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Sunday, March 4, 2018

Five Renditions Of The Gospel Song "Hallelujah, Salvation, And Glory" (actual title: "Revelation 19:1")

Edited by Azizi Powell

This pancocojams post showcases five renditions of the Gospel song "Revelations 19", which is more widely known as "Hallelujah, Salvation, and Glory".

The content of this post is presented for religious and aesthetic purposes.

All copyrights remain with their owners.

Thanks to A. Jeffrey LaValley, the composer of this song and thanks to the singers who are showcased in this post. Thanks also to all those who are quoted in this post and thanks to the publishers of these videos on YouTube.

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INFORMATION ABOUT THIS SONG
From http://journalofgospelmusic.com/contemporary/genesis-of-a-gospel-song-revelation-19-a-jeffrey-lavalley/
"Genesis of a Gospel Song: “Revelation 19” (A. Jeffrey LaValley)
Posted by: Bob Marovich in Contemporary Gospel, Genesis of a Gospel Song, Interviews October 3, 2015
[interview with] "A. Jeffrey LaValley....
“Revelation 19” was an accident. We were in communion service [at New Jerusalem Baptist Church] one Sunday evening in 1985, and the spirit was high. My pastor was standing in the pulpit with his Bible. He walked over to the organ. He flings the Bible on the organ and says, “Sing this.” I said, “Excuse me?” He said, “Sing this.” The Bible was turned to Revelation 19:1.

You really have to know your ministry, and singing is not mine. The pastor walked back to his pulpit, and I didn’t know what to do, so I began singing the first melody that came into my mind. It was basically the first verse of the song. I sang the verse over and over. Finally the choir joined in unison, and then the congregation joined in, and everybody kept at it.

I figured this was it, because I was going to forget the song and the people were going to forget it. But the sound man, who never taped communion service, just happened to tape that communion service. He gave a copy of the tape to me.

At that point, we were preparing the His Eye Is On the Sparrow album and we needed a filler cut. So I took that tape and added the “For the Lord Our God is Mighty” section, and did the little descant, and taught it to the choir. But Bishop said, “You’re not leaving me out of this; I want to add words on this one.” And that’s how it all happened.

I never expected “Revelation 19” to resonate with people as it has. When Stephen Hurd re-recorded it, that’s when I knew it was a hit. Israel Houghton did it in one of his Christmas medleys. I got a CD from people in Germany singing my song. Dr. Robert Townsend introduced it to the people at Hal Leonard Publishing. It’s probably my most popular tune.

It is a very humbling thing because it was just something that happened. Most people would say it was a God movement."...
-snip-
A. Jeffrey LaValley is an African American man.

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SHOWCASE VIDEOS
Example #1: "Hallelujah, Salvation, And Glory" United Voices Choir w/ Stephen Hurd



Inside FBCG, Published on Dec 15, 2011

First Baptist Church of Glenarden

Pastor John K. Jenkins Sr.

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Example #2: Voices of Eden -- "Hallelujah, Salvation & Glory" (Revelations 19:1)



Voices of Eden Gospel Choir at the University of North Carolina at Charlotte. Fall 2014 Tour: Nursing Home Visit (Savannah, GA) -- November 15, 2014. Performing "Revelations 19:1", better known as "Hallelujah, Salvation and Glory" by New Jerusalem Baptist Choir.

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Example #3: Hallelujah Salvation and Glory



Theo Milford, Published on Feb 23, 2015

Metro SDA Praise Team

Band

Piano - Josh Davies
Bass - Robert Herbert (MD)
Drums - Jared Collins
Hammond - Jason Craig
Guitar - Ron Collins

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Example #4: Hallelujah, Salvation and Glory - DCT SDA Praise & Worship [8/05/17]



dallascitytemple, Published on Aug 10, 2017

http://dallascitytemple.org/
Choir led by Adolphus Dean
Live Streaming Every Saturday at 11:00 a.m
-snip-
Notice the Black American custom that is particularly shown in this video of people standing up during a performance of a song because they are moved by the song's words and/or the way the song is being performed. Also, notice how a song can end and then continue again after someone gives remarks (known as "a testimony") related to that song.

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Example #5: "Revelation 19:1" sung by the Brooklyn Tabernacle Choir



Matthew Grant, Published on Dec 13, 2017

Revelation 19:1: written by Jeffery LaValley. On the New Jerusalem Baptist Choir album "His Eye is on the Sparrow." Year 1985.

[Chorus]
Hallelujah, salvation and glory.
Honor and power unto the Lord our God.
For the Lord our God is mighty.
Yes the Lord our God is omnipotent.
The Lord our God, He is wonderful.
(repeat)

[Bridge]
(Altos)
All praises be to the King of kings.
For the Lord our God, He is wonderful.
(repeat)

(Sopranos)
Hallelujah, hallelujah, hallelujah, hallelujah, hallelujah, hallelujah.
He is wonderful.
(repeat)

(Tenors)
Hallelujah, salvation and glory.
Honor and power, He is wonderful.

(repeat Bridge with Altos, Sopranos and Tenors singing all at once)

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LYRICS: HALLELUJAH, SALVATION, AND GLORY

(All)
Hallelujah, salvation, and glory
Honor, and power unto the Lord our God. For the Lord our God is mighty. The Lord our God is omnipotent. The Lord our God, he is wonderful.

(Altos)
All praises be to the King of Kings
And the Lord of Lords. He is wonderful!

(Add Sopranos)
Hal-le-lu-jah, Hallelujah, Hallelujah, Hallelujah, Hallelujah, Halle-lu-jah, He is wonderful.

(Add Tenors)
Hallelujah, salvation, and glory
Honor, and power, He is wonderful.

(Vamp* to the end)


Source: http://www.joyfulvoices.org/Lyrics%20Project/PDFs/Hallelujah%20Salvation%20And%20Glory.pdf

-snip-
*
https://en.wikipedia.org/wiki/Ostinato#Vamp
"In music, a vamp is a repeating musical figure, section,[42] or accompaniment used in blues, jazz, gospel, soul, and musical theater.[43] Vamps are also found in rock, funk, reggae, R&B, pop, country, and post-sixties jazz.[42] Vamps are usually harmonically sparse:[42] A vamp may consist of a single chord or a sequence of chords played in a repeated rhythm. The term frequently appeared in the instruction 'Vamp till ready' on sheet music for popular songs in the 1930s and 1940s, indicating the accompanist should repeat the musical phrase until the vocalist was ready. Vamps are generally symmetrical, self-contained, and open to variation"...

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