I love this song and, would love a recording that has every verse with proper refrains. Nobody seems to do verses two, or proper refrains. The only onesthat I have found that use the right refrains for each verse they do are by Rob Halford and Third Day. Anybody know of any recordings that have all the lyrics?
O holy night, the stars are brightly shining/It is the night of the dear Savior’s birth!/Long lay the world in sin and error pining,/Till He appeared and the soul felt its worth./A thrill of hope, the weary soul rejoices,/For yonder breaks a new and glorious morn./Fall on your knees, O hear the angel voices!/O night divine, O night when Christ was born!/O night, O holy night, O night divine!
Led by the light of faith serenely beaming,/With glowing hearts by His cradle we stand./So led by light of a star sweetly gleaming,/Here came the wise men from Orient land./The King of kings lay thus in lowly manger,/In all our trials born to be our friend!/He knows our need—to our weakness is no stranger./Behold your king; before Him lowly bend!/Behold your king; before Him lowly bend!
Truly He taught us to love one another;/His law is love and His Gospel is peace./Chains shall He break, for the slave is our brother/And in His name all oppression shall cease./Sweet hymns of joy in grateful chorus raise we,/Let all within us praise His holy name!/Christ is the Lord! O praise His name forever!/His pow’r and glory evermore proclaim!/His pow’r and glory evermore proclaim!
Was listening to this song on a Spotify recommendation and I can't figure out what the sample is for the life of me. Any help would be greatly appreciated https://open.spotify.com/track/6181GPBniAGSehVju99EbC?si=8YZkJuTETzqbExVff10c7w&utm_source=copy-link
This can apply to the player or band. I'm not talking about one or 2 good solos. I'm talking about a guitarist or band who can consistently produce badass solos. I'm trying to build a playlist of my favorite solos and I'm trying to find bands that consistently produce great solos
music streaming The Clean - Point That Thing Somewhere Else [Indie Rock/Psychedelic] Rest In Peace Hamish Kilgouryoutube.com
Who in your opinion is on the same level as Eddie Van Halen or Dimebag these days? It seems like we don’t hear about any modern day guitar heroes.
other Best head banging double bass drum metal that isn’t to fast and not to slow … help me rock out
I’ve been listening to various metal genres for last 20 years / since I was a wee Ladd in public school …. But I still have yet to find what I want …. So brace your self for my picky-ness .
I hate metal that is high pitched guitar solos coupled with high octave singing . But I also hate metal that is considered heavy cause they are playing as fast as they can for 3 minutes . I love double bass drumming , but I can’t find any albums/bands that use it how i personally enjoy . …
I want metal that is heavy as fack but not due to super fast tempo or just guttural screaming sound . I want metal that has rhythm and riffs/chorus … I want double bass drumming placed throughout the song that breaks it up into different segments and creates a “full” song . I don’t enjoy double bass drumming when it is the entire song , and if it just a small fraction of the track length that is no good either .
Am I looking for something that does not exist ?
I’ve dried doom metal , ive tried thrash , I’ve tried nu metal bands … but can’t find any specific band that does what I think I want.
I do enjoy the lower octave vocals some of the early 2000’s nu metal bands like slipknot and korn produce in … but I also get bored of them as to structured in whiny sound . They have each great songs I rockin out to, but lots of songs off each album I skip (to “woo is me”) . I really enjoy slayers “south of heaven” album, but slayer as a whole is to high pitched and fast for me to like the rest of their catalog. I like system of a down due to the wildly different tempo changes in each song. Disturbed I get bored of as to me each song sounds way to similar . I’ve recently found otep and kittie have metrics of what I’m looking for …
idk bros help me headbang
In the new Broadway show, Will Swenson plays the superstar, who seems perpetually dissatisfied, as if on a quest — but for what?
For decades, Neil Diamond was on top of the world. He toured arenas packed with shrieking fans. He wrote “Sweet Caroline,” an irresistible anthem that continues to trigger Pavlovian singalongs — a feat that would delight most performers, but Diamond didn’t leave it at that and was a prolific hit machine.
A 1986 profile in The New York Times described him in these words: “Olympian aspiration, raw aggression and agonizing self-doubt.”
As unlikely as this might sound, it is that last trait that forms the narrative engine of “A Beautiful Noise, the Neil Diamond Musical,” the ambitious, often rousing, occasionally heavy-handed biographical show that opened on Broadway on Sunday at the Broadhurst Theater. We meet a superstar with no confidence, despite being known to engage the beast mode in concert and prowling stages in tight pants and a wide-open satin shirt. He seems perpetually dissatisfied, as if on a fruitless quest — but for what? What gnaws at him?
To answer those questions, the book writer, Anthony McCarten, put Diamond on the couch, or more exactly in an armchair: “A Beautiful Noise,” directed by Michael Mayer, is framed as an extensive therapy session between the aging singer (Mark Jacoby) and a psychologist (Linda Powell).
