If the participants at these parties were churchy, the goings-on were not.
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An older churchy-looking lady next to Lindsay reached out and put a hand on her knee.
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Slyly, she married the churchy organ and piano to what may be her most sexually alive lyric.
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Sometimes, Afro-Latin percussionists join in; elsewhere, Sands douses his piano with an overdub of churchy organ.
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Steph, churchy God-botherer that he is, would be absolutely devastated to see his name tarnished by that China White.
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"American Gothic"—starchy couple, triune pitchfork, churchy house, bubbly trees—succeeded, deserving the inevitable term "iconic" for its punch and tickling ambiguity.
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Another friend says she wasn't initially comfortable with sharing all this churchy movement of the spirit with the white folks in the audience.
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"Give Me Something" asks for "something to believe in" as churchy organ chords waft in; "Sweet Architect" melds a torch song and a piano hymn.
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The same churchy roots that got me cast as a reality show trope were the ones preventing me from selling out to Fox News and Breitbart.
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Mine was a churchy town, and men were regarded as the spiritual leaders of the home and community, which naturally left women bringing up the rear.
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Even though they are not new, entries like MOXIE, BAUBLES, GRAY MATTER, ANGLOPHONE, CHURCHY, HANGDOG and the new-to-me, beautiful word QAID caught my eye.
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The rhythm is a deep thudding loop, topped with other loops; churchy organ chords and ominous strings join a mournful choir of Mr. Tyminski's overdubbed vocals.
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Places where his twist on conservatism — less churchy, less talk about free markets, more emphasis on economic nationalism, white identity politics, and protecting retirees — played very well.
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He takes to a harmonium, flanked by candles, and squeezes out the churchy chords to his anthem "Oh Mother Earth", a song that turns 26 this year.
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CARAMANICA Stately, churchy, but slightly wavering chords support Raveena Aurora, a New York City songwriter in a subdued secular hymn about prying herself out of a toxic relationship.
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Mr. Cohen's sepulchral, deadpan intonation is set within angelic voices, Gypsy violins and often an organ that can be churchy or bluesy; each verse could be last words.
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After singing at her memorial service, friends from the Gospel Wonders completed the 2007 track by adding some churchy background vocals, a last offering of harmony while Ms. Jones soars.
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There was something dreadfully devout, he thought, or creepily churchy, in the voice of the woman to his left who invariably dressed in full meditation regalia with Oriental smock and black linen trousers.
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The characters in Rebecca Kauffman's "The Gunners" exhibit the range of personalities that you'd expect from a random sampling of Middle Americans: nice people, abrasive people, the churchy, the alcoholic, the educated, the not.
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He put gospel messages in the foreground with his 2016 release, "Coloring Book," and his exultant live show — backed by his band, the Social Experiment, and churchy backup singers — flipped easily between secular and spiritual.
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The bell that signaled the beginning or end of Winnie's days sounded too churchy to me: "piercingly" is the word Beckett used to describe its ringing, and here the sound could hardly be described as such.
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It's filled with the sound of the B-33, a churchy keyboard that plays through a rotating speaker called a Leslie, granting it an emotive vibrato that, largely thanks to him, is synonymous with soul music.
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The song, about learning from mistakes and starting over, moves between spaciousness and saturation: verses that often suspend her high voice over just a beat and a bass line, proceeding slowly and unflappably toward a chorus infused with churchy chords.
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A notable feature of the Trump administration has been that Trump himself sometimes seems to get along better on an interpersonal level with big-city Democrats — at least older white ones like Schumer and Nancy Pelosi — than he does with churchy rural Republicans.
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My idea was very David Lynchian: underneath churchy Tulsa was a storage facility lit by overhead projectors where there were seven versions of the math teacher in this pod filled with amber liquid, and we were being taught by the version that got sent in today.
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To back Mr. Prine, Mr. Cobb assembled lineups of mostly acoustic instruments that sound like they just happened to get together on someone's porch — though when a modest string section or a slide-guitar lick or a churchy organ are called for, they are always precisely in place.
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But the sisters themselves seize and hold the spotlight: sharing brassy close harmony, stepping forward for solos, creating old-fashioned a cappella drive in "No Room at the Inn" and revving up churchy climaxes in the tambourine-shaking Beethoven adaptation "Joyful, Joyful" with the invincible singing preacher Shirley Caesar.
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It was exactly as Grant Wood had depicted it, his brush strokes capturing every last intricate detail of "the world's second most famous White House" — the front porch and its carved posts, the screen door, the vertical lines of its board and batten siding, the roof shingles, and, of course, the churchy window.
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Leon Bridges, the Texas-based singer and songwriter whose voice harks back to both the suave tenderness and the churchy grit of Sam Cooke, is still underserved by his material on his major-label debut album, "Good Thing," although he is now collaborating with song doctors like Justin Tranter and Ricky Reed.
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Not just by delivering the same speech over and over again (everyone does that), but in this case by delivering the exact same sentence — about how it's hard to raise kids in the 21st century with churchy values because nefarious forces in pop culture want to ram other values down our throats — twice in a row.
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London: Rider. . Taylor lives in Ranmoor, Sheffield, with his daughter (born 2001).Dawes, Martin. "Fun and Not 'Churchy'", The Star, Sheffield, 31 August 2010.
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In 1948 Skyhook balloons were used to show that in addition to protons and electrons, cosmic rays also include high energy atomic nuclei that are stripped of their electrons. Thirteen stratospheric plastic Skyhook balloons were launched in September 1953 as part of Project Churchy,Walt Kelly gave permission to use the name Churchy, the turtle character of his comic strip Pogo, as a nod to the turtles on the Galapagos Islands. an Office of Naval Research funded cosmic ray expedition at the geomagnetic equator. Project Churchy was conducted at the Galápagos because high-energy cosmic-ray particles can only be collected at the geomagnetic equator without accompanying low-energy particles found at higher latitudes.
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The director is probably Franz Wasner. Charles Wagner was their first booking agent, then they signed on with Frederick Christian Schang. Thinking the name "Trapp Family Choir" too churchy, Schang Americanized their repertoire and, following his suggestion, the group changed its name to the "Trapp Family Singers". The family, which by then included ten children, was soon touring the world giving concert performances.
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There have been two “restorations.” In 1795 the screen was cut up for floor boards and the nave and aisles filled with deal box pews for the farmers and a gallery put up at the West end for the labourers. The names of subscribers are painted on a board in the belfry. In 1840 the Lay Rector destroyed the ancient East window and inserted the present “churchy” window.
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The Pevensey Road façade has a seven-light lancet window and pinnacled buttresses. Central Methodist Church is an elaborate Decorated Gothic Revival building of grey stone rubble laid in courses with some ashlar. The roof is laid with pantiles, which are not original. Nikolaus Pevsner wrote that its appearance was "entirely churchy"—resembling an Anglican place of worship much more than typical Nonconformist chapels of the era (of which Eastbourne has several examples).
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He decided that the secret lay in a big band sound with a churchy feel. He found the recording talent he needed in the many after-hours clubs in the Watts district. He and Ben Siegert first started Juke Box Records in 1944 and after a few hits, he broke with his partners and started a new company, Specialty Records. The label soon thrived with Roy Milton, Percy Mayfield, and Jimmy Liggins, along with a very successful gospel catalog.
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This Is Me was met with mixed reaction from Sheard's core gospel fanbase. Where traditional gospel enthusiasts had a few tracks of that style to appease them on Kiki's debut project, her second album adopted an even more slick, contemporary sound. The only place the more trademark traditional "churchy" vocals appear are in the vamp of "No, Never". Nonetheless, scores of younger fans have been introduced to both traditional and contemporary gospel influences through Kiki Sheard's work.
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The album's introduction track "You May Die" has been described as "churchy". "Elevators (Me & You)" contains atmospheric elements including echoes, dub-influenced bass, organ riffs, and telephone tones. "13th Floor/Growing Old" contains a spoken word introduction from Big Rube, somber soul vocals from Debra Killings, and a "Prince-ish" piano riff, while "Wheelz of Steel" features "furious" turntable scratching by Mr. DJ. "Extraterrestrial" offers a break in the continuity of the record as it features no drum beat.
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The 1989 album, Avalon Sunset, which featured the hit duet with Cliff Richard "Whenever God Shines His Light" and the ballad "Have I Told You Lately" (on which "earthly love transmutes into that for God"(Hinton)),Hinton (1997), page 278. reached 13 on the UK album chart. Although considered to be a deeply spiritual album, it also contained "Daring Night", which "deals with full, blazing sex, whatever its churchy organ and gentle lilt suggest"(Hinton).Hinton (1997), page 280.
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Therefore, she looked to her spiritual origins and considered reintroducing Pentecostal elements into her public meetings. Temple officials were concerned the Azusa people might bring "wildfire and Holy Rollerism." Out of the Azusa Street Revival, black leaders and other minorities appeared on her pulpit, including Charles Harrison Mason, an African American and founder of the Churches of God in Christ, a significant Pentecostal leader. McPherson recommitted herself to the dissemination of "classic Pentecostalism", expressing concern that the Foursquare approach was in danger of becoming too "churchy".
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As an American living in the United Kingdom Coit regularly travelled between the United States and Great Britain and he was a passenger on the Carpathia in 1912 when it picked up survivors from the Titanic. Coit retired as leader of the Ethical Movement in 1935 to be succeeded by Harold Blackham, who dismantled the "churchy" elements, paving the way for the later establishment of the British Humanist Association by Blackham and Julian Huxley. Coit later lived near Eastbourne, Sussex. He died on 15 February 1944 at his home in Birling Gap near Eastbourne.
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The Allmusic site awarded the album 3 stars stating "That Lovin' Feelin' is essentially an album of acoustic-oriented jazz, but it is acoustic-oriented soul-jazz/hard bop that grooves in a funky, churchy, down-home fashion. Thankfully, That Lovin' Feelin' is not the sort of album that finds the artist playing note-for-note covers of rock and R&B; hits and calling it "jazz" ...Although not quite essential, That Lovin' Feelin' is an enjoyable, swinging effort that deserves credit for having an interesting variety of material".
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Feldmann first sketched out the song as an uplifting embrace of salvation, but Skiba altered it to serve as a critique of organized religion. He had recently viewed the film Spotlight, and its investigation into the known abuses of children at the hands of the Catholic Church instilled a rage in him. "I took John's hopeful, churchy idea and painted it black [...] I have zero faith for the business of fear and war-mongering," he said. There are also multiple references throughout the album to using alcohol for self-medicative purposes.
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Thom Jurek of allmusic gives the album a three-and-a-half star rating (of a possible five), noting that "[t]he material is swinging, front- ended, soul-inflected hard bop with tunes arranged by Crawford" and that "Crawford's tone as a soloist is sweet yet edgy and raw, full of emotion and warmth." The Penguin Guide to Jazz describes the album as "sonorous and churchy in the Brother Ray mode…" and gives the album a three-star rating (of a possible four). In 1961, Ralph Gleason, in a review for Down Beat, gave the album five stars.
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According to Nickson, the song's instrumentation and basis was crucial to Carey's performance throughout the song. Additionally, he described its content and instrumentation: > As a song full of gospel and soulful influences, it allowed Mariah to really > tear loose and show what she could do – which in reality was far more than > the vocal gymnastics that seemed to comprise her reputation so far. From a > deep rumble to a high wail, she covered five octaves wonderfully, as the > power of the tune built. The backing vocals – which once again had those > churchy harmonies – filled out the spare melody, as did the stately horns, > which entered towards the end.
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Type O Negative, performing at the Columbiahalle in Berlin, Germany, was one of the earliest gothic metal bands. In North America, Peter Steele had formed Type O Negative in 1990 out of the remnants of his former thrash metal band Carnivore. With their debut album Slow, Deep and Hard in 1991, the New York based outfit pursued a "melodramatic goth rock style" that "encompasses long songs built on simple riffs, theatrical shouting vocals, churchy-sounding organ and vocal-harmony passages, and the odd mechanical noise". The Origin of the Feces followed in 1992, but it was their third album Bloody Kisses in 1993 that became their breakthrough album.
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Each album includes a detailed 36-page booklet written by Kevin "Sipreano" Howes and lyrics to each song. In a review for Pitchfork, critic Joe Tangari praised "how clearly the band's vision had already crystalized-- the recording is structured something like a musical mass, with little churchy organ interludes from Larry Clark and a bit of banter from Burger". Tangari also noted that "For a fan, to hear them honing their rhythmic attack is gratifying-- their sound was no accident". Commenting on the musical inventiveness of the group, music critic Ken Shane wrote "They were punks years before we used the term to describe a genre of music".
