Listening in The Ocean

Native American flutist Golaná was born Scott Cunningham and raised as an Anglo-American. He was first attracted to music through church hymns and began four years of piano lessons at eight, followed by four years of trumpet in school bands; he began playing guitar at 15. He graduated from San Diego State University with a B.S. in Information Systems Management and got his master's degree in Systems Management from U.S.C. After a corporate career, he started his own computer software consulting business in the mid-'80s. At the same time, having recovered from drug and alcohol dependency, he embarked on a spiritual search that led him to study Native American culture. His interest was given greater impetus when an aunt told him that his great-great-grandmother was a Cherokee, making him one-sixteenth Native American. Turning to the flute, he began playing a Native American style of new age music, also influenced by '70s folk and rock. In a Cherokee ceremony, he was christened Golaná, which means raven. Responding to inquiries about his music, he began issuing it on records, beginning with Path to the Heart and continuing with Walk Between Worlds and 2000's Feather on the Wind.

Helen Habershon’s writing is instinctive and inspired. She is passionate about ‘our incredible natural world’ and it is the main source for her music. ‘Found in Winter’ expresses the many different faces of winter with its varied moods, and the ever-present threat of climatic change both cyclic and man-made.

Tom, Alice, and the Spook must flee, too, across the ocean to the island of Mona. And it's on Mona that this small band fighting against the dark will face an old enemy grown terrifyingly powerful. Will they be able to vanquish an evil that crawls beneath the ground itself? At what cost?

The essence of Jimmy Webb’s artistry is exemplified in an unlikely place on this five-disc set, which collects all of his 1970s studio albums plus a 1972 live concert and an assortment of outtakes. It’s the last of those outtakes, a duet with Harry Nilsson on Boudleaux & Felice Bryant’s “Love Hurts”, that reveals the truth.
Webb had recorded the classic ballad for his 1972 album Letters, then cut this subsequent take with Nilsson in London but decided not to use it. In the liner notes here, Webb explains he and Nilsson were “smashed out of our minds” when they cut the track, and confesses he nixed it because he felt Nilsson’s vocal was too melodramatic: “Somewhat hypocritically perhaps, I felt he was too far gone…”