Making a little music with my friends...
"I'll Fly Away", is a song written in 1929 by Albert E. Brumley and first published in 1932. It's an old gospel favorite recorded by many artists over the years, such as Willie Nelson. Here's our down-home addition to the tradition...
Vocals: Roxylee, Richard Schletty, Jack Miller
Mixing by Rich-Sir-Mix-a-Lot and Jack.
Guitar and harmonica by me.
Showing posts with label music. Show all posts
Showing posts with label music. Show all posts
Tuesday, May 26, 2015
Wednesday, January 1, 2014
Sweet Lorraine...
Folk rock tune to bring in the new year. I was hoping to have this completed to post on the first day of the year. Made it!
Many thanks Vic Holman, the dean of electric guitar, for adding his slide guitar. We've done many
songs together over the years (Goodwillys and duo collabs) and I continue to be impressed with his talent and generosity.
Vocals, guitar, harmonica, bass, organ, drums: Jack
Slide guitar: Vic
Visit Jack Miller's Site At
http://macidol.com
For More Music
Lyrics:
Come to me Sweet Lorraine
I'm calling to you once again
The time is long past to remain, so
Come to me Sweet Lorraine
Oh, you know I didn't want to go
I have no bags to unpack
The wise men counseled me to just lay low
Now there's no turning back
Come to me Sweet Lorraine
Gather all that you've been given
To the coastland o're the sea
Come to me Sweet Lorraine
The plan has change, we're much older now
It really never had a chance
I thought you knew it was just a dream
I wasn't sure myself
Come to me Sweet Lorraine
Let me hold you in the night
I'll light the candle once again
Come to me Sweet Lorraine
I know that I may have let you down
Being gone all these days
And if I could come back, you know I would
But Lorraine, you know my ways
[Harmonica break]
Was it our bad luck to take this road?
We didn't plan it well
Yet the wrong turns have turned out all right
Heaven instead of hell
Come to me Sweet Lorraine
Don't delay anymore
Take a boat or fly a plane, just
Come to me my Sweet Lorraine.
Many thanks Vic Holman, the dean of electric guitar, for adding his slide guitar. We've done many songs together over the years (Goodwillys and duo collabs) and I continue to be impressed with his talent and generosity.
Vocals, guitar, harmonica, bass, organ, drums: Jack
Slide guitar: Vic
Visit Jack Miller's Site At
http://macidol.com
For More Music
Lyrics:
Come to me Sweet Lorraine
I'm calling to you once again
The time is long past to remain, so
Come to me Sweet Lorraine
Oh, you know I didn't want to go
I have no bags to unpack
The wise men counseled me to just lay low
Now there's no turning back
Come to me Sweet Lorraine
Gather all that you've been given
To the coastland o're the sea
Come to me Sweet Lorraine
The plan has change, we're much older now
It really never had a chance
I thought you knew it was just a dream
I wasn't sure myself
Come to me Sweet Lorraine
Let me hold you in the night
I'll light the candle once again
Come to me Sweet Lorraine
I know that I may have let you down
Being gone all these days
And if I could come back, you know I would
But Lorraine, you know my ways
[Harmonica break]
Was it our bad luck to take this road?
We didn't plan it well
Yet the wrong turns have turned out all right
Heaven instead of hell
Come to me Sweet Lorraine
Don't delay anymore
Take a boat or fly a plane, just
Come to me my Sweet Lorraine.
Wednesday, July 3, 2013
Stepping back for a while...
I'm going to step back from blogging for a little break. See you sometime in the not too distant future.
Hand in hand, we walked that road
They spoke of things- we were never told
Daylight promised- in the night
Drifting near to the edge.
They called to everyone, come this is the way
Thousands in unison, as scripted in a play
Lifting desires- to an empty throne
Drawing near to the edge
To a pilgrim of the tide
Said, I was here just for the ride
As the doorman asked for my pledge
I stepped back, stepped back from the edge.
Turning away, we took another path
The climb was steep, the die was cast
And as we walked along- we left behind our past
Stepping back from the edge.
Raindrops fell, washed away our tears
What we lost was nothing- more than our fears
And as we dreamed- we fell to sleep
Walking back from the edge.
To a pilgrim of the tide
Said, we were here just for the ride
As the doorman asked for our pledge
We stepped back, stepped back from the edge.
Copyright 2008 Jack Miller
Hand in hand, we walked that road
They spoke of things- we were never told
Daylight promised- in the night
Drifting near to the edge.
