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MusicHound (often stylized as musicHound) was a compiler of genre-specific music guides published in the United States by Visible Ink Press between 1996 and 2002. After publishing eleven album guides, the MusicHound series was sold to London-based Music Sales Group, [1] whose company Omnibus Press had originally distributed the books outside America.
Hoffman was born in Los Angeles in 1951. [1] In the 1970s, he worked in radio before joining MCA Records as catalog research and development coordinator. [citation needed] For the next decade, he was responsible for compiling hundreds of budget cassette releases for MCA's Special Products division, with a focus was on jazz and big band recordings.
Stephen "Steve" Hoffmann (born February 1, 1955) is an American physician and the author of Under the Etherdome, [1] [2] an autobiography pertaining to his experience at Harvard Medical School. Hoffmann's book was featured on the Today Show in 1989 when Stephen made a guest appearance on the show.
The hour-long set contains one original song and several cover versions. The song listed as "Four Day Creep" is attributed to the classic blues singer Ida Cox, but bears no melodic or lyrical resemblance to her self-recorded composition of that title.
Steven Hyden (born September 7, 1977) is an American music critic, author, and podcast host. He is the author of the books Your Favorite Band Is Killing Me (2016, on rivalries in pop music history), Twilight of the Gods (2018, on the history of classic rock), Hard to Handle (2019, co-authored with Steve Gorman about The Black Crowes), This Isn't Happening (2020, about Radiohead's Kid A) and ...
Both documentarian and subject are trying, the best they can, to make sense of whatever “Steve Martin” is. Movie Review: ‘STEVE! (martin)’ looks at past, present in a lovely, intimate 2 ...
Total Exposure is a 1991 direct to video crime thriller directed by John Quinn, written by Quinn with Lynne Dahlgren, and starring Season Hubley and Michael Nouri.It has notably been described as a far better than average exploitation movie.
In a retrospective review for AllMusic, reviewer Mark Deming opined that the album "captures the group in the midst of a significant stylistic shift", while contending that "Triumph of the Will" "embraces fascism as a satirical target without bothering to make it sound as if they disapprove." [11]