Podcasts about sweet chariot

05-29-25 Recording of The Summer Sessions on 88.3 WXOU FM, Auburn Hills, MI, featuring an interview with the Detroit-based duo of Ideeyah and Meftah. In this episode we discuss their debut collaboration, Sweet Chariot, via Sound Signature Records.   Set List:   Quiet Dawn - Let's Dance People [The People, The Place]   Pegasvs - Take It (Beringei Dub) [Burnin Music Recordings] Hitch600 - Collision (Fantasna Remix) [Halcxn] K-LONE - Wait 4 U [Aus Music] Dem 2 - Foolin' (Sparkle Mix)   Bale Defoe - The subtle insecurities that make sociopaths out of otherwise decent people [Choose Better Friends Records]   Ellen Beth Abdi - Thickskinpeel [Republic of Music] Reginald Omas Mamode IV - No Maybes [Melting Pot Music] Werkha - Everyday (feat. Ríoghnach Connolly) [First Word Records] Cousin Mouth - For The Hell Of It   Ideeyah and Meftah Interview   Ideeyah and Meftah - Align [Sound Signature]   For more on the artists visit: https://soundsignature.bandcamp.com/album/sweet-chariot   https://soundsignature.net/   For more on the program visit: www.thesummersessions.net  

In Episode 6 of The Choral Director's Toolbox, host Dr. William O. Baker explores the Language of Spirituals in the African American tradition, shedding light on the cultural and musical significance of these powerful works. This week's listener question addresses the perennial debate: Should choral directors use a baton? Finally, today's inspiration is Alice Parker's beautiful arrangement of “Swing Low, Sweet Chariot,” performed by The William Baker Festival Singers of Atlanta from their 2015 album Voice of Singing. Tune in for a thoughtful discussion and a moving celebration of choral artistry!

Propaganda - The Calling Arooj Aftab - Bolo Na Hairetis Harper - Bells גיורא קנת, נתן ברנד - פרלוד These Immortal Souls - Hide Biff Bang Pow - She's Gone Away Lewis Spybey - Trophy Hunters אביב מארק – שינה רציפה Maurice Louca - Dark Out Bunuel - Leather Bar Thurston Moore - We Get High Beliefs - Divided Youth (Only Lovers) Gemma Ray - Be Still ניר מטרסו – צל אחרי השקיעה Tinariwen - Alkhar Dessouf Gazelle Twin - Black Dog Shahaf Bentur - Swing Low, Sweet Chariot רמי מוסקוביץ' - אלינור Xiu Xiu - Arp Omni Nicolas Jaar - Cangilon Msaki X Tubatsi - Leitlho Laboraro Talking Flowers - No Big Deal Garbage - Song To The Siren 16 Horsepower - Beyond The Pale Facesoul - Grow - A Colors Encore Kee Avil - HHHH Vera Sola - The Ghostmaster's Daughter Leonard Cohen - Avalanche Soft Plastics - I Dreamed Of Cold Clean Green Seas Plastic Venus - Untitled Crippled Black Phoenix - Madman Mona Mur - Sinnlos High Godflesh - Towers The Associates - No Bela Tar - ערפל Muslimgauze - Ramallah https://www.facebook.com/fingeredfloodgate

October 22, 1950 - Dennis Tries to Borrow Fifty Thousand Dollars. Jack is getting ready to fly to New York for his first ever TV episode. References include the song "Swing Low, Sweet Chariot", Duz soap, Lifesavers mints, SMU, comedian Fred Allen and actor Gary Cooper.

Swing Low, Sweet Chariot (2 Kings 2) by Faith Family Church Oak Grove

PreludeWelcome & News of the ChurchCall to WorshipOpening Hymn - (#98) "Great Is Thy Faithfulness"Praise SongsConfession, Assurance, and Gloria PatriSpecial Music - "Go Down, Moses", "Swing Low, Sweet Chariot", and "Promised Land" from "A Symphony of Spirituals, arranged by Joel Raney - Micah Wright, piano; Cornel Radulescu, organBlessing Cornel and MagdaSermon - "Welcome Home: A House of Worship" (Psalm 5:7; Matthew 15:7–9; II Chronicles 20:17–22) - by Rev. Jason GrifficeReceiving of Our Tithes and OfferingsOffertory - "Minuet" in A by Boccerhini/Radulescu - Cornel Radulescu, organDoxologyHymn of Approach - "Come to the Table of Grace"Serving the Sacrament of CommunionBenedictionSinging of The Lord's PrayerPostludeGreat Is Thy FaithfulnessGreat is Thy faithfulness, O God my Father! There is no shadow of turning with Thee; Thou changest not, Thy compassions, they fail not: As Thou hast been Thou forever wilt be. [CHORUS]:Great is Thy faithfulness, Great is Thy faithfulness, Morning by morning new mercies I see; All I have needed Thy hand hath provided - Great is Thy faithfulness, Lord, unto me!Summer and winter, and springtime and harvest, Sun, moon, and stars in their courses above, Join with all nature in manifold witness To Thy great faithfulness, mercy, and love. [CHORUS]Pardon for sin and a peace that endureth, Thine own dear presence to cheer and to guide, Strength for today and bright hope for tomorrow - Blessings all mine, with ten thousand beside![CHORUS]Come to the Table of GraceCome to the table of grace, Come to the table of grace.This is God's table; It's not yours or mine. Come to the table of love. Come to the table of love, Come to the table of love. This is God's table; It's not yours or mine. Come to the table of love.

Today we explore Swing Low, Sweet Chariot as part of our Songs and Stories series.

07-14-24 | Elijah: Swing Low, Sweet Chariot by Plainfield Christian Church

Songs include: It Don't Mean a Thing, If It Ain't Got That Swing, Swing It Sister, Waltz In Swing Time, Rug Cutter's Swing, Swing Low, Sweet Chariot and Swinging On a Star. Performers include: Duke Ellington, Les Brown, Ella Fitzgerald, Glenn Miller, the Mills Brothers and the Fisk Jubilee Quartet. 

SWING HIGH, SWING LOW...SWEET CHARIOT! Luna Diamond: The Midas Star, Kickstarter Korner: The'77 Issue 10. It's a jump-on issue. Flint talks Caretakers Uncannily Nasty Tales. We read/review TWO progs , so you don't have too!

Over the course of just one year in the early 1840s, Thomas Smallwood, a recently emancipated Black man, with the assistance of the New England educated white abolitionist Charles Torrey, arranged for around 400 enslaved people to escape the Baltimore and DC area for freedom in Canada. While the abolition movement was still debating the best path forward, Smallwood and Torrey put their beliefs into action, establishing the Underground Railroad, and using the press to taunt the slaveowners whose enslaved people they freed. Joining me in this episode to discuss Thomas Smallwood, Charles Torrey, and the Underground Railroad, is journalist Scott Shane, author of Flee North: A Forgotten Hero and the Fight for Freedom in Slavery's Borderland. Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-episode audio is “Go Down Moses,” performed by the Tuskegee Institute Singers in 1914 and “Swing Low, Sweet Chariot,” performed by the Fisk University Jubilee Singers in 1909; both songs are in the public domain and available via the Library of Congress's National Jukebox. The episode image is "Crossing the river on horseback in the night,"  from 1872, available via the Schomburg Center for Research in Black Culture, Manuscripts, Archives and Rare Books Division, The New York Public Library; the image is in the public domain. Additional Resources: “A Narrative of Thomas Smallwood, (Coloured Man:) Giving an Account of His Birth--The Period He Was Held in Slavery--His Release--and Removal to Canada, etc. Together With an Account of the Underground Railroad. Written by Himself.” by Thomas Smallwood. “A Black Voice from the ‘other North”” Thomas Smallwood's Canadian Narrative (1851),” by Sandrine Ferré-Rode, Revue française d'études américaines, vol. 137, no. 3, 2013, pp. 23-37. “Slave Patrols in the President's Neighborhood,” by Penelope Fergison, The White House Historical Association. “What is the Underground Railroad?” National Park Service. “Home!, or, The pilgrim's faith revived / written during his incarceration in Baltimore Jail, after his conviction and while awaiting--his sentence [four lines of poetry] ; published for the benefit of his family.” by Charles Torrey, 1845. “Charles Torrey – The Most Successful, Least Celebrated Abolitionist,” New England HIstory Society. Learn more about your ad choices. Visit megaphone.fm/adchoices

Becca Burrington, soprano Dorothy Nemeth, violoncello, Stephen Main, piano. Piedmont Community Church, Piedmont, California

Welkom terug bij een nieuwe aflevering van Kalm met Klassiek, dé podcastserie voor je dagelijkse momentje rust. Komend weekend is het 1 juli en dat is de dag waarop Keti Koti - de afschaffing van de slavernij - wordt gevierd. Spirituals zijn liederen die generaties lang mondeling werden doorgegeven binnen de tot slaafgemaakte gemeenschappen in de Verenigde Staten. Ab laat je vandaag de spiritual Swing Low, Sweet Chariot horen. Dat lied gebruikt het thema van de dood om de glorie die in de hemel wacht te benadrukken. 

