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A blessing in disguise is an English language idiom referring to the idea that something that appears to be a misfortune can have unexpected benefits. [3] It first appeared in James Hervey 's hymn "Since all the downward tracts of time" in 1746, and is in current use in everyday speech and as the title of creative works such as novels, songs ...
The Dark is the second full-length album released by American heavy metal band Metal Church, released on October 6, 1986.This was the last album featuring the group's "classic" lineup of David Wayne, Kurdt Vanderhoof, Kirk Arrington, Duke Erickson, and Craig Wells, until Masterpeace (1999), which reunited the four-fifths of that lineup, with John Marshall replacing Wells.
Blessing in Disguise also marked the second and last time Metal Church had worked with Terry Date, who also produced the band's 1984 self-titled debut album. Although Vanderhoof was technically no longer an official member of the band at this point, he composed the music and lyrics for seven of the album's nine songs and appears as a guest ...
A blessing in disguise; Bad luck often brings good luck. Every cloud has a silver lining. Every ill-luck is good for something in a wise man's hand. Every medal has its dark side. Every tide has its ebb. No great loss without some small gain; It is an ill wind that blows no one good. Nothing is so bad in which there is not something good.
A Blessing in Disguise is the third full-length studio album of the Norwegian progressive metal band, Green Carnation. The album was released two years after their previous album, Light of Day, Day of Darkness .
In 1989, Holder provided vocals to help out Dave Hill and his newly formed group Blessings in Disguise which also featured ex-Wizzard keyboard player Bill Hunt, Craig Fenney and Bob Lamb. [18] The debut single, released in 1989 for the Christmas market, was a cover of the Everly Brothers' " Crying in the Rain ", backed by a Hill/Hunt ...
"Judy in Disguise (With Glasses)" is a song that was a No. 1 hit for the Louisiana-based John Fred & His Playboy Band in late 1967. It was jointly composed by Fred and bandmate Andrew Bernard. Billboard magazine noted that it was recorded not in New York, Los Angeles, or Nashville, but "in a small studio in Tyler, Texas." [4]
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