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He Has A Name; He Hasn't Lost His Touch; He Held On When Your Arms Let Me Go; He Just Takes Me; He Knows Just When To Give The Song; He Looked Beyond My Fault And Saw My Need (Andraé Crouch, Jerry Lee Lewis, The Oak Ridge Boys) He Loved Me To Death; He Must Die; He Never Once Stopped Believing In Me; He Never Sends Me Where He's Never Been; He ...
There’s no sweeter sound than the sound of His voice. His voice is life. His voice is home. It’s the voice that holds all things together. It’s a constant in the midst of change and unknown. It’s comfort in the midst of heartache and hurting. It’s the voice that never stops speaking. All that’s required of us is to sit still and listen.
Nothing sweeter thought, Than Jesus, the Son of God. O Jesus, hope of the penitent, How gracious you are to those who ask How good to those who seek you; But what [are you] to those who find? No tongue may tell, No letter express; He who has experience of it can believe What it is to love Jesus. O Jesus, may you be our joy, You who are our ...
"A Horse with No Name" was recorded in E Dorian (giving it a key signature with two sharps, F# and C#, although the defining Dorian note C# does not appear in the melody) [10] with acoustic guitars, bass guitar, drum kit, and bongo drums. The only other chord is a D, fretted on the low E and G strings, second fret.
I was able to fit a Shure Vocal Master, which is a 1960s PA, and two big towers of PA and a little amp and a 4 track. I slept in there too. I remember waking up one morning and playing pretty normal chords that sounded good, and I put on the vocal master to hear myself and it came out right quick. I don't even think I scribbled the lyrics down.
"It's Wrong for Me to Love You" by Pia Zadora—Butterfly—music by Ennio Morricone, lyrics by Carol Connors "No Sweeter Cheater Than You" by Clint Eastwood—Honkytonk Man—music and lyrics by Gail Redd and Mitchell Torok "Happy Endings" by the Cast—The Pirate Movie—music and lyrics by Terry Britten, B. A. Robertson and Sue Shifrin
And no longer I saw the bright bark [a] of my lover. Blow, bonny breeze and bring him to me. CHORUS Oh, is it not sweet to hear the breeze singing, As lightly it comes o'er the deep rolling sea? But sweeter and dearer by far when 'tis bringing, The barque of my true love in safety to me. CHORUS
The ' 50s progression (also known as the "Heart and Soul" chords, the "Stand by Me" changes, [1] [2] the doo-wop progression [3]: 204 and the "ice cream changes" [4]) is a chord progression and turnaround used in Western popular music. The progression, represented in Roman numeral analysis, is I–vi–IV–V. For example, in C major: C–Am ...