| | Upper Room Church Of God In Christ Worship In The Upper Room CD Upper Room Church Of God In Christ Discography of CDs
Contemporary Gospel Worship In The Upper Room Music Upper Room Church Of God In Christ Worship In The Upper Room Songs | 1. | Praise The Lord |
| 2. | Nothing But Praise |
| 3. | Pray |
| 4. | I'm Available To You |
| 5. | We Come To Worship You |
| 6. | The Rapture |
| 7. | Standing In Your Presence |
| 8. | The Race |
| 9. | The One That I Adore |
| 10. | Jesus You Are Wonderful |
| 11. | Call To Worship |
| 12. | God Is In Charge |
| 13. | God Is In Charge (Reprise) |
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Worship In The Upper Room Review
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Purchase Worship In The Upper Room CD To buy, Click on price to add to cart | How Great Thou Art: Gospel Favorites From The Grand Ole Opry CD (2008)
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Live Recording
Engineers include: Tony Sheppard, Erik Zobler, Barry Rudolph.
Personnel: Jamecia Bennett (vocals, soprano); Core Cotton, Carrie Harrington (vocals, alto); Terrence Frierson, Patricia Lacy, Kimberly Brown (vocals, tenor, tenor saxophone); James F. Wright ...
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Audio Mixer: Adam Hawkins .
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On 2007's DON'T LET ...
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Although country icon George Jones had made gospel albums before this 2003 recording, ...
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| | Ken Gober Soul Of A Man: The Journey CD (2008)
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"And no one puts new wine into old wineskins; otherwise the new wine will burst the skins and it will be spilled out, and the skins will be ruined. But new wine must be put into fresh wineskins." - Matthew 9:17 The multi-talented Ken Gober is bursting on to the gospel music scene with his new style of gospel, "Rhythm & Praise". With the release of his new single, "When You Praise," Ken is carving his own niche in the gospel music industry. The singer/songwriter was born in Gary, IN, a city not necessarily heralded for the numerous talented recording artists that began their music careers in the steel city. While growing up in Gary was a challenge, music served as a constant and an inspiration throughout Ken's life. Ken's musical ability and talent was evident at an early age and helped to keep him away from some of the negative distractions of the streets. While Christian values were definitely taught and instilled in Ken throughout his young life, like the prodigal son, he strayed away and became hooked on drugs and alcohol and at a young age, found himself in drug rehabilitation and at the bottom of his life but through God's grace and mercy, Ken was able to turn his life around and pursue his music career. During the early 90's Ken moved to Atlanta, GA and joined a touring show band, "Exotique" as lead male vocalist. ...
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Even before M.I.A. (Maya Arulpragasam) debuted in 2005 with ARULAR, the blogosphere was already abuzz about her, engaging in the kind of discourse normally reserved for academic dissertations. Whether hailed as a canny postmodern pastiche or dismissed as inauthentic cultural pirating, the music, a lively pan-global mash-up of regional dance music styles, seemed to be emanating simultaneously from every ghetto, favela, and council-flat within earshot. As if to call out her detractors, M.I.A. returns for another shot of explosive, politically charged and globally conscious dance music on her second album, KALA.
Lacking the patchwork quality of the debut, KALA is a more cohesive and polished affair, though it matches its predecessor for shear visceral thrills. Recorded across several different continents, and featuring the production talents of Timbaland, Switch, and Blaqstarr, as well as longstanding collaborator Diplo, the globetrotting beat makers mine sources as varied as funk carioca, Baltimore bounce, and the occasional ludicrously placed sound-effect (a squawking chicken). The gloriously bombastic lead single, "Boyz," kicks off the party with a blaring horn loop, carnival percussion, and a stuttering Bollywood vocal sample, while M.I.A. merrily chants the chorus in her sing-song faux patois. The twittering, beat-heavy "Bird Flu" sounds a bit like what you might expect--jagged beats create syncopated poly-rhythms, while birds chirp feverishly against Arulpragasam's bratty invective. But the irreverent cultural re-appropriation doesn't stop at her borrowing from the third world; clever nods to the Clash, New Order, and even Jonathan Richman appear in unexpected and cheeky combinations, offering further proof that M.I.A.'s potent cross-cultural grab bag is as sonically audacious as ever.
Kala and Arular are similar in that they are both wildly vigorous and wholly enjoyable albums, generous with blunt-force beats, flurries of percussion, riotous vocals (with largely inconsequential lyrics), and fearless stylistic syntheses that seem to view music from half of the planet's countries as potential source material. But Kala nearly makes Arular seem tame in comparison, magnifying most of its predecessor's qualities as it remains bracingly adventurous. While it certainly sounds like a second M.I.A. album, nothing about it is stagnant. Made in piecemeal fashion while located ...
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