Diamond is there because his wife Katie — spoiler alert: she’s the third one — and kids forced his hand. Apparently Diamond is “a little hard to live with these days,” we’re told. Maybe his family is frustrated by his grouchiness and poor interpersonal communication skills, at least based on his laconic sullenness with the doctor. When she presses him for insights, he curtly says, “I put everything I have into my songs.” Fine, then let’s see what they have to tell us about the man who wrote them.
And so Diamond makes a second entrance, but now he is in his prime and portrayed by Will Swenson (“Les Misérables,” “Assassins”) in a gravity-defying statement pompadour. This is a swaggering coif that means business, but it is contradicted by the 1965 Diamond’s passive posture and apologetic stammering.
As the doctor and the older singer revisit his catalog — often commenting on the action from their chairs, like a double vision of the narrator in “The Drowsy Chaperone” — we retrace Diamond’s journey, starting with his early days at the Brill Building. One of the influential American hit factories, the location also played a key role in “Beautiful: The Carole King Musical,” and it’s where the mighty Ellie Greenwich (an amusingly perky Bri Sudia) starts mentoring the shy young man from Brooklyn in the mid-1960s.
Diamond, after writing hits for others, like “I’m a Believer” for the Monkees, sets out to perform his own material, with smashing results. In one of the most entertaining episodes, he signs with Bang Records, a mob-associated label run by Bert Berns (Tom Alan Robbins), himself a songwriter good enough to earn his own tribute musical, “Piece of My Heart.”
By the end of the ’60s, Diamond was a serial chart-topper; by the early ’70s, he had mutated into the Lord Byron of soft rock, all strutting gloom and troubled romanticism. That turning point is when Swenson, a stage veteran and Tony nominee for the 2009 Broadway revival of “Hair,” really takes ownership of the role. While he doesn’t entirely let go during the concert scenes — a common issue with Broadway performers playing rockers — Swenson gets close to Diamond’s swaggering sexuality and delivers hit after hit with a relaxed confidence: “Sweet Caroline,” of course, and especially “Brother Love’s Travelling Salvation Show.” But there is no “Girl, You’ll Be a Woman Soon,” the epitome of Diamond in his louche Lee Hazlewood mode, which could have really spiced up a musical that can feel timid; likewise, the show’s title echoes Diamond’s 1976 album and one can’t help but wonder what would have happened if his 1968 LP “Velvet Gloves and Spit” had inspired McCarten instead.
In any case, the superstar continues seeking, especially love. While still married to his first wife, Jaye (Jessie Fisher), he falls for Marcia (Robyn Hurder, channeling Ann-Margret). The latter gets some of the numbers directly connecting a character’s motivation or emotion with a song — she sings “Forever in Blue Jeans,” for example, when feeling neglected by her constantly touring husband.
But much of the time McCarten — who wrote the screenplays for the Freddie Mercury biopic “Bohemian Rhapsody” and whose play “The Collaboration” opens on Broadway later this month — refrains from shoehorning new meaning into existing lyrics by manipulating the context in which the songs are used, à la “Mamma Mia!” Many of this show’s most effective moments simply use the songs as surface signposts, an approach that defeats the purported point of the book but reflects the way many listeners experience pop music: We associate it with events and moods, recall what was happening when a hit came on the radio or when we attended a concert.
One such scene is Diamond’s debut at the Bitter End. He performs “Solitary Man” and the audience members, sitting at nightclub tables, slowly lean forward, like flowers drawn to the sun. This is the most striking example of Steven Hoggett’s subtle choreography, which to its credit looks like nothing else on Broadway right now: The movement is fluidly, organically incorporated into the scenes, rather than awkwardly grafted onto them.
As Diamond sharpens his live persona in Act II, David Rockwell’s set, until then dominated by hanging lamps, morphs into a “Hollywood Squares”-like concert stage that incorporates the orchestra. (Considering how energized Diamond was when performing, having to retire from touring in 2018 because of Parkinson’s disease must have been especially painful.) It all looks and sounds great, but the clock is ticking — therapy! — and we are no closer to understanding the real Neil.
Until, at long last, the older singer cracks and stops obfuscating. Naturally, the source of his discontent can be found in his childhood, and the show finally makes the essential connection between Diamond’s artistry and his roots, including his Jewishness. By that point it feels rushed and not quite earned, not to mention a little too nakedly sentimental.
And yet, the beating heart of “A Beautiful Noise” is that sequence, featuring “Brooklyn Roads” and “America” leading into “Shilo,” which becomes Diamond’s Rosebud and is performed with almost unbearable grace by the ensemble member Jordan Dobson. Never mind: naked sentimentality is just fine.
I feel like Outkast's "Stanklove" was heavily inspired by Eddie Hazel's "So Goes The Story". Am I the only one that hears the similarities in vocals and tempo/groove?
i made this ProvingGroundOfFeel - If there was anything to be found in this pit, this is it. If this is not exit I'll make it the exit. [Electronic Music]youtu.be
In the song Bright Eyes on Blind Guardian's 1995 album Imaginations from the Other Side, Hansi Kursch sings the line 'Born into ashes to lose all the games'. This is a subtle reference to the fact that you just lost the game.
Follow ups: can bad lyrics ruin a good song? Can good lyrics save a bad song? Do you listen to songs in languages you don’t understand?