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The Hillsong Church started in Australia and from there spread as a Pentecostal movement. Since they started releasing recordings in 1992, they have published and recorded hundreds of songs on over 50 albums, mostly under their own label, Hillsong Music. Below is a list of songs arranged alphabetically by title.
No Other Name is the 23rd worship album by Hillsong and was released on 1 July 2014. [2] This live album is named after the 2014 Hillsong Conference. [3] The recording team for this album includes Reuben Morgan, Ben Fielding, Annie Garratt, Jad Gillies, David Ware, Jay Cook, Joel Houston, Matt Crocker, Taya Smith, Hannah Hobbs and Marty Sampson, among others.
Hillsong Worship (formerly Hillsong Live) is a praise and worship collective from Sydney, Australia. They started making music in 1983 at Hillsong Church . Fifteen of their songs have appeared on the Billboard magazine charts in the US, with " What a Beautiful Name " (2016) representing their greatest success, reaching platinum in the US.
Touching Heaven Changing Earth is the seventh album in the live praise and worship series of contemporary worship music by Hillsong Church. The album reached No. 31 on the Billboard Top Contemporary Christian Albums Chart.
Supernatural (Hillsong Kids/Hillsong Music Australia) wrote "I Will Sing" with Gio Galanti and daughters Chloe Zschech and Zoe Zschech 2007: Saviour King (Hillsong Music Australia) wrote "One Thing" with Marty Sampson: 2007: Lord of All (Hillsong Music Australia) 2008: This Is Our God (Hillsong Music Australia) wrote "High and Lifted Up" with ...
The Platinum Collection Volume 1: Shout to the Lord is a compilation praise and worship album of contemporary worship music by the Hillsong Church. The album appeared on the Billboard 200 and reached No. 8 on the Top Contemporary Christian Albums Chart.
Shout to the Lord 2000 is a live praise and worship album of contemporary worship music by Hillsong. The album appeared on the Billboard 200 and reached No. 8 on the Top Contemporary Christian Albums Chart.
The exact origin of preaching chords being played in African American Baptist and Pentecostal churches is relatively unknown, but is mostly believed to have started in either the early or mid-20th Century, at a time when many African-American clergymen and pastors began preaching in a charismatic, musical call-and-response style. [3]