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10 Songs of Mercy and Reconciliation to Melt a Heart of Stone

There are literally dozens of beautiful songs on the themes of mercy , reconciliation , forgiveness and repentance that would be perfect for the season. We do have a few firm favourites though – the songs that are always at the top of the list when we are planning a service of reconciliation.

These songs work well before or after an examination of conscience ; or during an open time of opportunity for the Sacrament of Reconciliation ; or just as part of your own prayer journey during – especially during Lent.

Although most parishes will find themselves celebrating Lent in lockdown for a second time in 2021, these songs can still be incorporated into masses and prayer times through remote recording or by playing the songs during online liturgies.

It’s pretty difficult to pick an absolute favourite – these songs are very different. While some are great congregational songs, others are better as solos or choir songs. So, to make this simple we’ve listed them in alphabetical order .  Here goes…

1. COME BACK TO ME by Gregory Norbet

Based on Hosea, this 80’s folk hymnal classic got a modern re-working on the  Boyce and Stanley  album  Age to Age II – The Journey Continues   and remains a great gathering song for reconciliation services.

“Long have I waited for you coming home to me and living deeply our new life.”

In this song, as in the book of Hosea, a wayward people is invited to return to God, who waits for us as the Bridegroom awaits his Bride.

Recorded on the Boyce & Stanley album Age to Age II: The Journey Continues  Listen to Come Back to Me on Spotify  From the Boyce & Stanley Album Age to Age II: The Journey Continues   (Available on iTunes )

2.  FATHER I HAVE SINNED (THE PRODIGAL SON)  by Eugene O’Reilly CSsR

Every Lent this is one of the   most searched-for songs on our website .  It’s a simple song, based on the story of the Prodigal Son and has really stood the test of time.  Each of the verses is take on the Prodigal’s well-rehearsed plea for forgiveness –   “I will go to my father and say I have sinned against heaven and against you”  {Luke 15:18}

In the chorus we hear the echo of the Father’s merciful response:

“I forgive you, I love you you are mine, take my hand Go in peace, sin no more Beloved one”

Chord Sheet is available here Sheet Music is available here  Available in the CJM MUSIC  Rejoice ‘n’ Sing Collection

3. I BELONG by Kathryn Scott

Based on  Romans 8:38-39 , this song gently reminds us that no circumstance or sin can separate us from the love of God. And it reminds us whose we are. We fall into sin when we forget that we are His, and we get distracted by the many temptations, demands and challenges of life.

“Nothing can take me from your great love Forever this truth remains I belong, I belong to you…”

Singing this simple refrain “ I belong, I belong to you ” is like the cry of the Prodigal overwhelmed in the loving embrace of a Forgiving Father. Just beautiful.

Jo Boyce’s interpretation of this song features on her debut solo EP In God Alone as a moving duet with drummer and guitarist, Emily Clark .

Recorded on the Jo Boyce EP  In God Alone  Listen to In God Alone on Spotify  From the Jo Boyce EP  In God Alone   (Available on iTunes )

4. KYRIE ELEISON by Keith Getty & Stuart Townend

We love this song for the call to justice inspired by the verses.  It reminds us that we sin not just by what we do, but also by what we  fail to do  for those most in need in our world. It’s also a great song for helping us to focus our works of justice, charity and alms-giving .

As we come before You With the needs of our world, We confess our failures and our sin, For our words are many Yet our deeds have been few; Fan the fire of compassion Once again.

The beautiful refrain, with its South African influence , can also be used alone as a sung response.

Kyrie Eleison (Audio Sample)

 Listen to Kyrie Eleison on Spotify  From the Keith & Kristyn Getty album Hymns for the Christian Life   (Available on iTunes )

5. MAKE ME HOLY  by Aaron Thompson

This song is prayer that God will transform us and make us holy and he is holy. It’s a powerful prayer when we consider that the words heal , whole and holy have the same root.

“Redecorate me from within Refurnish me with sacredness rebuit me with a yearning love for you”

Many times in the scripture God promises to cleanse, heal and restore us . He promises to take our hearts of stone and give us hearts of flesh {Ezekiel 36:26}. All we have to do is come before him with humble, contrite heart, ready to change.

Chord Sheet is available here Recorded on CJM MUSIC’s   How Can We Keep From Singing?: Volume 2

6. REMEMBER NOT THE THINGS OF THE PAST by Bod Hurd

Inspired by Isaiah 43:18, this song reminds us of God’s redeeming action prefigured in the Old Testament and brought to completion in Jesus’ sacrifice on the Cross.

Remember not the things of the past, now I do something new… Do you not see it?

Just as God led his people out of slavery in Egypt, the promise of the New Covenant is that he will lead us now, out of darkness and sin, to new life in Christ.

