, arranger, pianist, drummer, actor and author. He worked with Harry James (2), Ben Pollack and with his own group The Mel-Tones. He is perhaps best known for co-writing "The Christmas Song" (also known as "Chestnuts Roasting on an Open Fire") with Robert Wells (2). He was married to Janette Scott from 1966 to 1977 (divorced) and father of James Torme.

In the 1970s, disco was the biggest selling musical genre in the world. Disco fever spread globally and millions of records were sold. Nearly 50 years on, disco's resurgence and reinvention continues with disco inspired hits in the music charts today. Disco Inferno celebrates this phenomenal era by gathering 100 of the most iconic disco classics of all time. This 5CD set gathers club hits, DJ favourites and lost gems by legendary names including Chic, Rose Royce, The Trammps, Sister Sledge, Loretta Holloway, KC & The Sunshine Band, The Whispers, Chaka Khan, Slave, Candi Staton, Shalamar plus more artists who enjoyed huge popularity during this thrilling time. This album is a true disco inferno, so dust off your mirror balls & sequins and get ready to strut your funky stuff! This is the perfect soundtrack for a great party with over 6-hours of the purest disco anthems.

'SOUL MUSIC arose out of the black experience in America through the transmutation of gospel and rhythm & blues into a form for funky, secular testifying.' - Otis Redding. 'SOUL MUSIC is pain - you can hear the slaves, the beatin' and hurtin'.' - Link Wray. WELCOME to the latest instalment of our 'Adventures in UK Club Land' exploring the 'Club Beat' - the roots of R&B, Ska, Gospel, Jazz, Blues, Mod and, in this chapter, SOUL. Pre '63 the term 'Soul music' was not in use as a genre defining expression.

Even before he became a leading man in the '70s, Kris Kristofferson had already lived a life worthy of a movie. After rising to the rank of captain, the Brownsville, Texas-born Kristofferson left the army life behind in the mid-'60s to break into Nashville’s song factory, eventually working his way into Johnny Cash’s good graces while serving as a janitor at Columbia Recording Studios. But while Cash would turn the aspiring songwriter’s “Sunday Mornin' Comin’ Down” into a countrypolitan classic, Kristofferson’s crafty blend of down-and-out realism and sly, dark humor would resonate far beyond Music City: Janis Joplin ushered his hitchhiker saga “Me and Bobby McGee” into the rock canon; Gladys Knight & The Pips melted down the folksy ballad “Help Me Make It Through the Night” into smoldering, orchestral soul.

Even before he became a leading man in the '70s, Kris Kristofferson had already lived a life worthy of a movie. After rising to the rank of captain, the Brownsville, Texas-born Kristofferson left the army life behind in the mid-'60s to break into Nashville’s song factory, eventually working his way into Johnny Cash’s good graces while serving as a janitor at Columbia Recording Studios. But while Cash would turn the aspiring songwriter’s “Sunday Mornin' Comin’ Down” into a countrypolitan classic, Kristofferson’s crafty blend of down-and-out realism and sly, dark humor would resonate far beyond Music City: Janis Joplin ushered his hitchhiker saga “Me and Bobby McGee” into the rock canon; Gladys Knight & The Pips melted down the folksy ballad “Help Me Make It Through the Night” into smoldering, orchestral soul.

Known as "the thinking man's hillbillies," Homer Haynes and Jethro Burns got a lot of mileage out of an act that shouldn't have lasted or gone as far as it did, at least on the surface of things. Certainly there were other, far more established duos mining similar turf on the country music circuit, with Lonzo & Oscar leading the way. But Homer & Jethro were far more than just two hayseeds doing cornball send-ups of pop tunes. Underneath the cornpone facade were two top-flight musicians with a decidedly perverse sense of humor and a keen sense of satire.

A great collection of "weepers," honky tonk, and Western swingy numbers from the '50s, it includes several songs by Floyd Tillman. Featured is "I'll Keep on Loving You," "Deep Water," "I Gotta Have My Baby Back," and "I'm Tired." This is a real "Texas-flavored" record by a honky tonk master.

American country singer and songwriter, born January 12, 1926 in Perryville, Texas, United States, died December 16, 2013 in Mount Pleasant, Texas, United States.

The period between the September 1979 release of Kris Kristofferson's ninth album, Shake Hands With the Devil, and the January 1981 release of his tenth, To the Bone, was an eventful one in his life. In December 1979, he and Rita Coolidge divorced, and he spent much of the period working on Heaven's Gate, an epic film that opened to disastrous reviews in November 1980, devastating his movie career. Since Shake Hands With the Devil had also been a commercial failure, and To the Bone was the last album on his contract with Monument Records, his singing career didn't seem to be in any better shape. Not surprisingly, he used the record to vent his feelings about his personal life.