Tina Harrington, alto, Mark Winges, piano, Piedmont Community Church, Piedmont, California

Maro Itoje is more than just a rugby player. From discussing racism within modern society, how black history is viewed in the western world and his connection to Africa and African art, the England lock talks candidly about a number of wide ranging topics in this podcast. Although a native of north London, Itoje opens up on his connection to Nigeria and considering it home as well as his thoughts on the song ‘Swing Low, Sweet Chariot.' In this pod you will also hear from Maro's former headmaster, and Saracen's first black captain, Floyd Steadman, his older brother Jeremy Itoje as well as team mate Henry Slade. FOLLOW:· England Rugby Facebook· England Rugby Instagram· England Rugby Twitter· England Rugby TikTok SUBSCRIBE:· Subscribe to the pod here. BUY:· Get the latest kits, training and leisure wear from England Rugby Store **Please like, subscribe and leave us a review wherever you listen, it really helps spread the word of the podcast and the stories of our players and coaches** Hosted on Acast. See acast.com/privacy for more information.

A Negro spiritual, also known as a spiritual or a folk hymn, is a type of religious song that emerged from the African American community in the United States during the era of slavery. These songs were often sung by enslaved African Americans as they worked in the fields, and they served as a way to express their faith and provide hope in the face of oppression and hardship. Negro spirituals typically have a call-and-response structure, in which a leader sings a line and the congregation responds with a repeated refrain or chorus. The lyrics often draw on biblical themes and imagery, and may incorporate elements of African music and culture. The melodies are usually simple and repetitive, with a strong emphasis on rhythm and harmony. Some of the most well-known Negro spirituals include "Swing Low, Sweet Chariot," "Go Down Moses," and "Wade in the Water." These songs have been passed down through generations and have become an important part of African American musical heritage. They continue to be performed and celebrated today as a testament to the strength, resilience, and faith of the African American community.

We're heading to California to solve a mystery. We don't solve it, but we still have fun. This week, our hosts Game and Knob are listening to the Grateful Dead's show on July 30th, 1970, which was a short acoustic set played before New Riders of the Purple Sage. Discussions abound about the first night of Playin' in the Sand, what Pigpen did during acoustic sets, and a lost redditor who now lives in Knob's brain. To Lay Me Down Dire Wolf Candyman Rosalie McFall A Voice from On High Swing Low, Sweet Chariot

Cale examines the alleged discovery of Egyptian chariot wheels at the bottom of the Red Sea. Just the (arte) facts, Ma'am!

Dr. Karoline Rittberger-Klas, Tübingen, Evangelische Kirche: Heimweh ist schmerzhaft. Aber gut, wenn es ein Zuhause gibt!

GROW Greatness Reached over Oppression through Wisdom Absolutely!!God makes NO mistakes

Growing up just outside of Happy Valley Pennsylvania, our guest today is Bruce Gamble, retired naval flight officer, military historian and long time Classic Mustang enthusiast. His ‘67 red convertible 289 he purchased in rough shape back in 1994. Fully restored in 2004, we will let him share the full story of the rebuild including how it was nearly lost completely. Excited to chat today. Welcome Bruce to Ford Mustang The Early Years podcast.Do you own an early year Mustang?: Yes, almost 28 yearsPlease upload a favorite pic of your Mustang or a classic car you drive now or have owned in the past.: https://cdn.filestackcontent.com/E15tpQMVQeinIhccfCKQ?Eden Gardens 1.jpg?image/jpegWhat do you do for a living?: Retired naval flight officer (1989), military historian and author.If you own a Mustang or classic car, have you named your car?Sweet Chariot. Named for my dad's B-29 Superfortress of the 315th Bomb Wing on Guam. A photo of the nose art is mounted in the front license plate bracket.If you've made improvements to your classic car or restored it, what work have you done?: Convertible was built in California with a 289 C-code and C4 transmission. Factory options include power top, air-conditioning, power steering, power brakes with front discs, and exterior decor group. Purchased (in very rough condition) in 1994, restored and driven, then fully restored again in 2004 after a tree crushed the back end during Hurricane Ivan. Mods include AOD transmission swap, dual exhaust with Hi-Po exhaust manifolds, Edelbrock 4bbl intake and 600cfm carb, finned valve covers, aluminum radiator, Dakota Digital instruments (and cruise control), reclining Fox-body front bucket seats, billet aluminum grille, bluetooth stereo with four speakers and subwoofer. What plans do you have for improvements/restoration/modification of your classic car?: I put a lot of miles on the car--more than 60,000 after the AOD swap. I've kept it in driving condition, but it needs a tune-up and minor cosmetic work to bring it back to what it was 10 years ago.If you are on social media, please share your social media names/handles so we can tag you when promoting your episode.: YouTube: Bruce GambleTwitter: @BruceGamble76Ford Mustang The Early Years Podcast (social media)The Facebook GroupTheMustangPodcast.com/facebookhttps://www.facebook.com/groups/185146876036328Instagram@mustangpodcasthttps://www.instagram.com/mustangpodcast/An Expert's Guide to Maintaining Your Classic Mustangwww.TheMustangPodcast.com/repairHave an idea for a guest for the show? Reach out to me directly:doug@turnkeypodcast.comCover art Credit: Bruce GambleKeep it safe, keep it rollin' and keep it on the road. Until next time! ~Doug Sandler

Martin is a former professional rugby league and rugby union footballer, completing his career as England rugby league's top try-scorer of all time.   You can learn more about Martin via his website connectedkerb.com/team and connect with him on Instagram   For more information about James Roberts (the host of the podcast), visit jamesowenroberts.com and connect with him on Facebook, Twitter, Linkedin and Instagram  

Juneteenth is a federal holiday in the United States commemorating the emancipation of enslaved African Americans. Juneteenth marks the anniversary of the announcement of General Order No. 3 by Union Army general Gordon Granger on June 19, 1865, proclaiming freedom for enslaved people in Texas. Originating in Galveston, the holiday has been celebrated annually on June 19 in various parts of the United States since the 1860s, often broadly celebrating African-American culture. The day was first recognized as a federal holiday in June 2021, when President Joe Biden signed the Juneteenth National Independence Day Act into law.Early celebrations date to 1866, at first involving church-centered community gatherings in Texas. They spread across the South and became more commercialized in the 1920s and 1930s, often centering on a food festival. Participants in the Great Migration out of the South carried their celebrations to other parts of the country. During the Civil Rights Movement of the 1960s, these celebrations were eclipsed by the nonviolent determination to achieve civil rights, but grew in popularity again in the 1970s with a focus on African American freedom and African-American arts. Beginning with Texas by proclamation in 1938, and by legislation in 1979, each U.S. state and the District of Columbia have formally recognized the holiday in some way. With its adoption in certain parts of Mexico, the holiday became an international holiday. Juneteenth is celebrated by the Mascogos, descendants of Black Seminoles who escaped from slavery in 1852 and settled in Coahuila, Mexico.Celebratory traditions often include public readings of the Emancipation Proclamation, singing traditional songs such as "Swing Low, Sweet Chariot" and "Lift Every Voice and Sing", and the reading of works by noted African-American writers, such as Ralph Ellison and Maya Angelou. Some Juneteenth celebrations also include rodeos, street fairs, cookouts, family reunions, park parties, historical reenactments, and Miss Juneteenth contests. In 2021, Juneteenth became the first new federal holiday since Martin Luther King Jr. Day was adopted in 1983.For more podcasts visit, www.steveryan.comSupport the show

Join us today, Wednesday, June 15, for a Devotion for Early Evening, led by the Rev. Gary Lubin with special music.Music, Swing Low, Sweet Chariot, Mary Southworth ShafferThis worship service is available here and through our Online Worship podcasts. Subscribe now on Apple podcast, Stitcher, and Spotify or simply ask your smart speaker to play the podcast "The Episcopal Church of the Redeemer Online Worship."

The crew tries to gather themselves at the Sweet Chariot club before setting off into Vault 18 Rad Rolls Links Here!

In this week's contentious episode, the two dig into Amnesiac. Austin makes the case that this album is actually better than Kid A, while Nick calls "Packt" Radiohead's least impressive opening track. The majority of time is spent analyzing "Pyramid Song," which leads to a discussion of everything from "Swing Low, Sweet Chariot" to Doctor Who. Plus, they manage to discuss The Lord of the Rings and the Holy Roman Empire. Songs Discussed: 6:00 - "Packt Like Sardines in a Crushd Tin Box" 13:33 - "Pyramid Song" 28:04 - "Pulk/Pull Revolving Doors" 36:10 - "You and Whose Army" https://www.youtube.com/watch?v=KXvrGsxU_II (Early live version of "Packt Like Sardines in a Crushd Tin Box") https://www.youtube.com/watch?v=t92wfA9o2Tw ("Packt Like Sardines" from 2012) https://citizeninsane.eu/media/edsdiary/edsdiary4.html (Ed's diary from December 9th, 1999) https://www.youtube.com/watch?v=MdZSOoOF5Ms (What Time Signature is Radiohead's 'Pyramid Song' in?) https://tardis.fandom.com/wiki/The_Doctor%27s_TARDIS (Doctor Who's Tardis) https://www.britannica.com/topic/Book-of-the-Dead-ancient-Egyptian-text (Egyptian Book of the Dead) https://hymnary.org/text/i_looked_over_jordan_and_what_did_i_see ("Swing Low, Sweet Chariot" lyrics) https://www.biblegateway.com/passage/?search=2%20Kings%202&version=NKJV (Elijah Ascends to Heaven) https://en.wikipedia.org/wiki/Siddhartha_(novel) ("Siddhartha: An Indian Poem" by Hermann Hesse) https://www.goodreads.com/quotes/7660198-my-guide-and-i-crossed-over-and-began-to-mount (Ending of Dante's Inferno ) https://en.wikipedia.org/wiki/Charon%27s_obol (Charon's obol) https://pitchfork.com/reviews/albums/6656-kid-a/ (Brent DiCrescenzo's review of Kid A by Radiohead) https://www.youtube.com/watch?v=cDQ7raytW0M ("Pulk/Pull (True Love Waits Version)") https://www.youtube.com/watch?v=DhvXST1Rc3g (Taylor Swift vs. Nine Inch Nails - Shake It Off (The Perfect Drug)) https://www.youtube.com/watch?v=yArRnznVJwY (Carly Rae Jepsen vs. Nine Inch Nails "Call Me A Hole") https://www.amazon.com/Adventures-Egg-Box-Dragon/dp/1444938401 (The Adventures of Egg Box Dragon) https://en.wikipedia.org/wiki/Holy_Roman_Empire (Holy Roman Empire) https://lotr.fandom.com/wiki/Army_of_the_Dead (Army of the Dead from Lord of the Rings)

The performance of the season is abound at The Sweet Chariot! Vault 18 part 4 Rad Rolls Links here!

