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"2 in the Morning" is the third and final single from American girl group Girlicious' second studio album, Rebuilt (2010). It is also the group's final single before their disbandment in 2011. It was digitally released in the United States and Canada on August 31, 2010. [1] [2] The song samples Ruki Vverh!'s "Pesenka" (1998).
Jesu dulcis memoria is a Christian hymn often attributed to Saint Bernard of Clairvaux.The name can refer either to the entire poem, which, depending on the manuscript, ranges from forty-two to fifty-three stanzas, or only the first part. [1]
Aegis is a Filipino rock band formed in 1995. The band is composed of sisters Juliet and Ken Sunot on lead vocals, only-male member Rey Abenoja on vocals and guitar, Stella Pabico on keyboards, Rowena Adriano on bass guitar and Vilma Goloviogo on drums. It is also their screen name in band. Just like 'surname' at screen.
Jesus is coming soon, morning or night or noon; Many will meet their doom, trumpets will sound, All of the dead shall rise, righteous meet in the skies, Going where no one dies, heavenward bound. Verse 2: (not often included in recordings) Love of so many cold; losing their home of gold; This in God's Word is told; evils abound.
A suspended chord (or sus chord) is a musical chord in which the (major or minor) third is omitted and replaced with a perfect fourth or a major second. [1] The lack of a minor or a major third in the chord creates an open sound , while the dissonance between the fourth and fifth or second and root creates tension.
"Jesus Loves Me" is a Christian hymn written by Anna Bartlett Warner (1827–1915). [1] The lyrics first appeared as a poem in the context of an 1860 novel called Say and Seal , written by her older sister Susan Warner (1819–1885), in which the words were spoken as a comforting poem to a dying child. [ 2 ]
Victory in Jesus can refer to: A shape note gospel song written by Eugene Monroe Bartlett and published in 1939; A ministry founded by NASCAR driver Morgan Shepherd;
"Morning" is a Latin Jazz standard written by American pianist/composer/arranger Clare Fischer, [2] first heard on his 1965 LP, Manteca!, Fischer's first recording conceived entirely in the Afro-Cuban idiom, which, along with the Brazilian music he had explored at length over the previous three years, [3] would provide fertile ground for ...