Search results
Results from the WOW.Com Content Network
[2]. B.J. Thomas – vocals; Carl Greeson, Archie Jordan and Bobby Wood – keyboards; Reggie Young – guitars; Mike Leech – bass; Jerry Kroon and Larrie Londin – drums; Farrell Morris – bells, vibraphone
The Apostles Creed is an album of songs by Keith Getty and Stuart Townend, featuring many guest performers assembled by producer John Hartley. As its title suggests, the songs reflect various aspects of the Christian Apostles' Creed. All songs are by Getty and Townend, except "Merciful God," which is also by Kristyn Getty.
According to biographer Victor Bockris, inspiration for the song came about after Nico approached Reed after a show in 1965 saying, "Oh Lou, I'll be your mirror." [2] The song was a favorite of Reed's and The Velvet Underground & Nico engineer, Norman Dolph. [3] Mark Deming of AllMusic described "I'll Be Your Mirror" as an "understated love ...
The instrumentation consists of several music instruments, such as drums, piano and synthesizers. A disco track, it touches on themes of empowerment, freedom and self-love. "Mirror" was acclaimed by music critics, who praised its disco sound and lyrical themes. Commercially, the song reached number 13 in Norway and charted moderately in the ...
The Other Side of the Mirror (2007) South Central Farm: Oasis in a Concrete Desert. (2008) Fierce Light: When Spirit Meets Action (2008) The Power of Their Song: The Untold Story of Latin America's New Song Movement (2008) Joan Baez: How Sweet the Sound (2009) Hugh Hefner: Playboy, Activist and Rebel (2009) Leonard Cohen: Live at the Isle of ...
"Objects in the Rear View Mirror May Appear Closer Than They Are" is a song composed and written by Jim Steinman, and recorded by Meat Loaf. The song was released in 1994 as the third single from the album Bat Out of Hell II: Back into Hell and it reached number 38 on US's Billboard Hot 100 , and number 26 in the UK Top 40 .
Spiegel im Spiegel (lit. Tooltip literal translation 'mirror(s) in the mirror') is a composition by Arvo Pärt written in 1978, just before his departure from Estonia. The piece is in the tintinnabular style, wherein a melodic voice, operating over diatonic scales, and tintinnabular voice, operating within a triad on the tonic, accompany each other.
In jazz music, on the other hand, such chords are extremely common, and in this setting the mystic chord can be viewed simply as a C 13 ♯ 11 chord with the fifth omitted. In the score to the right is an example of a Duke Ellington composition that uses a different voicing of this chord at the end of the second bar, played on E (E 13 ♯ 11).