Timeless, authorless songs that are soulful and full of yearning is an apt description of the Negro spirituals that were born of slavery. The Jubilee Singers of Fisk University, named for the biblical year of Jubilee when slaves were liberated as found in Leviticus 25, helped bring these spirituals to America and the world. One of the favorites they brought out is this song, Swing Low, Sweet Chariot. Article taken from Then Sings My Soul, Volumes 1 & 2 by Robert J. Morgan. Copyright © 2003 by Robert J. Morgan. Used by permission of Thomas Nelson. www.thomasnelson.com

Hydro and The Captain start the year off with a big discussion on Aember Control and our stand-out cards which keep the aember where you want it (ie, not in your opponents' pool). New year, same old fun! Timestamps: Main Discussion: 18:17

Hydro and The Captain start the year off with a big discussion on Aember Control and our stand-out cards which keep the aember where you want it (ie, not in your opponents' pool). New year, same old fun! Timestamps: Main Discussion: 18:17

As one of the founding members of Women of Faith's groundbreaking "Porch Pals," Luci Swindoll was known to thousands as a gifted storyteller, thoughtful author, and dynamic speaker –– often imbuing the platform with her larger-than-life spirit, adventuresome storytelling and mischievous humor. So when Luci journeyed on to the other side of life late last year, many were left feeling the void, including her Porch Pals compadres and our own Bridges co-host Patsy. Creating space to remember a life fully lived, Patsy guides us in celebrating the Luci she knew and sharing some of the lessons she learned from her very special friend in this very special episode of Bridges ... Life With Luci. This week's featured song is: "Swing Low, Sweet Chariot" from the Women of Faith Alaskan Cruise in 2008 featuring Luci Swindoll, Sandi Patty, and Ayiesha Woods. Learn more about Bridges ... Spiritual Conversations Through Generational Conversations here: BridgesShow.com. And if you like what you are listening to, leave us a 5-star rating and a review, and follow and subscribe to Bridges –– it truly does help us keep chuggin' along as we create new episodes for you! Follow Patsy on Facebook, Instagram and Twitter. Follow Andrew on Facebook, Instagram and Twitter. ____________________________________ SPONSORS When you give a Bible through Food For the Hungry (FH), you provide a family with the Word of God in their own native language –– often a rarity! –– offering joy and hope today that will last for eternity. A Bible is not only important for providing a family spiritual health, it also offers a practical education in teaching children to read! Your gift is tax-deductible, so purchase the gift of a few Bibles for families around the world here: fh.org/bridges We treasure scripture. And we love how The Abide Bible presents it so thoughtfully and beautifully. Learn more and get a copy for yourself or a loved one here: BridgesShow.com/Abide.

Text: 2 Kings 2:1-18; Series: A Man Like Us; Speaker: Monte French, Senior Minister

Story: Elijah (Elias) Passage: 1 Kings 17-21 Songs: "My Didn't it Rain" "Lift Thine Eyes Elijah" "Swing Low, Sweet Chariot"

The Unifying Grace of Giving Sermon by the Rev. Dr. Agnes W. Norfleet, 10:00 a.m., Sanctuary Download bulletin: october-17-2021-10-00-a-m-bulletin ------------------------- Hymn - O for a World Text © 1990 Medical Mission Sisters. All rights reserved. Response - Take, O Take Me As I Am Text and Music © 1995 WGRG, Iona Community (admin. GIA Publications, Inc.) Reprinted and streamed with permission under ONE LICENSE #A-716211. All rights reserved. Anthem - All Things Bright and Beautiful © 1983 Oxford University Press. Reprinted and streamed with permission under ONE LICENSE #A-716211. All rights reserved. Hymn - As Those of Old Their Firstfruits Brought Text © 1961, ren. 1989 The Hymn Society (admin. Hope Publishing Company). Reprinted and streamed with permission under ONE LICENSE #A-716211. All rights reserved. Offertory Anthem - Swing Low, Sweet Chariot © 1961 Lawson-Gould Music Publishers, Inc. All rights reserved. Hymn - When the Morning Stars Together Text © 1966 Oxford University Press. Reprinted and streamed with permission under ONE LICENSE #A-716211. All rights reserved.

Chariots of Fire, Swing Low, Sweet Chariot, passing of the mantel — these are well-known phrases and a song that come out of this next chapter. Here we see the end of Elijah's mission and the start of Elisha's. Yes, I know, the names sound so similar and it's easy to get them mixed up. We're in the year 851 BC, or so and we witness the 2nd Rapture in the Bible. I'll explain. Let's dig in… Keep reading in my blog where there are links to dig deeper and watch the special music videos at the bottom…. It's time to GET RIGHT WITH GOD! Are you ready to meet God today? You may just meet God today! If you want to reap all the benefits of salvation including the 1-way, non-stop ticket to Heaven then… Believe. Repent. Be Baptized. Receive the Holy Spirit. Pray this prayer humbly and wholeheartedly… “Dear Lord Jesus, I know I am a sinner. I believe You died for my sins and rose from the dead. Please forgive me. Right now, I turn from my sins and open the door of my heart and my life to you. I confess You as my personal Lord and Savior. I surrender my whole life to you and I will follow you for the rest of my life. Thank You, Jesus, for saving me. In Jesus' name, Amen.” Or visit: https://giselleaguiar.com/how-to-invite-jesus-into-your-heart/ This is a daily podcast, published each evening. Subscribe button so can get to know God. And please share this with your friends. Soli Deo Gloria — To God Alone Be the Glory! --- Send in a voice message: https://anchor.fm/seek-the-truth/message

Swing Low Sweet Chariot

Tom Ilube is an entrepreneur, known for his successful start-up companies, and a philanthropist. He recently took up the post of chairman of the Rugby Football Union. He was born in 1963 to a Nigerian father and a British mother, and grew up first in London, and then in Uganda, a stay cut short by the rise to power of Idi Amin. He began his teenage years back in the UK, enjoying rugby and ice-skating, before moving with his family to Nigeria, where he also attended university, studying Applied Physics and launching his first business selling flared trousers to fellow students. He returned to London looking for work in information technology. After many unsuccessful job applications, British Airways gave him a break, and he later worked for the London Stock Exchange and Goldman Sachs. In 1996, he founded his first company and has since been involved with several other start-ups – “thinking up ideas, raising venture capital, building companies, selling them and doing it all again,” he says. He is also involved with philanthropic projects in education, including founding a school for high-achieving but disadvantaged girls in Ghana with a focus on maths and science. In 2017 he topped the Powerlist, the annual list of the 100 most influential people of African and African Caribbean heritage in Britain, and was appointed a CBE in 2018. He is married to Karen and has two grown-up children. DISC ONE: Doctor Who by BBC Radiophonic Workshop DISC TWO: Sweet Mother by Prince Nico Mbarga And Rocafil Jazz International DISC THREE: The Boys Are Back in Town by Thin Lizzy DISC FOUR: Swing Low, Sweet Chariot by Ladysmith Black Mambazo DISC FIVE: That's The Way Love Goes by Janet Jackson DISC SIX: Family Business by Kanye West DISC SEVEN: Mr Bojangles by Sammy Davis Jr DISC EIGHT: A Change is Gonna Come by Ayanna Witter-Johnson BOOK CHOICE: The Wormwood Trilogy by Tade Thompson LUXURY ITEM: A solar-powered puzzle generator, designed by Tom. CASTAWAY'S FAVOURITE: Mr Bojangles by Sammy Davis Jr Presenter Lauren Laverne Producer Sarah Taylor

