Marian Brown

Organ Duets by Howard Hanson, Rayner Brown, Leo Sowerby, Barrie Cabena, Joseph Jongen and Gustav Merkel are played upon the Austin pipe organ of Asbury First United Methodist Church in Rochester, New York by David and Marian Craighead. The Hanson and Sowerby works are transcriptions by Marian and David Craighead. In the Sowerby, the Craigheads are joined by Tami L. Petty, soprano and John Beck, tubular bells.

Angela Brown personifies the ideal soprano: sheer vocal power; luxurious finesse; and shimmering, high pianissimos. With a charming personality larger than life, she unites opera, pops, and gospel in one sensational voice. A featured artist on the two-time Grammy Award® winning recording “Ask Your Mama,” Angela’s international reputation continues to grow.

A wonderfully groovy set – every bit as great as you might guess from the title and the cover – and the very first installment in the now-legendary Mood Mosaic series! The set's one of the few to bring together tunes from the groovier side of the spectrum at the end of the 60s – work from British, French, American, and German sources – all awash in a great blend of funky, easy, and pop-oriented modes! There's a nicely trippy feel throughout – and titles include "Hascisch Party" by George Garvarenz, "Kiss This" by Claude Denjean, "Acka Raga" by Shocking Blue, "Mas Que Nada" by Luiz Enriquez, "En Melody" by Serge Gainsbourg, "Love For Sale" by Marian McPartland, "Batucada" by Phil Crewe, "Marins Armins Amant Ou Maris" by Michel Legrand, and "Sitar Beat" by Klaus Doldinger. © 1996-2024, Dusty Groove, Inc.

Hunks and glamour pusses get ready because UK house favourite Hed Kandi is back at the one and only Ocean Beach Ibiza for another sun-drenched summer in 2018. For all of you partial to a bit of glitz and glam, this is an absolute must. Hed Kandi has been at Ocean Beach for a few years now, the San Antonio poolside venue proving the perfect fit for a brand that has built its name on feel-good house. Ocean Beach epitomises the Hed Kandi mantra of sparkling house classics, so these two really are a match made in Ibiza heaven. Experienced Ibiza until you’ve experienced a HedKandi party at Ocean Beach. There is simply no where better to listen to soaring, soulful, feel-good house music than under the sun of the White Isle, set to a Balearic back-drop of the Island’s favourite pool-side destination.

Down is a song recorded by American duo Marian Hill as a single from their debut album Act One. The song became popular after its adoption by Apple in an AirPods commercial. Chasing Highs is a song performed by Finnish singer-songwriter Alma. The song was released in Finland as a digital download through PME Records. Privacy is a song by American singer Chris Brown from his eighth studio album, Heartbreak on a Full Moon. Their latest collaboration is featured on Mr. Worldwide's forthcoming album, Climate Change and is titled Sexy Body, because of course it is. Younger Now is the sixth studio album by singer Miley Cyrus. Cyrus began planning a commercial follow-up record to her fourth album Bangerz while simultaneously making her experimental fifth album Miley Cyrus & Her Dead Petz!

Rhino's five-disc box set Respect: A Century of Women in Music was surely assembled with the best of intentions, but it doesn't quite work. First of all, any collection that focuses solely on "the female contribution" comes off as a little condescending, no matter how good the intentions are. Still, the concept has enough weight to make for at least an interesting listen. However, any compilation that spans nearly 100 years and every conceivable popular musical genre is bound not only to be incomplete, but too sweeping to be totally effective. The scope is impressive, as are the featured artists – think of any major female musician and they're likely to be here, unless it's Joni Mitchell (Kim Gordon and Kim Deal are also missing, as are several other similarly minded post-punk rockers and various pop and folk singer/songwriters, but no omission is as shocking as Mitchell's) – but the overall effect is somewhat bewildering.

As urban America of the nineteenth century grew and prospered, it became anxious to show itself civilized and "cultured" along the lines of established European culture. And so it was that the music of America's founders – the untutored but vigorous religious music of Colonial America, and the rugged, folk-derived spiritual song of the countryside – was more or less banished from polite society. The middle classes preferred (or were told to prefer) major-key hymns in "correct" four-part harmony. Funny stereopticon slides were published showing country yokels at an old-fashioned "singing school," presumably caterwauling some anthem by a disgraced eighteenth century like Billings or Read. Standard American music history texts, some even in use today, wrote off these repertoires, dismissing them in a few lines, or even ignoring them entirely.