Sheet Music  is available here Recorded on CJM MUSIC’s   How Can We Keep From Singing?: Volume 3

7. SHOW MERCY by Jo Boyce

This song was written as the  Penitential Rite for the Soli Mass  (before the 2010 revised translation).  The three verses follow a Trinitarian formula – focussing first on the forgiving mercy of the Father; then the loving sacrifice of the Son, and the healing action of the Spirit.

“Show mercy to us loving Father We have sinned against you, please make us anew…”

This setting remains a firm favourite because of the accessible melody – simple enough for a whole congregation of all ages to sing.

  Sheet Music is available here Recorded on CJM MUSIC’s   Rejoice ‘n’ Sing Collection

8. SONG OF THE PRODIGAL   by Jo Boyce

In many ways this is Peter’s song.  The song of the disciple who is declaring their love of the Lord one minute and conveniently denying the Lord with their next breath.

But still I leave you Lord and go walking my own way; I don’t deserve you, Lord…

Although we desperately want to be faithful disciples, we spend so much of our time being Reluctant Discple’s   (as our friend David Wells puts it in his book), forever on a journey of repentance and re-conversion.

  Chord Sheet is available here   Sheet Music is available here Recorded on CJM MUSIC’s   Rejoice ‘n’ Sing Collection

9. TURN MY HEART by Marty Haugen

There are a couple other Marty Haugen songs we could have listen here – Return to God and Come, Let us Return to the Lord (see how we sneaked them in anyway…) We chose Turn My Heart  over the others because of the accessible  litany-style verses .

 From the Marty Haugen Album Turn My Heart   (Available on iTunes )  Listen to  Turn My Heart on Spotify

10. WERE I THE PERFECT CHILD  by John L. Bell

These wonderful words are set to a traditional Scottish melody. There’s a lovely version recorded by Tony Alonso and Michael Mahler on the album  Songs from Another Room .   The first verse concedes how our imperfect human nature foils all our best attempts to be faithful disciples of Christ.

“Were I the perfect child of God Whose faith was deep and love was broad, Not doubtful, guilty, worn or flawed, I’d gladly follow Jesus.”

  Listen to  Were I the Perfect Child on Spotify  From the Tony Alonso & Michael Mahler  Album Songs from Another Room   (Available on iTunes )

We could go on…

There are so many others we could share, but these 10 are a great starting point . Music is such a powerful way to turn hearts and minds towards God. Many of these songs have moved us to tears  on various occasions over the years. We pray that they will move you too, as you experience the embrace of a loving and merciful Father .

What are your favourite songs of mercy and reconciliation? We’d love to hear from you in the comments below…

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Title correction: “GOD OF MERCY AND COMPASSION” Verse: God of mercy and compassion, look with pity upon me. Father let me call Thee Father, ‘tis thy child return to Thee. REFRAIN: Jesus Lord, I ask for mercy, let me not implore in vain. All my sins I now detest them, never will I sin again.

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Jo Boyce is a singer, songwriter, musician and co-founder of CJM MUSIC, a UK-based Catholic music ministry. CJM MUSIC reaches tens of thousands of people across the UK and beyond, sharing tools, resources and training for those involved in the Liturgy - the source and summit of our Catholic Faith.

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Program: The J Files

The J Files: Songs of Reconciliation

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Aboriginal and Torres Strait Islander people are advised that this program contains images and voices of people who have died.

For Reconciliation Week 2021, we explore some of the most powerful and enduring protest songs written by First Nations artists across the past 90 years.

These songs give an insight into the plight of Indigenous people in modern Australian society, and the ways in which they've been mistreated, misunderstood, and unheard.

They occasionally show us how far we've come. Mainly, they show us how far there is to go before we achieve genuine reconciliation.

The writers of these songs often show us clear paths towards reconciliation through their work. In sharing their powerful words, they also share the pain and trauma of their elders, their families and themselves.

It's on all of us to listen, learn, and act, so they are not reliving this hurt in vain.

Join Caz Tran and Nooky for the Songs of Reconciliation J Files.

Listen to it above, on the ABC Listen or triple j app, or follow the podcast right here .

Blackfella/Whitefella

Warumpi Band

Big Name, No Blankets

The Coloured Lad

Jimmy Little

Buried Country

Treaty (Filthy Lucre Edit Remastered)

Yothu Yindi & Gavin Campbell

Treaty (25th Anniversary Remixes)

Gurindji Blues

Galarrwuy Yunupingu

Buried Country: An Anthology Of Aboriginal Country Music

A Change Is Gonna Come [triple j live recording, Sounds Of Survival Festival]

Ruby Hunter

Live At The Wireless On Double J

Took The Children Away

Archie Roach

Charcoal Lane

Aboriginal Land

Nadeena Dixon

Song Bird Calling

Always Was Always Will Be

Karnage n Darknis

Brisbane Blacks

Mop & The Dropouts

Best Of Koori Classics

Fight For Your Right

Ilkari Maru

Bagi-La-M Bargan [Ft. Fred Leone]

