Word: gospels
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Dates: during 1970-1979
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...regular at services. "If you asked him a question, Price would always give a much more relativist view. If you asked him, for example, 'Does God exist?' his answer would be something like 'It depends on the individual's belief.' Gomes's answer would depend more on the Gospel...
...Flowers (a rock piece based on the life and death of Janis Joplin) and Masekela Langage (a militant, African-flavored work about the effect of violence on lives today). If there was a showstopper, it was Ailey's early (1960) Revelations, a scintillating fusion of jazz, folk and gospel, as well as a showcase for the art of Ailey's premiere danseuse Judith Jamison. Elegant of long limb, eloquent of stride and poise, Jamison epitomizes Ailey's ideal of the total dancer. Ailey has created a work that has become for Jamison the kind of showpiece that...
...blues, some jazz--and the distinctive southern R 'n' B played in Muscle Shoals, Alabama. Traffic's last rhythm section, bassist Ric Grech and Jim Gordon on drums, were rockers, pure and simple, particularly Gordon's white rock/gospel/white R 'n' B background. (He was with the originators of white gospel, Delaney and Bonnie, as well as with Cocker, Leon Russell, and Derek's Dominos). New members Roger Hawkins and David Hood, on drums and bass, are from the Muscle Shoals house band, probably the second or third best studio soul band in the country...
THERE are Jesus posters, Jesus pins, Jesus watches and even Jesus T shirts. Now there is a Jesus deck-the standard deck of playing cards made into a colorful bit of Gospel propaganda by Manhattan's U.S. Games Systems. Clubs, diamonds, hearts and spades become the suits of Luke, Matthew, Mark and John. The cards carry the evangelists' traditional symbols: the winged ox for Luke, the winged man for Matthew, the winged lion for Mark, the eagle for John. The standard 13-card suits prevail, designated one through king, but every card is a "picture" card, decorated with...
...well as his voice, first projected himself as a sort of sad-clown chronicler of Middle America (Nobody Cares About the Railroads Anymore, Mr. Tin ker), now is a zany mod-rocker (Coconut, Spaceman). In the poised, warmly expressive style of Flack, 33, the earthy emotions of gospel (Told Jesus) mix with the more polished, sinuous phrasing of jazz (Tryin' Times...