I heard an old, old story, How a Savior came from glory, How He gave His life on Calvary To save a wretch like me; I heard about His groaning, Of His precious blood's atoning, Then I repented of my sins And won the victory. Chorus O victory in Jesus, My Savior, forever. He sought me and bought me With His redeeming blood; He loved me ere I knew Him And all my love is due Him, He plunged me to victory, Beneath the cleansing flood. I heard about His healing, Of His cleansing power revealing. How He made the lame to walk again And caused the blind to see; And then I cried, "Dear Jesus, Come and heal my broken spirit," And somehow Jesus came and brought To me the victory. I heard about a mansion He has built for me in glory. And I heard about the streets of gold Beyond the crystal sea; About the angels singing, And the old redemption story, And some sweet day I'll sing up there The song of victory. Enjoy and Be Blessed!!!
Recorded: Dallas, June 20, 1937 Robert Johnson (g) (vcl) Robert Leroy Johnson (May 8, 1911 -- August 16, 1938) is among the most famous of Delta blues musicians. His landmark recordings from 1936--1937 display a remarkable combination of singing, guitar skills, and songwriting talent that have influenced generations of musicians. Johnson's shadowy, poorly documented life and death at age 27 have given rise to much legend. Considered by some to be the "Grandfather of Rock 'n' Roll", his vocal phrasing, original songs, and guitar style have influenced a broad range of musicians, including Muddy Waters, John Fogerty, Bob Dylan, Johnny Winter, Jimi Hendrix, The Yardbirds, Cream, Led Zeppelin, The Allman Brothers Band, The Rolling Stones, Paul Butterfield, The Band, Neil Young, Warren Zevon, Jimmy Page, Jeff Beck, Robert Palmer, Jack White and Eric Clapton, who called Johnson "the most important blues musician who ever lived". He was also ranked fifth in Rolling Stone's list of 100 Greatest Guitarists of All Time. He is an inductee of the Rock and Roll Hall of Fame. Robert Johnson was born in Hazlehurst, Mississippi probably on May 8, 1911, to Julia Major Dodds and Noah Johnson. Julia was married to Charles Dodds, a relatively prosperous landowner and furniture maker to whom she had borne 10 children. Dodds had been forced by a lynch mob to leave Hazlehurst following a dispute with white landowners. Julia herself left Hazlehurst with baby Robert, but after some two years sent ...
Swoon is a Brooklyn-based artist whose life-sized woodblock and cut-paper portraits hang on walls in various states of decay in cities around the world. She has designed and built several large-scale installations, most notably the Swimming Cities of Switchback Sea at Deitch Projects in 2008. Her pieces have been collected by The Museum of Modern Art, Brooklyn Museum of Art, & the Tate Modern. Major pieces have appeared at PS1, Yerba Buena Center for the Arts, and Black Rat Press. Swoon is also an instigator and a collaborator. She founded the Toyshop collective and the Miss Rockaway Armada, and is a member of Just Seeds and the Transformazium. Since 2006 she has organized four large-scale raft projects and floated down the Mississippi and Hudson rivers with them. Most recently, she and her collaborators designed a flotilla of sea-going rafts that invaded the 2009 Venice Biennale. Her artistic process is predicated on the belief that art is an immersive, provocative, and transformative experience for its participants. Although her aesthetics can be seen as an outgrowth of street art, her engagement with ethical living and making art share a close kinship with the idealism of off-grid, barter-based cultures and economies based on sharing. She uses scavenged and local materials and embraces print media as a potent means of action for social change. What is TEDx? In the spirit of ideas worth spreading, TED has created a program called TEDx. TEDx is a program of local, self ...
democracynow.org - In a Black History Month special, Democracy Now! airs an extended interview with the legendary pianist and composer Randy Weston. For the past six decades, Weston has been a pioneering jazz musician incorporating the vast rhythmic heritage of Africa. His most famous compositions include, "Little Niles," "Blue Moses," and "Hi-Fly," and his 1960 album, "Uhuru Afrika," was a landmark recording that celebrated the independence movements in Africa and the influence of traditional African music on jazz. The record, which began with a freedom poem written by Langston Hughes, would later be banned by the South African apartheid regime, along with albums by Max Roach and Lena Horne. In 1961, Randy Weston visited Africa for the first time as part of a delegation that also featured Nina Simone. The trip would transform Weston's life and lead him to eventually moving to Africa in 1967. In 2001, he was named a Jazz Master by the National Endowment for the Arts — it is considered to be the nation's highest honor in jazz. Weston talks about his collaboration with Langston Hughes, how Marcus Garvey and Paul Robeson influenced his life, his friendship with the Nigerian afrobeat star Fela Kuti, and his success with "having people understand the impact of African rhythms in world music, whether it's Brazil or Cuba or Mississippi or Brooklyn. If you don't have that African pulse, nothing is happening," Weston said. Now 85 years old, Weston continues to tour the world, and ...
Again talking about the Northern Clubs and how he get appreciative e-mails from fellow acts thanking him for the song Penny Arcade, especially when things are not going well, they know Sammy's song "Penny Arcade" is a guarantee floor filler. How many artist would go on a show and say that the biggest song they ever wrote is not there favourite and that there are people who hate it., no problem for Sammy with not a pretentious bone in his body. A true Northerner! Listen to this guy, you could book him to talk about his life on the Northern club circuit, far more interesting than watching a load of wannabe's found on TV today. Sammy is a true living history of those times. Sammy then goes on to talk of meeting Roy Orbison and tells of a song he'd wrote called Mississippi Fireball playing it for The Big O, however he said whilst it was a good song but not for him, casually mentioning it would be great for Elvis.