PreludeWelcome & News of the ChurchCall to WorshipHymn of Praise - (#2) "How Great Thou Art"Children's Message, presented by Keri ScrogginsPrayer of Confession & Assurance of Pardon, led by Amy Hemseri-SabalaGloria PatriSpecial Music: "Go Down, Moses", "Swing Low, Sweet Chariot", "Promised Land" (From "A Symphony of Spirituals") arr. Joel Raney - Micah Wright, piano; Cornel Radulescu, organSermon - "The Basics: It's Always Been Faith" (Romans 4:13-25) - by Rev. Jason GrifficeHymn of Response - "Standing on the Promises" Offertory and DoxologyPastoral Prayer, led by Rev. Sharon YagerlenerSending Hymn - (#32) "How Firm a Foundation" BenedictionPostludeHow Great Thou ArtO Lord my God! when I in awesome wonderConsider all the worlds Thy hands have made, I see the stars, I hear the rolling thunder, Thy power throughout the universe displayed: CHORUS:Then sings my soul, my Savior God, to Thee:How great Thou art, how great Thou art!Then sings my soul, my Savior God to Thee: How great Thou art, how great Thou art!When through the woods and forest glades I wanderAnd hear the birds sing sweetly in the trees; When I look down from lofty mountain grandeurAnd hear the brook and feel the gentle breeze: [CHORUS]And when I think that God, His Son not sparing, Sent Him to die, I scarce can take it in; That on the cross, my burden gladly bearing, He bled and died to take away my sin: [CHORUS]When Christ shall come with shout of acclamationAnd take my home, what joy shall fill my heart! Then I shall bow in humble adoration, And there proclaim, my God, how great Thou art![CHORUS]Standing on the PromisesStanding on the promises of Christ my King, Through eternal ages let His praises ring! Glory in the highest I will shout and sing- Standing of the promises of God!Standing, standing, Standing on the promises of Christ, my saviorStanding, standing, I'm standing on the promises of GodStanding on the promises of Christ the Lord, Bound to Him eternally by love's strong cord, Overcoming daily with the Spirit's sword- Standing on the promises of God! Standing, standing,Standing on the promises of Christ, my saviorStanding, standing,I'm standing on the promises of GodHow Firm a FoundationHow firm a foundation, ye saints of the Lord, Is laid for your faith in His excellent Word! What more can He say than to you He hath said, To you who for refuge to Jesus have fled?"Fear not, I am with thee; O be not dismayed, For I am thy God, and will still give thee aid; I'll strengthen thee, help thee, and cause thee to stand, Upheld by My righteous, omnipotent hand. "When through fiery trials thy pathway shall lie, My grace, all sufficient, shall be thy supply: The flame shall not hurt thee; I only design Thy dross to consume and thy gold to refine. "The soul that on Jesus hath leaned for repose I will not, I will not desert to its foes; That soul, though all hell should endeavor to shake, I'll never, no, never, no, never forsake!" See acast.com/privacy for privacy and opt-out information.

Dear Friends, This concert is compelled in my heart by the African-American experience--the unfathomable suffering and oppression--and the healing and witnessing that's being called for. Beloved hymns and spirituals will accompany the reflections, I share with heartfelt appreciation, experiences offered by a dear friend, India Elaine Holland-Garnett, and include readings from the Declaration of Independence, Abraham Lincoln, Martin Luther King, Jr. and author, James Baldwin. Music includes, "Amazing Grace," "Battle Hymn of the Republic," "America the Beautiful," "In the Garden," "Swing Low, Sweet Chariot. Join me twice each week for inspirational concerts, live streamed on Facebook and YouTube - Monday/Thursday evenings, EST US (Tuesday/Friday mornings, Sydney) Tune in on my Facebook Inspirational Piano Concerts Page: https://www.facebook.com/JessicaRoemischerPianoConcerts Personal Profile page: https://www.facebook.com/jessica.roemischer/ YouTube https://www.youtube.com/user/JessicaRoemischer Your donations make my concerts possible, on https://www.pianobeautiful.com Thank you.

Sweet Chariot-2 Kings 2:1-13 Sermon by Tim Harris, Senior Pastor Woodburn Baptist Church, Woodburn, KY www.woodburnbaptist.org

Sweet Chariot-2 Kings 2:1-13 Sermon by Tim Harris, Senior Pastor Woodburn Baptist Church, Woodburn, KY www.woodburnbaptist.org

Pastor Brent Smith performs "Swing Low Sweet Chariot - When the Saints Go Marching In" for special music Sunday evening at Calvary Bible Church.

Pastor Brent Smith performs "Swing Low Sweet Chariot - When the Saints Go Marching In" for special music Sunday evening at Calvary Bible Church.

In this program, you will hear the Fisk Jubilee Singers perform “Way Over in Egypt Land” (arr. John W. Work III), “Run Mourner, Run” (arr. John W. Work III), “Old Time Religion” (arr. Moses Hogan), “There Is a Balm in Gilead” (arr. William L. Dawson), “Poor Man Laz'rus” (arr. Jester Hairston), “Swing Low, Sweet Chariot” (arr. Paul T. Kwami), “Daniel! Daniel! Servant of the Lord” (arr. Undine S. Moore), “Mr. Banjo” (arr. Moses Hogan), “Let the Church Roll On” (arr. John W. Work III), “Jubilee! Jubilee!” (arr. John W. Work III), “My Lord Is So High” (arr. Noah F. Ryder), “There's a Meeting Here Tonight” (arr. R. Nathaniel Dett), “Do Lord Remember Me” (arr. John W. Work III), “Rise, Shine for Thy Light Is A-Comin'” (arr. John W. Work III), and “There's a Great Camp Meeting” (arr. John W. Work III). The Fisk Jubilee Singers are vocal artists and students at Fisk University in Nashville, Tennessee, who sing and travel worldwide. The original Jubilee Singers introduced “slave songs” to the world in 1871 and were instrumental in preserving this unique American musical tradition known today as Negro spirituals. The group broke racial barriers in the United States and abroad in the late nineteenth century and entertained kings and queens in Europe. At the same time, they raised money in support of their beloved university. This concert was held at the National Gallery of Art on Sunday, January 17, 2016.

Voces secretas para que nos gusten los lunes. Descúbrelas. También canciones secretas. Las canadienses Sarah Harmer y Margaret Stowe. ¿Las conoces? Seguramente que a su paisano Destroyer, sí ¿Y a Abra Moore o David Wilcox o The Bell Brigade o Ellis Paul o Kelly Willis? He rescatado la primera gran época de 10.000 Maniacs con Natalie Merchant, a el último John Cougar antes de recuperar su apellido Mellencamp, a Kelly Willis con la producción de Chuck Prophet, y a ¡Carlos DeFrance! Sí, en solitario tras su etapa en Objetivo Birmania, grupo del que se está preparando un documental. DISCO 1 AMERICA Miniature +Tin Man (1+2 EN CONTINUO) DISCO 2 ABRA MOORE Sweet Chariot (1) DISCO 3 10000 MANIACS Back O' The Moon (5) DISCO 4 JOHN COUGAR This Time (4) DISCO 5 CARLOS DE FRANCE Agua (1) DISCO 6 KELLY WILLIS Take Me Down (1) DISCO 7 ELLIS PAUL Kiss The Sun (A Song For Pat Tillman) (2) DISCO 8 PABLO MORENO Imposible (ORDENADOR) DISCO 9 SARAH HARMER Silver Road (5) DISCO 10 DAVID WILCOX Eye Of The Hurricane (1) DISCO 11 MARGARET STOWE Amapola (8) DISCO 12 PHOEBE SNOW Share Your Love With Me (10) DISCO 13 DESTROYER Painter In Your Pocket (4) DISCO 14 THE BELL BRIGADE Sweet Louise (1) DISCO 15 LIVINGSTON TAYLOR Loving Be My New Horizon (10) Escuchar audio

This week on Lady History: Sick of hearing about the Founding Fathers every Fourth of July? This year, Lady History presents a Fourth of July special dedicated to the ladies of the American Revolution. Meet successive sisters Angelica, Elizabeth and Peggy Schuyler, surprise spy Lydia Darragh, and prolific poet Phillis Wheatley. Logo by: Alexia Ibarra Editing by: Lexi Simms Music by: Alana Stolnitz A full text transcript of this show, as well as sources, attributions, merchandise, and further readings, can be found at ladyhistorypod.com. For a full version of Alana's critique of Hamilton: An American Musical, plus other awesome bonus content, please subscribe to our Patreon at ladyhistorypod.com. The archival audio in this episode in order of appearance: "Yankee Doodle" choral version recorded by United States Army Chorus in 2005; "Hail, Columbia" composed as the unofficial National Anthem in 1789 and performed by the United States Army Band for the Vice President in 2011; "Swing Low, Sweet Chariot" a traditional African American folk song recorded c. 1915 by the Fisk Jubilee Singers. Follow us on Twitter, TikTok & Instagram: @ladyhistorypod Have a question? A business inquiry? Contact: ladyhistorypod@gmail.com Leave us an audio message for a chance to be featured in the show: anchor.fm/ladyhistory/messages Special thanks to anchor.fm for sponsoring our podcast.