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"Shake It Out" is a four-and-a-half-minute baroque pop and indie rock song which contains "swelling, gospel-flavored pop, with churchy organ and pounding drums setting a cathartic scene for Welch's fiery singing" in the lines "It's hard to dance with the devil on your back. So shake him off!" Digital Spys Robert Copsey stated: "earthy drums are dressed with bells and tambourines before Flo chants 'Shake it out, shake it out, ooh- waaoah!' on the song's anthemic and dangerously addictive chorus." Consequence of Sounds Alex Young concluded that the song "takes approximately 37 seconds to build up before a pulsating drum enters".
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All the material is slow and mostly pared down, made to maximize space for his still generous supply of hooks and outlandish rhymes." Nick Catucci of Entertainment Weekly gave the album a B, saying "Black Panties won't humanize the man for anyone who prefers caricature. But his 12th album, a return to wafting sex jams after two soulful dance discs, also falls short of the Kelly we love: the tireless entertainer- as-lover and suavely esoteric devotee of churchy theatrics, inspirational- poster slogans, Chicago stepping music, and extreme wordplay." Greg Kot of the Chicago Tribune gave the album two out of four stars, saying "After two albums of elegant, old-school stepping music, R. Kelly is back doing the raunch.
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122 The discs showcased the group's churchy, vocally intense, guitar-driven approach, a style that was prevalent among gospel quartets during the early 1960s. The Kelly Brothers recorded another eight sides in February 1962, and Thompson was sufficiently confident of the quartet's sales potential to package most of their singles on an LP called The Kelly Brothers Sing a Page of Songs ..." The group gave King Records their only Chicago success in the soul idiom as the King Pins with "It Won't Be This Way (Always)," in 1963, which reached number twelve on Billboard's R&B; chart.Robert Pruter Chicago Soul 1992-0252062590 Page 236 "The one Chicago success the company had in the soul idiom was the King Pins' "It Won't Be This Way (Always)," in 1963 (number twelve on Billboard's r&b; chart).
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The Supernatural Voice: A History of High Male Singing, Boydell & Brewer Ltd., 2014, p. 209; retrieved January 28, 2015. "At a time when the term 'countertenor' suggested a 'churchy' English sound," wrote Ira Siff in Opera News, "the rich, beautiful (and not vibrato- free) voice of Russell Oberlin created a welcome alternative for lovers of early and baroque music ... Oberlin altered public perceptions and expanded possibilities for today's countertenors." Oberlin was engaged by Leonard Bernstein for his 1955 recording of Handel's Messiah. He sang the role of Oberon (created by Alfred Deller at the Aldeburgh Festival) in the Covent Garden premiere of Britten's A Midsummer Night's Dream, conducted by Georg Solti, in 1961, as well as the opera's North American premiere in Vancouver, Canada, and its U.S. premiere at San Francisco Opera the same year. Bernstein wrote a part for him in his Chichester Psalms (1965)."Russell Oberlin." The Times (London), December 21, 2016.
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Robert Christgau, the poll's creator, ranked the album 17th on his own year-end list. In a 1975 article for The Village Voice, Christgau suggested that the release was "triffling with decadence", but might be the Rolling Stones' best album, approached only by Exile on Main St. (1972). In Christgau's Record Guide: Rock Albums of the Seventies (1981), he wrote that it reflected how unapologetic the band was after the Altamont Free Concert and that, despite the concession to sincerity with "Wild Horses", songs such as "Can't You Hear Me Knocking" and "I Got the Blues" are as "soulful" as "Good Times," and their cover of "You Gotta Move" is on-par with their previous covers of "Prodigal Son" and "Love in Vain." David Hepworth wrote in his 2016 book Never a Dull Moment that the contributions of guest performers like Keys, Jim Dickinson, and Preston made the album contain "more musical range than any other Rolling Stones album," such as "Dickinson's honky-tonk piano on 'Wild Horses'" and "Preston's churchy organ solo on 'I Got the Blues'." Hepworth also suggested that Taylor's "Latin-flavored guitar solo" on "Can't You Hear Me Knocking" was influenced by Santana's 1970 album Abraxas.
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