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"Sinner Man" or "Sinnerman" is a song written by Les Baxter and Will Holt, and often performed in the style of an African American traditional spiritual song. It has been recorded by a number of performers and has been incorporated in many other media and arts. The lyrics describe a sinner attempting to hide from divine justice on Judgment Day.
"Sinner Man" is an American traditional spiritual song.. Sinner Man or Sinnerman may also refer to: "Sinner Man", a song by Trini Lopez from All My Best "Sinner Man (Don't Let Him Catch You)", a funk/soul song by Valerie Simpson from her 1971 album Exposed
First line reads: Death/ O, sinner I'm come by heaven's decree, my warrant is to summon thee. In 2004, the Journal of Folklore Research asserted that "O, Death" is Lloyd Chandler's song "A Conversation with Death", which Chandler performed in the 1920s while preaching in Appalachia.
Keith Potger (lyrics) under the pseudonym of John Martin [2] Kim Fowley: Melody "Ode to Joy" Ludwig van Beethoven: Eriskay Love Lilt: 1964 – – Marjory Kennedy-Fraser: Hide & Seekers (a.k.a. The Four & Only Seekers) W&G Records: Keith Grant: 2:34 Far Shore: 1997 – – Harry Vanda / George Young-Treasure Chest: EMI Music: Charles Fisher: 3: ...
"O Superman", also known as "O Superman (For Massenet)", is a 1981 song by performance artist and musician Laurie Anderson. The song became a surprise hit in the United Kingdom after it was championed by DJ John Peel, [3] rising to number 2 on the UK Singles Charts in 1981. [10]
Tom Roland of Billboard described the song as "mainstream country rock" featuring power chords, slide guitar, and a bass guitar line with "a flurry of notes uncommon in the country genre". [ 1 ] Chart performance
The traditional lyrics hold out hope that the slave can rise up and escape slavery, and the nature of the call-and-response asks both the singing respondents and the listener for greater sacrifice to reach the next level. [7] The spiritual implies that God's promise to the Biblical patriarch Jacob will also lead the slave to freedom. [8]
The vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass ...