Joanna Connor

The divorced Lorraine Burton is an insecure woman that raises her seven year-old son Chad alone and without money. Her ex-husband Gary is a former military that went in court martial and presses Lorraine to take Chad for him. One day, Lorraine stops her car in a gas station after her therapy to buy frozen pizzas for Chad and her. When she returns, the bank robber Roy carjacks them and heads to Tijuana, Mexico with Lorraine and Chad. Along their journey, Lorraine tries to protect Chad from the psychopath Roy.

The divorced Lorraine Burton is an insecure woman that raises her seven year-old son Chad alone and without money. Her ex-husband Gary is a former military that went in court martial and presses Lorraine to take Chad for him. One day, Lorraine stops her car in a gas station after her therapy to buy frozen pizzas for Chad and her. When she returns, the bank robber Roy carjacks them and heads to Tijuana, Mexico with Lorraine and Chad. Along their journey, Lorraine tries to protect Chad from the psychopath Roy.

Joe is a psychiatrist who puts a hidden camera behind his couch, facing a wall sized mirror in order to document a number of women who come and go. Obsessed with a former lover, Joe intends to perform and record an "experiment in contemporary sexual aberration." In the process, Joe documents his own mental breakdown as well as a number of sexually volatile encounters with the women who come to see him.

GREATEST EVER! is Union Square Music’s select, best-selling label, utilising the very best repertoire from key major labels, Greatest Ever’s 3CD box sets are some of the strongest multi-artist compilations on the market, with the greatest ever songs.

"The greatest songs never grow old, they just get better as a select wine." In this collection are collected 3 generations of romantic music of the 50's, 60's and 70's.

In their first recording for CORO The Choir of Magdalen College, Oxford, with director Mark Williams, explore the repertoire that has provided the bedrock of the college’s musical life for the last 500 years, all of which was written for the end of the day. Much music associated with evening time is naturally calm and soothing, and would satisfy those seeking transcendental beauty in the form of unchallenging ‘sound baths’, but this collection also seeks to challenge, contrasting contemporary settings with music from the 16th century. We hope, through this range of works, to capture something of that liminal space between day and night that is characterised by Evensong, and to lead the listener into that ‘peace that passes all understanding’. The album showcases works by composers from John Sheppard to Joanna Marsh, and features much-loved pieces such as Hubert Parry’s Lord, let me know mine end and John Tavener’s The Lord’s Prayer as well as new additions to the Evensong repertory such as Grayston Ives’ In pace and Piers Connor Kennedy’s O nata lux.