It's Juneteenth! Join us as we explore the meaning behind the observance of the day, the traditions involved, and some of the music important to the day. Music: Jean Claude Hatungimana and Mark Mazzochi Modified: Work, John Wesley, Fisk University Jubilee Singers, Alfred Garfield King, Noah Walker Ryder, and J. A Myers. Swing Low, Sweet Chariot. 1909. Audio. https://www.loc.gov/item/jukebox-128141/. Used under the Fair Use Clause. Cover Art: Emily Noble Day

We're back again this week, and a little early as well! With a day like Juneteenth coming there's no reason not to celebrate. Let Jack remind you why we celebrate this holiday, and give you a bit of it's history, along with one of the prominent songs that is often associated with such a day. Special thanks to the Antioch Mass Choir for letting us use their rendition of Swing Low, Sweet Chariot. Not much else to be said, Juneteenth speaks for itself. We're now on Instagram, @themidnightrunpodcast so follow us and we'll follow you back! You can also email us your thoughts at arkhampodcasts@gmail.com Keep it weird, and Rock Steady - Jack --- Support this podcast: https://podcasters.spotify.com/pod/show/jack-campbell39/support

Sintonía: "Deep River" - Fats Waller "Skrontch", "I Simply Adore You", "The Sheik of Araby", "Hold My Hand", "There´s Honey On The Moon Tonight", "If I Were You", "To The Wide Open Place", "On A Bumpy Road To Love", "Fair And Square", "We, The People", "Don´t Try Your Jive On Me", "Ain´t Misbehavin´", "The Flat Foot Floogie", "Pent Up In A Penthouse", "Music, Maestro, Please", "A-Tisket, A-Tasket", Swing Low, Sweet Chariot" y "Go Down Moses". Todas las canciones interpretadas al piano/órgano y cantadas por Fats Waller Escuchar audio

A Traditional Spiritual arranged by Paul Johnston.For more music by Greg Walker please go to www.gregwalkermusic.com . There is also sheet music available for my original compositions and arrangements.Support the show (https://paypal.me/gregwalkermusic?locale.x=en_US)

The wonderful & wise Walter Kirn joins the boys for an off-the-cuff hang. We talk Ellroy, his brilliant book Blood Will Out, and the eternal dullness of psychopaths. Kirn further shares some excellent anecdotes, including a few about being friends with the Demon Dog himself. This one is special. with @blauer_geist, @luso_brendan & @rubberwidow produced by @goldpny

"Swing Low, Sweet Chariot" is een negro-spiritual die een cross-over maakte naar de jazz, de bebop, de swing, de reggae... en uiteraard naar de blues! --- Send in a voice message: https://anchor.fm/bart-massaer/message

In the fourth From the Vaults podcast from the World Rugby Museum, we sit down with Rugby League legend Martin Offiah to talk about the Rugby Union days that bookended his career and the role and influence of Rugby League on Rugby Union in the professional era. We also discuss the song Swing Low, Sweet Chariot, how it came to be associated with rugby and what he thinks of it now.From the Vaults is a World Rugby Museum podcast. Follow us on Facebook, Twitter and Instagram and sign up to our blog! See acast.com/privacy for privacy and opt-out information.

Hal and Dan start off the show by apologising to the Irish fans this week. Refusing to be humbled however they plough on through the rest of the episode to cover everything from the dearth of red cards in Rugby to more wild predictions for this coming weekend's Six Nations fixtures.Also Hal and Dan are taking a stand - no more "Swing Low, Sweet Chariot", it's time England fans sang something else! Any ideas?--If you agree or disagree with any of Dan and Hal's armchair punditry then don't suffer in silence... GET IN TOUCH.Email us a voice note and we'll play your retort out on the show.Send us a less fun written email.Or if you're embracing the modern age, get in touch via Twitter and Instagram.Email: rugbyjubbly@dltentertainment.comTwitter: @jubblyrugbyInstagram @rugbyjubblypodcast See acast.com/privacy for privacy and opt-out information.

If you like this episode, check out https://otrpodcasts.com for even more classic radio shows! Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the greatest players in rugby league history—seven-time Championship winner, six-time Premiership winner, four-time Challenge Cup winner, and Rugby League Hall of Famer who scored over 500 career tries making him the third highest try scorer of all time—Martin “Chariots” Offiah MBE joins me on Seb Talks Sports! Martin shares some fantastic stories on consistently proving the doubters on the biggest stage of them all, scoring THAT famous 95-metre try in the 1993/94 Challenge Cup Final, representing his country on the international stage on over 30 occasions, discovering that his incredible nickname was the reason “Swing Low, Sweet Chariot” became the national team's anthem, and much more! You can find Martin on Instagram (@Martin_Chariots_Offiah), Twitter (@MartinOffiah), LinkedIn (Martin Offiah M.B.E.), and check out his innovative Connected Kerb business online (www.connectedkerb.com). Both tracks were made by music creator David E. Wilson who you can find on all good music streaming services, as well as Twitter (@4stillRunning) and Instagram (@4stillrunning). For more content, please help by liking, following and subscribing on all of my platforms: Facebook: Seb Talks Sports Twitter: @SebTalksSports Instagram: @SebTalksSports YouTube: Seb Talks Sports Thank you for supporting Seb Talks Sports! Sponsored by Hoopin'N'Lootin Use discount code ‘SEBTALKSSPORTS' at checkout for 10% off!

Sermon: Swing Low, Sweet Chariot (Pastor John Burns) (December 6, 2020) by University Baptist Church

Performed By Bro. Silas McComas

Ella and I discuss the latest google trends. We talk about sunbathing, Swing Low, Sweet Chariot and Katie Hopkins. 

Depuis plus de 30 ans, « Swing Low, Sweet Chariot » est LA chanson des supporteurs du 15 de la Rose. Un hymne officieux chanté lors de tous les déplacements de l'équipe de rugby du pays. Mais depuis quelques jours, la fédération se demande s'il ne faudrait pas bannir cette chanson qui trouve son origine dans l'esclavage.Ailleurs dans le monde, une chronique de Cyprien d'Haese dans La Grasse matinale d'Armel Hemme.Visuel © Radio Nova See acast.com/privacy for privacy and opt-out information.

Bishop Martin reflects on the recent controversy surrounding the singing of Swing Low Sweet Chariot

Julia speaks with Former Director General of the CBI, Lord Digby Jones about the latest figures on public finance and the Bank of England's plan to put £100bn into economy. Minister for School Standards and Conservative MP, Nick Gibb explains the government's billion pound Covid catch-up plan to tackle the impact of lost teaching time. Former English rugby player, Martin Offiah, discuss the RFU's decision to review the use of 'Swing Low, Sweet Chariot'. See acast.com/privacy for privacy and opt-out information.

