Gray Institute Caf

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Anybody who has cut a standard like "Drift Away" can hardly be called unappreciated, but a hit of that magnitude can tend to overshadow the rest of an artist's career. Such is the case with Dobie Gray, who not only had a huge number five hit with "Drift Away" in 1973, but had a number 11 hit eight years earlier with "The 'In' Crowd." Two big hits, both widely known, which is more than most artists get, and Gray continued to chart throughout the '70s, albeit in the lower reaches of the R&B charts. All of this suggests that Gray was a minor talent, but that's misleading, as Hip-O Select's excellent four-disc box set Drift Away: A Decade of Dobie (1969-1979) proves. Chronicling the music Gray made after "The 'In' Crowd," it illustrates that Gray wasn't just a powerful yet nuanced soul singer, but that he restlessly tried different sounds and styles. The first tracks on this set collect his singles for the L.A. soft pop label White Whale, where he cut versions of Joe South's "Rose Garden" and Paul Williams' "Do You Really Have a Heart" that perfectly fit the label's breezy, lazy style while retaining a soulful edge. After that, it moves to his Drift Away album, recorded for Decca in 1973.

Anybody who has cut a standard like "Drift Away" can hardly be called unappreciated, but a hit of that magnitude can tend to overshadow the rest of an artist's career. Such is the case with Dobie Gray, who not only had a huge number five hit with "Drift Away" in 1973, but had a number 11 hit eight years earlier with "The 'In' Crowd." Two big hits, both widely known, which is more than most artists get, and Gray continued to chart throughout the '70s, albeit in the lower reaches of the R&B charts. All of this suggests that Gray was a minor talent, but that's misleading, as Hip-O Select's excellent four-disc box set Drift Away: A Decade of Dobie (1969-1979) proves. Chronicling the music Gray made after "The 'In' Crowd," it illustrates that Gray wasn't just a powerful yet nuanced soul singer, but that he restlessly tried different sounds and styles. The first tracks on this set collect his singles for the L.A. soft pop label White Whale, where he cut versions of Joe South's "Rose Garden" and Paul Williams' "Do You Really Have a Heart" that perfectly fit the label's breezy, lazy style while retaining a soulful edge. After that, it moves to his Drift Away album, recorded for Decca in 1973.

In more ways than one, Macy Gray is a bit like the Dan Marino of neo-soul: full of promise and potential but never truly reaching her full blossom. Having only reached the Top Ten promised land once (and Top 40 only three times) in her five-year career on the good ship Epic, it's hard to call this a "very best of" and get excited about the songs held within the packaging. Starting off with the one-two chronological punch of "I Try" and "Do Something," the air starts to leak out of the ball ever so slowly as the compilation progresses, leaving a deflating feeling by the time the new additions are reached.

Anybody who has cut a standard like "Drift Away" can hardly be called unappreciated, but a hit of that magnitude can tend to overshadow the rest of an artist's career. Such is the case with Dobie Gray, who not only had a huge number five hit with "Drift Away" in 1973, but had a number 11 hit eight years earlier with "The 'In' Crowd." Two big hits, both widely known, which is more than most artists get, and Gray continued to chart throughout the '70s, albeit in the lower reaches of the R&B charts. All of this suggests that Gray was a minor talent, but that's misleading, as Hip-O Select's excellent four-disc box set Drift Away: A Decade of Dobie (1969-1979) proves. Chronicling the music Gray made after "The 'In' Crowd," it illustrates that Gray wasn't just a powerful yet nuanced soul singer, but that he restlessly tried different sounds and styles. The first tracks on this set collect his singles for the L.A. soft pop label White Whale, where he cut versions of Joe South's "Rose Garden" and Paul Williams' "Do You Really Have a Heart" that perfectly fit the label's breezy, lazy style while retaining a soulful edge. After that, it moves to his Drift Away album, recorded for Decca in 1973.

Conan Gray releases his third studio album, Found Heaven, via Republic Records. Produced by Max Martin (The Weeknd, Adele, Ariana Grande), Greg Kurstin (Adele, Beck, Sia, Pink), and Shawn Everett (Kacey Musgraves, The Killers), the album sets the stage for Conan’s new era.

Kellye Gray was a jazz singer who brought a generous helping of Texas bravado to the stage, Gray was a creative force on the Bay Area scene for a quarter century, even though she often lived elsewhere. A native Texan, singer Kellye Gray began making a name on the Austin scene during the '80s fronting a versatile band that covered a range of artists ranging from jazz and pop to funk and blues. Her musical diversity and bluesy voice attracted a following among college students and locals alike, and she was soon headlining many of Austin's music festivals. Standards in Gray is her solo debut album.

Renowned AIDS researcher and clinician Dr. Joseph Sonnabend, who was known for his groundbreaking work in HIV/AIDS research, had a hidden facet of his extraordinary life – as a composer. Despite his illustrious medical career, Joseph Sonnabend’s passion for composition remained largely concealed from the public eye. However, with this album, we are invited into his world of instrumental and chamber works, showcasing his exceptional talent and profound musical sensibility.