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"Where The Soul Of Man Never Dies" (Traditional) – 2:27 "Talk About Suffering" (Traditional) – 2:10
"The Soul of a Man" was the second to the last of Blind Willie Johnson's singles. The song is included on several Johnson compilation albums, such as The Complete Blind Willie Johnson (1993) and The Soul of a Man (2003). [2] "Soul of a Man" has been recorded by various artists, [3] usually with variations in the musical accompaniment.
2010: Long Form Music Video of the Year – A Gospel Journey; Grammy Awards. 1971: Best Gospel Performance (other than soul) – "Talk About the Good Times" 1974: Best Gospel Performance (other than soul) – "Baptism of Jesse Taylor" 1977: Best Gospel Performance (other than soul) – "Where the Soul Never Dies"
The ' 50s progression (also known as the "Heart and Soul" chords, the "Stand by Me" changes, [1] [2] the doo-wop progression [3]: 204 and the "ice cream changes" [4]) is a chord progression and turnaround used in Western popular music. The progression, represented in Roman numeral analysis, is I–vi–IV–V. For example, in C major: C–Am ...
Never Grow Old" usually refers to an old Southern Gospel song of the same name, technically called "Where We'll Never Grow Old", written by James Cleveland Moore, Sr. on April 22, 1914. It has been included on many religious-themed audio compilations, and has been covered by many singers, including Johnny Cash , [ 1 ] Jim Reeves, [ 2 ] Bill and ...
According to him, he was persuaded to record the song by Brad Paisley. [1] The song caused waves on country radio, for the lyric "I wish country music still got played on country radio." A radio edit was created to edit out the jab towards pop country, and the lyric was replaced with "I wish George Jones still got played on country radio."
In 1950, Percy Faith (using the alias Peter Mars) adapted the music of the song with Carl Sigman writing new English lyrics for the song. [5] The lyrics of this version, "My heart cries for you, sighs for you, dies for you..." are original and unrelated to the French song. The song was written in three-quarter waltz time. [6]
Co-written by band members Ian Curtis (vocals and lyrics), Peter Hook (bass guitar), Bernard Sumner (lead guitar) and Stephen Morris (drums). Centred on a circular bassline by Hook that had a significant influence on 1980s Gothic rock, the song was named by Curtis after Nikolai Gogol's 1842 novel Dead Souls. The song contains a lengthy intro ...