Episode sixty of A History of Rock Music in Five Hundred Songs looks at “You Send Me” by Sam Cooke Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Little Darlin'” by The Gladiolas. Also, an announcement — the book version of the first fifty episodes is now available for purchase. See the show notes, or the previous mini-episode announcing this, for details.  —-more—- Resources The Mixcloud is slightly delayed this week. I’ll update the post tonight with the link. My main source for this episode is Dream Boogie: The Triumph of Sam Cooke by Peter Guralnick. Like all Guralnick’s work, it’s an essential book if you’re even slightly interested in the subject. This is the best compilation of Sam Cooke’s music for the beginner. A note on spelling: Sam Cooke was born Sam Cook, the rest of his family all kept the surname Cook, and he only added the “e” from the release of “You Send Me”, so for almost all the time covered in this episode he was Cook. I didn’t feel the need to mention this in the podcast, as the two names are pronounced identically. I’ve spelled him as Cooke and everyone else as Cook throughout. Book of the Podcast Remember that there’s a book available based on the first fifty episodes of the podcast. You can buy it at this link, which will take you to your preferred online bookstore. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We’ve talked before about how the music that became known as soul had its roots in gospel music, but today we’re going to have a look at the first big star of that music to get his start as a professional gospel singer, rather than as a rhythm and blues singer who included a little bit of gospel feeling. Sam Cooke was, in many ways, the most important black musician of the late fifties and early sixties, and without him it’s doubtful whether we would have the genre of soul as we know it today. But when he started out, he was someone who worked exclusively in the gospel field, and within that field he was something of a superstar. He was also someone who, as admirable as he was as a singer, was far less admirable in his behaviour towards other people, especially the women in his life, and while that’s something that will come up more in future episodes, it’s worth noting here. Cooke started out as a teenager in the 1940s, performing in gospel groups around Chicago, which as we’ve talked about before was the city where a whole new form of gospel music was being created at that point, spearheaded by Thomas Dorsey. Dorsey, Mahalia Jackson, and Sister Rosetta Tharpe were all living and performing in the city during young Sam’s formative years, but the biggest influence on him was a group called the Soul Stirrers. The Soul Stirrers had started out in 1926 as a group in what was called the “jubilee” style — the style that black singers of spiritual music sang in the period before Thomas Dorsey revolutionised gospel music. There are no recordings of the Soul Stirrers in that style, but this is probably the most famous jubilee recording: [Excerpt: The Fisk Jubilee Singers, “Swing Low, Sweet Chariot”] But as Thomas Dorsey and the musicians around him started to create the music we now think of as gospel, the Soul Stirrers switched styles, and became one of the first — and best — gospel quartets in the new style. In the late forties, the Soul Stirrers signed to Specialty Records, one of the first acts to sign to the label, and recorded a series of classic singles led by R.H. Harris, who was regarded by many as the greatest gospel singer of the age: [Excerpt: The Soul Stirrers feat. R.H. Harris, “In That Awful Hour”] Sam Cooke was one of seven children, the son of Reverend Charles Cook and his wife Annie Mae, and from a very early age the Reverend Cook had been training them as singers — five of them would perform regularly around churches in the area, under the name The Singing Children. Young Sam was taught religion by his father, but he was also taught that there was no prohibition in the Bible against worldly success. Indeed the Reverend Cook taught him two things that would matter in his life even more than his religion would. The first was that whatever it is you do in life, you try to do it the best you can — you never do anything by halves, and if a thing’s worth doing it’s worth doing properly. And the second was that you do whatever is necessary to give yourself the best possible life, and don’t worry about who you step on to do it. After spending some time with his family group, Cooke joined a newly-formed gospel group, who had heard him singing the Ink Spots song “If I Didn’t Care” to a girl. That group was called the Highway QCs, and a version of the group still exists to this day. Sam Cooke only stayed with them a couple of years, and never recorded with them, but they replaced him with a soundalike singer, Johnnie Taylor, and listening to Taylor’s recordings with the group you can get some idea of what they sounded like when Sam was a member: [Excerpt: Johnnie Taylor and the Highway QCs, “I Dreamed That Heaven Was Like This”] The rest of the group were decent singers, but Sam Cooke was absolutely unquestionably the star of the Highway QCs. Creadell Copeland, one of the group’s members, later said “All we had to do was stand behind Sam. Our claim to fame was that Sam’s voice was so captivating we didn’t have to do anything else.” The group didn’t make a huge amount of money, and they kept talking about going in a pop direction, rather than just singing gospel songs, and Sam was certainly singing a lot of secular music in his own time — he loved gospel music as much as anyone, but he was also learning from people like Gene Autry or Bill Kenny of the Ink Spots, and he was slowly developing into a singer who could do absolutely anything with his voice. But his biggest influence was still R.H. Harris of the Soul Stirrers, who was the most important person in the gospel quartet field. This wasn’t just because he was the most talented of all the quartet singers — though he was, and that was certainly part of it — but because he was the joint leader of a movement to professionalise the gospel quartet movement. (Just as a quick explanation — in both black gospel, and in the white gospel music euphemistically called “Southern Gospel”, the term “quartet” is used for groups which might have five, six, or even more people in them. I’ll generally refer to all of these as “groups”, because I’m not from the gospel world, but I’ll use the term “quartet” when talking about things like the National Quartet Convention, and I may slip between the two interchangeably at times. Just know that if I mention quartets, I’m not just talking about groups with exactly four people in them). Harris worked with a less well known singer called Abraham Battle, and with Charlie Bridges, of another popular group, the Famous Blue Jays: [Excerpt: The Famous Blue Jay Singers, “Praising Jesus Evermore”] Together they founded the National Quartet Convention, which existed to try to take all the young gospel quartets who were springing up all over the place, and most of whom had casual attitudes to their music and their onstage appearance, and teach them how to comport themselves in a manner that the organisation’s leaders considered appropriate for a gospel singer. The Highway QCs joined the Convention, of course, and they considered themselves to be disciples, in a sense, of the Soul Stirrers, who they simultaneously considered to be their mentors and thought were jealous of the QCs. It was normal at the time for gospel groups to turn up at each other’s shows, and if they were popular enough they would be invited up to sing, and sometimes even take over the show. When the Highway QCs turned up at Soul Stirrers shows, though, the Soul Stirrers would act as if they didn’t know them, and would only invite them on to the stage if the audience absolutely insisted, and would then limit their performance to a single song. From the Highway QCs’ point of view, the only possible explanation was that the Soul Stirrers were terrified of the competition. A more likely explanation is probably that they were just more interested in putting on their own show than in giving space to some young kids who thought they were the next big thing. On the other hand, to all the younger kids around Chicago, the Highway QCs were clearly the group to beat — and people like a young singer named Lou Rawls looked up to them as something to aspire to. And soon the QCs found themselves being mentored by R.B. Robinson, one of the Soul Stirrers. Robinson would train them, and help them get better gigs, and the QCs became convinced that they were headed for the big time. But it turned out that behind the scenes, there had been trouble in the Soul Stirrers. Harris had, more and more, come to think of himself as the real star of the group, and quit to go solo. It had looked likely for a while that he would do so, and when Robinson had appeared to be mentoring the QCs, what he was actually doing was training their lead singer, so that when R.H. Harris eventually quit, they would have someone to take his place. The other Highway QCs were heartbroken, but Sam took the advice of his father, the Reverend Cook, who told him “Anytime you can make a step higher, you go higher. Don’t worry about the other fellow. You hold up for other folks, and they’ll take advantage of you.” And so, in March 1951, Sam Cooke went into the studio with the Soul Stirrers for his first ever recording session, three months after joining the group. Art Rupe, the head of Specialty Records, was not at all impressed that the group had got a new singer without telling him. Rupe had to admit that Cooke could sing, but his performance on the first few songs, while impressive, was no R.H. Harris: [Excerpt: the Soul Stirrers, “Come, Let Us Go Back to God”] But towards the end of the session, the Soul Stirrers insisted that they should record “Jesus Gave Me Water”, a song that had always been a highlight of the Highway QCs’ set. Rupe thought that this was ridiculous — the Pilgrim Travellers had just had a hit with the song, on Specialty, not six months earlier. What could Specialty possibly do with another version of the song so soon afterwards? But the group insisted, and the result was absolutely majestic: [Excerpt: The Soul Stirrers, “Jesus Gave Me Water”] Rupe lost his misgivings, both about the song and about the singer — that was clearly going to be the group’s next single. The group themselves were still not completely sure about Cooke as their singer — he was younger than the rest of them, and he didn’t have Harris’ assurance and professionalism, yet. But they knew they had something with that song, which was released with “Peace in the Valley” on the B-side. That song had been written by Thomas Dorsey fourteen years earlier, but this was the first time it had been released on a record, at least by anyone of any prominence. “Jesus Gave Me Water” was a hit, but the follow-ups were less successful, and meanwhile Art Rupe was starting to see the commercial potential in black styles of music other than gospel. Even though Rupe loved gospel music, he realised when “Lawdy Miss Clawdy” became the biggest hit Specialty had ever had to that point that maybe he should refocus the label away from gospel and towards more secular styles of music. “Jesus Gave Me Water” had consolidated Sam as the lead singer of the Soul Stirrers, but while he was singing gospel, he wasn’t living a very godly life. He got married in 1953, but he’d already had at least one child with another woman, who he left with the baby, and he was sleeping around constantly while on the road, and more than once the women involved became pregnant. But Cooke treated women the same way he treated the groups he was in – use them for as long as they’ve got something you want, and then immediately cast them aside once it became inconvenient. For the next few years, the Soul Stirrers would have one recording session every year, and the group continued touring, but they didn’t have any breakout success, even as other Specialty acts like Lloyd Price, Jesse Belvin, and Guitar Slim were all selling hand over fist. The Soul Stirrers were more popular as a live act than as a recording act, and hearing the live recording of them that Bumps Blackwell produced in 1955, it’s easy to see why: [Excerpt: Sam Cooke and the Soul Stirrers, “Nearer to Thee”] Bumps Blackwell was convinced that Cooke needed to go solo and become a pop singer, and he was more convinced than ever when he produced the Soul Stirrers in the studio for the first time. The reason, actually, was to do with Cooke’s laziness. They’d gone into the studio, and it turned out that Cooke hadn’t written a song, and they needed one. The rest of the group were upset with him, and he just told them to hand him a Bible. He started flipping through, skimming to find something, and then he said “I got one”. He told the guitarist to play a couple of chords, and he started singing — and the song that came out, improvised off the top of his head, “Touch the Hem of His Garment”, was perfect just as it was, and the group quickly cut it: [Excerpt: Sam Cooke and the Soul Stirrers, “Touch the Hem of His Garment”] Blackwell knew then that Cooke was a very, very special talent, and he and the rest of the people at Specialty became more and more insistent as 1956 went on that Sam Cooke should become a secular solo performer, rather than performing in a gospel group. The Soul Stirrers were only selling in the low tens of thousands — a reasonable amount for a gospel group, but hardly the kind of numbers that would make anyone rich. Meanwhile, gospel-inspired performers were having massive hits with gospel songs with a couple of words changed. There’s an episode of South Park where they make fun of contemporary Christian music, saying you just have to take a normal song and change the word “Baby” to “Jesus”. In the mid-fifties things seemed to be the other way — people were having hits by taking Gospel songs and changing the word “Jesus” to “baby”, or near as damnit. Most famously and blatantly, there was Ray Charles, who did things like take “This Little Light of Mine”: [Excerpt: The Louvin Brothers, “This Little Light of Mine”] and turn it into “This Little Girl of Mine: [Excerpt: Ray Charles, “This Little Girl of Mine”] But there were a number of other acts doing things that weren’t that much less blatant. And so Sam Cooke travelled to New Orleans, to record in Cosimo Matassa’s studio with the same musicians who had been responsible for so many rock and roll hits. Or, rather, Dale Cook did. Sam was still a member of the Soul Stirrers at the time, and while he wanted to make himself into a star, he was also concerned that if he recorded secular music under his own name, he would damage his career as a gospel singer, without necessarily getting a better career to replace it. So the decision was made to put the single out under the name “Dale Cook”, and maintain a small amount of plausible deniability. If necessary, they could say that Dale was Sam’s brother, because it was fairly well known that Sam came from a singing family, and indeed Sam’s brother L.C. (whose name was just the initials L.C.) later went on to have some minor success as a singer himself, in a style very like Sam’s. As his first secular recording, they decided to record a new version of a gospel song that Cooke had recorded with the Soul Stirrers, “Wonderful”: [Excerpt: Sam Cooke and the Soul Stirrers, “Wonderful”] One quick rewrite later, and that song became, instead, “Lovable”: [Excerpt: Dale Cook, “Lovable”] Around the time of the Dale Cook recording session, Sam’s brother L.C. went to Memphis, with his own group, where they appeared at the bottom of the bill for a charity Christmas show in aid of impoverished black youth. The lineup of the show was almost entirely black – people like Ray Charles, B.B. King, Rufus Thomas, and so on – but Elvis Presley turned up briefly to come out on stage and wave to the crowd and say a few words – the Colonel wouldn’t allow him to perform without getting paid, but did allow him to make an appearance, and he wanted to support the black community in Memphis. Backstage, Elvis was happy to meet all the acts, but when he found out that L.C. was Sam’s brother, he spent a full twenty minutes talking to L.C. about how great Sam was, and how much he admired his singing with the Soul Stirrers. Sam was such a distinctive voice that while the single came out as by “Dale Cook”, the DJs playing it would often introduce it as being by “Dale Sam Cook”, and the Soul Stirrers started to be asked if they were going to sing “Lovable” in their shows. Sam started to have doubts as to whether this move towards a pop style was really a good idea, and remained with the Soul Stirrers for the moment, though it’s noticeable that songs like “Mean Old World” could easily be refigured into being secular songs, and have only a minimal amount of religious content: [Excerpt: Sam Cooke and the Soul Stirrers, “Mean Old World”] But barely a week after the session that produced “Mean Old World”, Sam was sending Bumps Blackwell demos of new pop songs he’d written, which he thought Blackwell would be interested in producing. Sam Cooke was going to treat the Soul Stirrers the same way he’d treated the Highway QCs. Cooke flew to LA, to meet with Blackwell and with Clifton White, a musician who had been for a long time the guitarist for the Mills Brothers, but who had recently left the band and started working with Blackwell as a session player. White was very unimpressed with Cooke – he thought that the new song Cooke sang to them, “You Send Me”, was just him repeating the same thing over and over again. Art Rupe helped them whittle the song choices down to four. Rupe had very particular ideas about what made for a commercial record – for example, that a record had to be exactly two minutes and twenty seconds long – and the final choices for the session were made with Rupe’s criteria in mind. The songs chosen were “Summertime”, “You Send Me”, another song Sam had written called “You Were Made For Me”, and “Things You Do to Me”, which was written by a young man Bumps Blackwell had just taken on as his assistant, named Sonny Bono. The recording session should have been completely straightforward. Blackwell supervised it, and while the session was in LA, almost everyone there was a veteran New Orleans player – along with Clif White on guitar there was René Hall, a guitarist from New Orleans who had recently quit Billy Ward and the Dominoes, and acted as instrumental arranger; Harold Battiste, a New Orleans saxophone player who Bumps had taken under his wing, and who wasn’t playing on the session but ended up writing the vocal arrangements for the backing singers; Earl Palmer, who had just moved to LA from New Orleans and was starting to make a name for himself as a session player there after his years of playing with Little Richard, Lloyd Price, and Fats Domino in Cosimo Matassa’s studio, and Ted Brinson, the only LA native, on bass — Brinson was a regular player on Specialty sessions, and also had connections with almost every LA R&B act, to the extent that it was his garage that “Earth Angel” by the Penguins had been recorded in. And on backing vocals were the Lee Gotch singers, a white vocal group who were among the most in-demand vocalists in LA. So this should have been a straightforward session, and it was, until Art Rupe turned up just after they’d recorded “You Send Me”: [Excerpt: Sam Cooke, “You Send Me”] Rupe was horrified that Bumps and Battiste had put white backing vocalists behind Cooke’s vocals. They were, in Rupe’s view, trying to make Sam Cooke sound like Billy Ward and his Dominoes at best, and like a symphony orchestra at worst. The Billy Ward reference was because René Hall had recently arranged a version of “Stardust” for the Dominoes: [Excerpt: Billy Ward and the Dominoes, “Stardust”] And the new version of “Summertime” had some of the same feel: [Excerpt: Sam Cooke, “Summertime”] If Sam Cooke was going to record for Specialty, he wasn’t going to have *white* vocalists backing him. Rupe wanted black music, not something trying to be white — and the fact that he, a white man, was telling a room full of black musicians what counted as black music, was not lost on Bumps Blackwell. Even worse than the whiteness of the singers, though, was that some of them were women. Rupe and Blackwell had already had one massive falling-out, over “Rip it Up” by Little Richard. When they’d agreed to record that, Blackwell had worked out an arrangement beforehand that Rupe was happy with — one that was based around piano triplets. But then, when he’d been on the plane to the session, Blackwell had hit upon another idea — to base the song around a particular drum pattern: [Excerpt: Little Richard, “Rip it Up”] Rupe had nearly fired Blackwell over that, and only relented when the record became a massive hit. Now that instead of putting a male black gospel group behind Cooke, as agreed, Blackwell had disobeyed him a second time and put white vocalists, including women, behind him, Rupe decided it was the last straw. Blackwell had to go. He was also convinced that Sam Cooke was only after money, because once Cooke discovered that his solo contract only paid him a third of the royalties that the Soul Stirrers had been getting as a group, he started pushing for a greater share of the money. Rupe didn’t like that kind of greed from his artists — why *should* he pay the artist more than one cent per record sold? But he still owed Blackwell a great deal of money. They eventually came to an agreement — Blackwell would leave Specialty, and take Sam Cooke, and Cooke’s existing recordings with him, since he was so convinced that they were going to be a hit. Rupe would keep the publishing rights to any songs Sam wrote, and would have an option on eight further Sam Cooke recordings in the future, but Cooke and Blackwell were free to take “You Send Me”, “Summertime”, and the rest to a new label that wanted them for its first release, Keen. While they waited around for Keen to get itself set up, Sam made himself firmly a part of the Central Avenue music scene, hanging around with Gaynel Hodge, Jesse Belvin, Dootsie Williams, Googie Rene, John Dolphin, and everyone else who was part of the LA R&B community. Meanwhile, the Soul Stirrers got Johnnie Taylor, the man who had replaced Sam in the Highway QCs, to replace him in the Stirrers. While Sam was out of the group, for the next few years he would be regularly involved with them, helping them out in recording sessions, producing them, and more. When the single came out, everyone thought that “Summertime” would be the hit, but “You Send Me” quickly found itself all over the airwaves and became massive: [Excerpt: Sam Cooke, “You Send Me”] Several cover versions came out almost immediately. Sam and Bumps didn’t mind the versions by Jesse Belvin: [Excerpt: Jesse Belvin, “You Send Me”] Or Cornell Gunter: [Excerpt: Cornell Gunter, “You Send Me”] They were friends and colleagues, and good luck to them if they had a hit with the song — and anyway, they knew that Sam’s version was better. What they did object to was the white cover version by Teresa Brewer: [Excerpt: Teresa Brewer, “You Send Me”] Even though her version was less of a soundalike than the other LA R&B versions, it was more offensive to them — she was even copying Sam’s “whoa-oh”s. She was nothing more than a thief, Blackwell argued — and her version was charting, and made the top ten. Fortunately for them, Sam’s version went to number one, on both the R&B and pop charts, despite a catastrophic appearance on the Ed Sullivan Show, which accidentally cut him off half way through a song. But there was still trouble with Art Rupe. Sam was still signed to Rupe’s company as a songwriter, and so he’d put “You Send Me” in the name of his brother L.C., so Rupe wouldn’t get any royalties. Rupe started legal action against him, and meanwhile, he took a demo Sam had recorded, “I’ll Come Running Back To You”, and got René Hall and the Lee Gotch singers, the very people whose work on “You Send Me” and “Summertime” he’d despised so much, to record overdubs to make it sound as much like “You Send Me” as possible: [Excerpt: Sam Cooke, “I’ll Come Running Back To You”] And in retaliation for *that* being released, Bumps Blackwell took a song that he’d recorded months earlier with Little Richard, but which still hadn’t been released, and got the Specialty duo Don and Dewey to provide instrumental backing for a vocal group called the Valiants, and put it out on Keen: [Excerpt: The Valiants, “Good Golly Miss Molly”] Specialty had to rush-release Little Richard’s version to make sure it became the hit — a blow for them, given that they were trying to dripfeed the public what few Little Richard recordings they had left. As 1957 drew to a close, Sam Cooke was on top of the world. But the seeds of his downfall were already in place. He was upsetting all the right people with his desire to have control of his own career, but he was also hurting a lot of other people along the way — people who had helped him, like the Highway QCs and the Soul Stirrers, and especially women. He was about to divorce his first wife, and he had fathered a string of children with different women, all of whom he refused to acknowledge or support. He was taking his father’s maxims about only looking after yourself, and applying them to every aspect of life, with no regard to who it hurt. But such was his talent and charm, that even the people he hurt ended up defending him. Over the next couple of times we see Sam Cooke, we’ll see him rising to ever greater artistic heights, but we’ll also see the damage he caused to himself and to others. Because the story of Sam Cooke gets very, very unpleasant.

