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"Dance Monkey" is a song by Australian singer Tones and I, released on 10 May 2019 as the second single (first in the US) from Tones and I's debut EP, The Kids Are Coming. The song was produced and mixed by Konstantin Kersting .
The song contains additional vocals from Ant Clemons, BongoByTheWay, and the Sunday Service Choir. West co-wrote it with 11 others, while Jeffrey LaValley received songwriting credit due to the song sampling a rendition of the New Jerusalem Choir's work. A hip hop and gospel song, it instrumentally relies on military drums. The song includes ...
Gospel music is composed and performed for many purposes, including aesthetic pleasure, religious or ceremonial purposes, and as an entertainment product for the marketplace. Gospel music is characterized by dominant vocals and strong use of harmony with Christian lyrics. Gospel music can be traced to the early 17th century. [1]
The album was the number one gospel album on the 1997 Billboard Top Gospel Albums year-end chart. Prior to the album's release, music industry insiders had expected The Preacher's Wife soundtrack to "do at least as well as" Waiting to Exhale's soundtrack, which sold 5,100,000 copies in the United States. [16]
Some of the recordings credit the writing of the song to Adeline Brunner (as A.M. or A.H. Brunner). It is featured in the 1980 film The Blues Brothers, where it is performed by James Brown with the Rev. James Cleveland Choir. It also appears on the film's soundtrack album.
Robert's Western World is known as Nashville’s most authentic honky tonk and synonymous with country music. For nearly 20 years, worship at this honky tonk has been led by the Rev. Ron Blakely ...
The tune known as "Roll, Jordan, Roll" may have its origins in the hymn "There is a Land of Pure Delight" written by Isaac Watts [1] in the 18th century. It was introduced to the United States by the early 19th century, in states such as Kentucky and Virginia, as part of the Second Great Awakening, and often sung at camp meetings.
The song was later covered by Jesus Culture in 2011. However, Cobbs' interpretation of the song is the first commercially successful and accepted within the gospel community, of the trio. The song topped the Billboard Gospel Songs chart in 2012, as well as the corresponding