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Reverend Timothy Wright started on piano at age 12, and sang and composed for his church choir as a teenager at the St. John's Fire Baptized Holiness Church of God in Brooklyn. [2] He played piano for Bishop F. D. Washington and Isaac Douglas in the 1960s and 1970s, including on recordings, and he formed his own gospel ensemble in the mid-1970s ...
It was previously known as the award Best Traditional Soul Gospel Album. According to the category description guide for the 52nd Grammy Awards, the award is reserved for "albums containing at least 51% playing time of newly recorded traditional gospel vocal tracks" performed by "solo artists, duos, groups or choirs/choruses."
Her album entitled "We Going To Make It" became one of her best selling recordings in June 1988 and won a 1989 Stellar Award for Best Traditional Gospel Artist (Female). [4] She is known for her collaborations with Timothy Wright, the Dallas Fort-Worth Mass Choir and Ambassadors for Christ. [5]
Their first million-dollar seller was a song produced by Syl Johnson entitled "I'm Still Here." The follow-up single to that was a song entitled "At The Crossroads," written by group member James Stroud. The original members were Clifford Curry, Lasalle Matthews, and James Stroud. The group stayed with Twilight Records until the company closed.
"I'm Still Here" (Vertical Horizon song) "I'm Still Here (Jim's Theme)," a 2002 song by John Rzeznik "I'm Still Here," a song by The Notations "I'm Still Here," the final, hidden track on the 1991 album Woodface by Crowded House "I'm Still Here," a song by Kula Shaker from Peasants, Pigs & Astronauts "I'm Still Here," a song by Tom Waits from ...
This song had been written as a throwaway song for a minor character, but Yvonne De Carlo was a high-profile name in the cast, and the creative team felt she deserved a more substantial song. The librettist James Goldman suggested it should be a song about survival that said 'I'm still here.' Sondheim borrowed the phrase for the song title. [2]
Walter Salles’ deeply poignant “I’m Still Here,” the Brazilian director’s return to his homeland and to the filmmaking form that yielded his Oscar-nominated “Central Station,” begins ...
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