Swing Low, Sweet Chariot

Song from GABC

Song recorded by: The Southern FourSong written by: Wallis WillisDownloaded song from: https://archive.org/details/EDIS-SRP-0196-01Usage: Public DomainPhoto credit of Edison Disc: Public Domain/WikipediaInfo: Wikipedia.com and Publicdomain4u.comLet's move into the sound of gospel music history. Let's move into the present now.Swing Low, Sweet Chariot is a Negro Spiritual recorded by the group called "The Southern Four" in Dec. of 1921. The song was composed around 1860 by Wallis Willis, a Choctaw freedman in Southern Oklahoma. Willis was inspired by The Red River, which reminded him of the Jordan River and the Prophet Elijah ascending to heaven in a chariot. The lyrics symbolically referred to the Underground Railroad. Lets listen.

The minute opens with Lyle suggesting a song the railroad workers can sing, like Swing Low, Sweet Chariot. After Bart and his fellow workers feign to not know that song, Lyle suggests a different song. He asks them to sing De Camptown Lady. Once again, Bart and his compatriots act as if they do not know the song. So, Lyle begins to sing it for them. As he continues, he gets more and more into both singing and dancing. Soon, the entire group of railroad overseers are jumping and dancing around. Suddenly, a gunshot from off screen is followed by the entrance of Taggart on house back. He yells at his employees, "What in the wide, wide world of sports is a going on here?" Our guest on today's show is Jim O'Kane, the brain-trust behind the Movies by Minutes group on Facebook. He is also behind such podcasts as The Rocketeer Minute, Apollo13 Minute and many more. We hope you enjoyed today's episode. If you have not done so already, take a moment to leave us a rating on your pod-catcher of choice. Also, be sure to leave us a short comment. The comment actually does give more weight to your rating and it will then help others to find our show. To learn more about us, our guests or to look through a list of all of our previous episodes, swing by our website. We are also on Facebook, where we also have a private listener's group, Twitter and Instagram. So like or follow us everywhere and feel free to reach out to us anytime on this Wilder ride!  

