 | | One of the most successful and popular solo female performers to come out of England during the last several decades of the 20th century, Kate Bush was also one of the most unusual, with her keening vocals and unusually literate and complex body of songs. |
 | | As the leader of Genesis in the early '70s, Peter Gabriel helped move progressive rock to new levels of theatricality. |
 | | Since he was the son of cult songwriter Tim Buckley, Jeff Buckley faced more expectations and pre-conceived notions than most singer/songwriters. |
 | | Born Brian Peter George St. John le Baptiste de la Salle Eno in Woodbridge, England, Brian Eno took his early music training at art school in Ipswich and Winchester, where he studied with composers Christian Wolff and George Brecht. |
 | | Following the 1982 dissolution of Japan, the group's onetime frontman David Sylvian staked out a far-ranging and esoteric career that encompassed not only solo projects but also a series of fascinating collaborative efforts and forays into filmmaking, photography, and modern art. |
 | | Evolving from the late-'60s art-rock movement, Roxy Music had a fascination with fashion, glamour, cinema, pop art, and the avant-garde, which separated the band from their contemporaries. |
 | | Dead Can Dance combine elements of European folk music -- particularly music from the Middle Ages and the Renaissance -- with ambient pop and worldbeat flourishes. |
 | | Through a combination of zealous righteousness and post-punk experimentalism, U2 became one of the most popular rock & roll bands of the '80s. |
 | | While his tenure as the frontman for the legendary Roxy Music remained his towering achievement, singer Bryan Ferry also carved out a successful solo career that continued in the lush, sophisticated manner perfected on the group's final records. |
 | | At the start of their career, Talking Heads were all nervous energy, detached emotion, and subdued minimalism. |
 | | The Scottish folk-ambient band the Blue Nile has enjoyed a mystique contrived by its inaccessibility and the infrequency of its recordings, but it has also made a series of critically acclaimed discs. |
 | | Singer/songwriter Beth Orton combined the passionate beauty of the acoustic folk tradition with the electronic beats of trip-hop to create a fresh, distinct fusion of roots and rhythm. |
 | | One of the premier songwriters of the rock era, Robbie Robertson was born July 5, 1943, in Toronto, Ontario. |
 | | A singular talent who passed almost unnoticed during his brief lifetime, Nick Drake produced several albums of chilling, somber beauty. |
 | | Through both his lauded work fronting the Commotions and his more eclectic solo efforts, Lloyd Cole established himself as one of the most articulate and acute songwriters of the post-punk era. |
 | | Although Adrian Belew has played with some of rock's biggest names over the years (Frank Zappa, David Bowie, the Talking Heads, King Crimson, etc. |
 | | Chris Whitley was a Texas-based singer/songwriter who initially began his career as a bluesy roots rocker, but as his career progressed, he moved deeper into rock & roll and alternative rock. |
 | | The object of cultish adoration for years, singer/songwriter Lucinda Williams was universally hailed as a major talent by both critics and fellow musicians, but it took quite some time for her to parlay that respect into a measure of attention from the general public. |
 | | 10,000 Maniacs (named after the low-budget horror movie 2,000 Maniacs) was formed in Jamestown, New York, in 1981 by singer Natalie Merchant and guitarist John Lombardo. |
 | | British singer/songwriter David Gray had already released three overlooked albums by the time White Ladder (and its international breakthrough hit, "Babylon") brought his mix of acoustic instruments and electronic samples to the mainstream. |
 | | Ohio native Joseph Arthur was discovered by Peter Gabriel, who signed the folk-rock songwriter to Real World Records in the mid-'90s. |
 | | Building on the jangly guitar pop of the Smiths and the trance-like dream pop of bands like the Cocteau Twins, the Sundays cultivated a dedicated following in indie rock circles, both in their native England and in America, in the early '90s. |
 | | Throughout his career, guitarist Robert Fripp has continually pushed the boundaries of pop music, as well as pursuing many avant-garde and experimental musical ideas. |
 | | Sinéad O'Connor ranked among the most distinctive and controversial pop music stars of the 1990s, the first and in many ways the most influential of the numerous female performers whose music dominated airwaves throughout the decade. |
 | | R.E.M. marked the point when post-punk turned into alternative rock. When their first single, "Radio Free Europe," was released in 1981, it sparked a back-to-the-garage movement in the American underground. |
 | | Although it didn't originally have anything to do with their sound, the Cowboy Junkies' name wound up seeming pretty accurate: their music was grounded in traditional country, blues, and folk, yet drifted along in a sleepy, narcotic haze that clearly bore the stamp of the Velvet Underground. |
 | | A group whose distinctly ethereal and gossamer sound virtually defined the enigmatic image of the record label 4AD, Cocteau Twins were founded in Grangemouth, Scotland, in 1979. |
 | | After goth pioneers the Birthday Party called it quits in 1983, singer/songwriter Nick Cave assembled the Bad Seeds, a post-punk supergroup featuring former Birthday Party guitarist Mick Harvey on drums, ex-Magazine bassist Barry Adamson, and Einstürzende Neubauten guitarist Blixa Bargeld. |
 | | After disbanding the Police at the peak of their popularity in 1984, Sting quickly established himself as a viable solo artist, one obsessed with expanding the boundaries of pop music. |
 | | New Jersey native Pete Yorn took a rather unique route to singer/songwriter acclaim, gaining his first big break by providing the score to a Farrelly Brothers film. |
 | | If psychedelic music had a voice in '90s post-punk, Mazzy Star may have been its strongest reincarnation. |
 | | The cliché about David Bowie says he's a musical chameleon, adapting himself according to fashion and trends. |
 | | Tori Amos (born Myra Ellen Amos) was one of several female singer/songwriters who combined the stark lyrical attack of alternative rock with a distinctly '70s musical approach, creating music that fell between the orchestrated meditations of Kate Bush and the stripped-down poetics of Joni Mitchell. |
 | | The American ambient/neo-classical composer who has most closely allied himself with the increasingly sympathetic independent rock underground -- through his collaborations with the Cocteau Twins' Robin Guthrie -- Harold Budd is also one of the very few who can very rightly be called an ambient composer. |
 | | In the 1970s, Tom Waits combined a lyrical focus on desperate, low-life characters with a persona that seemed to embody the same lifestyle, which he sang about in a raspy, gravelly voice. |
 | | Joe Henry is best known for his two country-influenced albums, 1992's Short Man's Room, and 1993's Kindness of the World, both of which feature members of the country-rock band the Jayhawks, but his musical direction has actually changed several times over the course of his recording career, reflecting his restless, adventurous spirit. |
 | | The idiosyncratic Canadian art-pop chanteuse Jane Siberry was born in Toronto, Ontario on October 12, 1955; after taking up the piano as a child, she began absorbing the classical and operatic inspirations which later distinguished her professional work. |
 | | David Gilmour gained international fame for his incisive, atmospheric guitar work and vocals with Pink Floyd, and eventually became the leader of the group during their late period as well as pursuing a successful solo career and working with some of the most respected names in British rock. |
 | | Mixing the heartfelt angst of a singer/songwriter with the cocky brashness of a garage rocker, Ryan Adams is at once one of the few artists to emerge from the alt-country scene to achieve mainstream commercial success and the one who most strongly refused to be defined by the genre, leaping from one spot to another stylistically while following his increasingly prolific muse. |
 | | Paul Simon is one of the most successful and respected songwriters of the second half of the 20th century. |
 | | During the '80s, Aimee Mann led the post-new wave pop group 'Til Tuesday. After releasing three albums with the group, she broke up the band and embarked on a solo career. |
 | | John Hiatt's sales have never quite matched his reputation. Hiatt's songs were covered successfully by everyone from Bonnie Raitt, Ronnie Milsap, and Dr. |
 | | The The was the guise of Matt Johnson, a mercurial singer/songwriter whose music ran the gamut from dance-pop to country. |
 | | For years, Richard Thompson resided in relative obscurity, while at the same time garnering vast critical praise for his magnificent guitar work and the dark wit and richness of his extraordinary songwriting. |
 | | Led by the literate singer/songwriter Mike Scott, the group's sole constant member, the mercurial Waterboys formed in London in 1981. |
 | | XTC was one of the smartest -- and catchiest -- British pop bands to emerge from the punk and new wave explosion of the late '70s. |
 | | When the dust settles, Joni Mitchell may stand as the most important and influential female recording artist of the late 20th century. |
 | | Since her debut in 1988, Sarah McLachlan's atmospheric folk-pop has gained a devoted following not only in her native Canada, where she established star status with her first album, but also in the U. |
 | | The men behind the European downtempo outfit Zero 7 -- producers Henry Binns and Sam Hardaker -- launched their careers in the music industry as tea boys at a London recording studio. |
 | | The gothic dream pop collective This Mortal Coil was one of the most representative bands on the 4AD label, not least because they were run by 4AD president and co-founder Ivo Watts-Russell. |