They called to everyone, come this is the way
Thousands in unison, as scripted in a play
Lifting desires- to an empty throne
Drawing near to the edge
To a pilgrim of the tide
Said, I was here just for the ride
As the doorman asked for my pledge
I stepped back, stepped back from the edge.
Turning away, we took another path
The climb was steep, the die was cast
And as we walked along- we left behind our past
Stepping back from the edge.
Raindrops fell, washed away our tears
What we lost was nothing- more than our fears
And as we dreamed- we fell to sleep
Walking back from the edge.
To a pilgrim of the tide
Said, we were here just for the ride
As the doorman asked for our pledge
We stepped back, stepped back from the edge.
Copyright 2008 Jack Miller
Friday, December 3, 2010
Worship Acceptable to God through Christ Jesus...
R.S. Clark has a new post at Heidelblog titled The Scandal of Pagans Leading Worship commenting on the rising trend of pastors and clergy allowing "those who make no Christian profession, who regard themselves as non-Christians, non-believers, those we used to call “heathen” or “pagans” to lead worship through leading or playing musical instruments."
This is a timely essay by Scott on a wayward drift that touches too many churches today. It seems that the before-unheard-of idea of "inclusiveness of unbelievers" for the purpose of music in Christian worship is a growing phenomenon; unfortunately one that moves the church in the direction of the muting of the Gospel to the ears of the very unbelievers brought in to aid worship. The rationale, apart from the increased aesthetic of music and singing, is that the talented unbeliever will be exposed to the Gospel. Really? The bright line between lost sinners under God's wrath and the merciful salvation offered in Christ is blurred as churches elevate the vehicle of music aesthetic in worship to a place of importance at or above that of the Word. I was in a church that had unbelieving "cantors" (and, more or less, promoted the idea). Beautiful singing... inspiring! And after two years they moved on to another gig. How can the Gospel be a clear call of repentance and faith to the lost who have already been brought into the worship of the Most High?
Dr. Clark writes:
"Nowhere does the spiritual and epistemic antithesis come to a clearer expression in Holy Scripture than when it considers public, corporate worship. We live in the world, under God’s common providence, with unbeliever’s sharing (Matt 5:48) in God’s common gifts to humanity but when we gather, on the Sabbath, for Christian worship, we withdraw from the common into a special, sacred space and time. It is not a time to celebrate our common humanity with non-believers, it is not a time for cultural, artistic expression and achievement. It is a time to bow before the face of our Holy Triune God and worship him as he as commanded (WCF 21.1). In this sense, holiness is about distinction (antithesis) between belief and unbelief. To make something sacred is to set it aside. That’s what we are, in corporate worship, God’s holy people, his holy priesthood (1 Pet 2:5), a holy temple. It is then that we express our status as a “holy nation” (1 Pet 2:9)."
Amen.
This is a timely essay by Scott on a wayward drift that touches too many churches today. It seems that the before-unheard-of idea of "inclusiveness of unbelievers" for the purpose of music in Christian worship is a growing phenomenon; unfortunately one that moves the church in the direction of the muting of the Gospel to the ears of the very unbelievers brought in to aid worship. The rationale, apart from the increased aesthetic of music and singing, is that the talented unbeliever will be exposed to the Gospel. Really? The bright line between lost sinners under God's wrath and the merciful salvation offered in Christ is blurred as churches elevate the vehicle of music aesthetic in worship to a place of importance at or above that of the Word. I was in a church that had unbelieving "cantors" (and, more or less, promoted the idea). Beautiful singing... inspiring! And after two years they moved on to another gig. How can the Gospel be a clear call of repentance and faith to the lost who have already been brought into the worship of the Most High?
Dr. Clark writes:
"Nowhere does the spiritual and epistemic antithesis come to a clearer expression in Holy Scripture than when it considers public, corporate worship. We live in the world, under God’s common providence, with unbeliever’s sharing (Matt 5:48) in God’s common gifts to humanity but when we gather, on the Sabbath, for Christian worship, we withdraw from the common into a special, sacred space and time. It is not a time to celebrate our common humanity with non-believers, it is not a time for cultural, artistic expression and achievement. It is a time to bow before the face of our Holy Triune God and worship him as he as commanded (WCF 21.1). In this sense, holiness is about distinction (antithesis) between belief and unbelief. To make something sacred is to set it aside. That’s what we are, in corporate worship, God’s holy people, his holy priesthood (1 Pet 2:5), a holy temple. It is then that we express our status as a “holy nation” (1 Pet 2:9)."
Amen.
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