The Major Scale is testifying the word of the gospel this episode. First, we pay tribute to the dearly departed Della Reese. She began he career as a singer of immense force and beauty, commanding a range that spanned from Puccini, the deep roots of the blues, Tin Pan Ally, and Gospel. Ms. Reese could deliver it all with spine tingling and soul stirring results. Lynda Blensky, Reese's rep, said it best: "We lost a magnificent woman who was a trailblazer in many ways." The term legend gets used a bit much, but it applies tenfold to an artist like Al Kooper. His work with Bob Dylan, the Zombies, and Lynyrd Skynyrd alone is enough to put him in the history books. He also founded Blood, Sweat, and Tears, which made him a Jazz Rock innovator. Mr. Kooper joins us to talk about a couple of his favorite subjects – gospel music and jazz piano. He also takes over the turntables to plug in a great set from Bobby Timmons, Les McCann, Horace Silver, and Twinkie Clark of the Clark Sisters. SONG CREDITS FOR THIS EPISODE: THEME: Jazz Phantom by Chomsk' (from the album "Different Beats" on Magnetic Records). FIRST HALF: Lonelyville By Della Reese (from the film “Let's Rock” by Columbia Pictures). Don't You Know by Della Reese (from the album “The Classic Della Reese” on RCA/Victor). If I Never Get to Heaven by Della Reese (from the album  “I Like It Like Dat” on ABC/Paramount). Swing Low, Sweet Chariot by Della Reese (from the album “The Best Thing For You” on Jasmine Records). Billy My Love by Della Reese (from the album “Right Now” on Avco/Embassy Records). It's Magic by Della Reese (from the album “The Angelic Della Reese” on Magnitude Records). A House Is Not A Home by Della Reese (from the album “On Strings of Blue” on ABC/Paramount). Someday by Della Reese (from the CBC TV Show on CBC Television). Brand New Day by Della Reese (from the album “Right Now” on AVCO/Embassy Records). SECOND HALF:  My Days Are Numbered by Blood, Sweat & Tears (from the album “Child Is Father To The Man” on Columbia Records). Sister Sadie by Horace Silver (from the album “Blowin'the Blues Away” on Blue Note Records). Moanin' by Bobby Timmons (from the album “This Here is Bobby Timmons” on Riverside Records). Go On and Get That Church by Les McCann (from the album “In San Francisco” on Pacific Jazz Records). Name It and Claim It by The Clark Sisters (from the album “Sincerely” on New Birth Records). ABOUT THE MAJOR SCALE: Your attention please to a new program that celebrates and takes a fresh and bold look at the great American art form- JAZZ!!! The Major Scale is the title, the motto and the mission are, Jazz- past, present, future, and everything in between. A lot of focus will be on new and fresh sounds, deep cuts, closer looks at underrated artists, taking a different look at some of the titans of the genre, and getting the two cents worth from a number of surprise guests and sources. The Major Scale can boast amongst it's guests- legends like Herbie Hancock, Tom Scott, and Ahmad Jamal. The up and coming and the underrated-Kamasi Washington, Mia Doi Todd, Michael Blake. Fresh perspectives and commentary from the likes of Rock legend Al Kooper, who weighed in on the gospel. From The New Yorker, Amanda Petrusich expounds on her article about the movement to rename the Williamsburg Bridge in honor of Sonny Rollins. We explore the Soul-Jazz experiments of the Rascals. Grace Kelly from The Late Show with Stephen Colbert talks about her pop-up/flash mob concerts. Plus Thundercat, Henry Mancini, Ghostface Killah, Jaimie Branch, Nels Cline, Badbadnotgood, Cecil Taylor, and more get pick up on the Major Scale radar. Produced in Central Florida, this program seeks to become one of the defining voices of this Native American art form, and everything else that finds itself under it's umbrella. Think about programming and content found on the likes of World Cafe, Philadelphia, PA. Tiny Desk from Washington D.C., and KEXP Live from Seattle, WA. and that's what the Major Scale strives to do. For the curious, and lovers of music who like the details in between. ABOUT KYLE EAGLE (Host): Kyle Eagle has been a contributing writer and producer for the NPR-WBGO, WUCF, WPRK, Wax Poetics, The Orlando Weekly, Artbourne, and The Fiscal Times, as well as several music and film releases- Light in the Attic's documentary "This Is Gary McFarland", and an upcoming film on composer Jack Nietzsche. Recordings- Call Me-Jack Wilson, Live at the Penthouse, Grachan Moncur III, Chico Hamilton, and Andy Bey. ABOUT CHRIS BARANYI (Producer): Chris Baranyi is a sound engineer and music producer. He splits his time between designing AV systems for theme parks and recording music. Chris has worked with many Orlando area musicians with backgrounds in jazz, fusion, hip-hop, funk, new age, and classical. Some of which have been featured on NPR's Echoes. His passion includes jazz, vintage microphones, and hot sauces.

So, way too soon for Big and Rish, the new STAR WARS movie has hit theaters. Here's their feelings, as well as a bit about its lackluster first weekend at the box office.

내가 다시 태어난다면? 교생실습을 마치고 담임을 맡게 된 선생님이 있었어요. 선생님이 맡은 반에는 몸이 불편한 학생이 있었죠. 그 학생은 항상 휠체어를 타고 다녔답니다. 어느 날, 선생님은 반 아이들에게 ‘내가 다시 태어난다면'이라는 주제로 글짓기를 시켰는데요. 그 휠체어를 탄 학생의 글이 선생님을 놀라게 했습니다. 그 학생은 “내가 다시 태어난다면, 내 어머니의 어머니로 태어나고 싶다. 어머니에게 내가 받은 모든 은혜와 고마움을 나의 어머니가 되어 무조건 보답하면서 살고 싶다."라고 말이죠. “이 생에서, 내가 어머니의 고마움에 보답하며 사는 건 너무나 힘들기에 제발 다음 생에선 내 어머니의 어머니로 태어나 무한한 사랑과 정성을 갚고 싶다.”고요. 송정림 작가의 참 좋은 당신을 만났습니다.에서 읽어드렸어요. 어쩌면 우린 갖지 못한 것에 대한 불평불만만 갖고 살진 않았나요. 지금 가진 것에 감사하기보다는 말이죠. 다시 태어난다면 여러분은 어떤 삶을 살고 싶으신가요. 11월 10일 여기는 여러분과 함께 꿈꾸는 문화다락방의 강민선입니다. -문화다락방, 오프닝멘트- 11월 10일 문화다락방- 강영음공 시간입니다. 선곡표 브리짓 존스의 일기 bridget jones's diary - Lovin'you 마네킹 - nothing's gonna stop us now 엽기적인 그녀 - 파헬벨, 캐논 프리덤 freedom- Swing Low, Sweet Chariot 캣츠 cats - memory 피아니스트의 전설 legend of 1900 - playing love 어둠 속에 벨이 울릴 때 play misty for me - the first time ever I saw your face 디어 헌터 deer hunter - he was beautiful 접속 - pale blue eye 두근두근 내 인생 - love shine

THE SAINTS. SWEET CHARIOT – 3:40King Of The Sun, Highway125, 2012 THE SAINTS. THE PRISONER – 5:00Prehistoric Sounds, Harvest, 1978 THE APARTMENTS. MAD COW – 5:15Drift, New Rose, 1992 THE GO-BETWEENS. CATTLE AND CANE – 4:00Before Hollywood, Rough Trade, 1983 THE CHURCH. UNDER THE MILKY WAY – 4:45El Momento Descuidado, Liberation Blue, 2004 RADIO BIRDMAN. […] Cet article Errance #7 : De The Saints à The Chills est apparu en premier sur Eldorado.

Chuck Mangione Hill Where the Lord Hides Stanley Clark Jerusalem J. Spencer Thank You Lord Bobby McFerrin Heavan's Design Take 6 Someday We'll All Be Free Take 6 Grace John Coltrtain A Love Supreme Dizzy Gillespie Swing Low, Sweet Chariot Sean Jones God's Gift Goin' Public Promis Land Tyrone Birkett Perseverance  

Join James, Pepe and all the gang as they bounce back from the thumping they took over the past week. After spending $100 million of their own money on unsuccessful bids for school board seats, the boys have no choice but to come back and entertain you. And boy, will they do the job! tackling everything from the current elections to the sadly failed Prop 19, the boys will rant, rail, jump, jive and wail all up in your grill. So cuddle up with your loved one, pop open a nice smooth bottle of whatever and batten down the hatches...it's going to be a bumpy ride. Listen, Call, Love...

Join James, Pepe and all the gang as they re-live summer loves. Well, Pepe will re-live his summer love affair with booze and his left hand, while James will rally the troops against the armies of darkness. Yes, it really is after the gold rush here in America, and who better to guide you through the Summer of Discounted Love than your pals at the Drunkard's Dream? Free, cheap, dirty fun awaits...all you have to do is... Listen, Call, Love...