Bagi-La-M Bargan

Thou Shalt Not Steal

Kev Carmody

Pillars Of Society

Black Life Matters [Ft. Ellie May]

Black Life Matters

Blood Cells

Malcolm Smith

Sing About Life

From Little Things Big Things Grow

Paul Kelly & Kev Carmody

Black Thoughts

January 26 [Ft. Dan Sultan]

A.B. Original

Reclaim Australia

Black & Deadly

The Last Kinection

Solid Rock [Ft. Shannon Noll]

Street Warriors

Better In Blak

Thelma Plum

Better In Blak - Single

Sleeping Tiger On The Bund

Mindy Meng Wang & Tim Shiel

Nervous Energy

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Journey of Reconciliation

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Mortification is an Australian Christian extreme metal band which was formed in 1987 as a heavy metal group, Lightforce, by mainstay Steve Rowe on bass guitar and vocals. By 1990, in the Melbourne suburb of Moorabbin, they were renamed as Mortification with the line-up of Rowe, Michael Carlisle on guitar and Jayson Sherlock on drums. Mortification has released over twenty albums and several videos on major record labels such as Nuclear Blast. As one of the earliest internationally successful Christian death metal bands from Australia, they served as an inspiration for later similar groups. more »

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In This Reconciliation

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Find in this reconciliation in:.

Rise Up & Sing, Third Edition

Enter the Journey

Never Too Young: Spirit & Song for Young People

Song Story | “Reconcile”

Christ has given us the ministry of reconciliation. I recently released “Reconcile.” It is a song of prayer for the church about unity and reconciliation. The weight of this message right now is not lost on me. The Lord has been leading me on a journey of understanding His heart for unity for His people.

When I was a young girl, I remember encountering division for the first time. I saw it in families, people groups, churches…it hit me deeply in my spirit. Something inside me knew that was not the life we were meant to lead. He writes His truths on our hearts – Romans 2:15. I love the way the spirit reveals things to us we may not even fully understand yet. 

My heart longed to see people loving each other and coming together. I couldn’t reconcile my feelings for unity with what my eyes were seeing. I began to pray that the father would teach me how to truly love everyone He placed in my life.

That prayer marked my heart. It led me to Jesus. I’m so thankful for Jesus. The way He loves us and models how to walk in that love in a broken world that is being reconciled to Him. Love one another – John 13:34-35 “I give you a new command: Love one another. Just as I have loved you, you must also love one another. By this all people will know that you are My disciples, if you have love for one another.”

The father has taken me on a journey of humility. I am still only just beginning to learn what this ministry of reconciliation means. Each day I pray that I will grow in understanding my part in Christ’s reconciliation on this earth. Each of us has been given a part of this ministry. 

I wrote this song alongside DOE, Aaron Moses, Ryan Ofei and Kristian Stanfill. Since we finished this song, this prayer for unity has taken an even greater hold on me. Shining a light on my heart and exposing areas that desperately need the redemptive work of Christ’s reconciliation. Understanding the gift of forgiveness and grace in my own life. And how to extend that which was given to me, to others. 

Do I look like the hands and feet of Jesus? Walking in constant love and continuing the work of Christ’s ministry of reconciliation? I pray you ask these questions in your own heart. As you listen to the song, our hope is you would pray those words with us. “Jesus come and reconcile your body.”

“…He has committed to us the message of reconciliation. 20 We are therefore Christ’s ambassadors…” – 2 Corinthians 5:19

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The Kinks’ Ray Davies on the song he wants played at his funeral

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Since the 1980s, Ray Davies has intermittently led a seminar for aspiring songwriters through England’s Arvon Foundation — a side hustle he landed, of course, as a result of the dozens of classic tunes he penned as frontman of the Kinks, including “You Really Got Me,” “All Day and All of the Night,” “Tired of Waiting for You,” “Stop Your Sobbing,” “Sunny Afternoon,” “Waterloo Sunset,” “Lola” and “Come Dancing,” among many others.

Yet ask Davies, 78, which of these was the first to make him feel like he was a real songwriter, and he’ll tell you he’s not sure he’s one even now.

“What I usually say to the students before I start the course is, ‘I can’t teach you anything,’” he says, chuckling dryly, over Zoom from his home in the U.K. “‘Real songwriter’ gives me an image of a guy from Tin Pan Alley or the Brill Building — like Neil Sedaka. I think I’m still trying to find out if I’m that good.”

Caveat thus offered, Davies agreed to look back at — and to classify — some of the high points of his career with the Kinks, which he formed in 1963 with his younger brother Dave Davies on guitar and which became one of the key acts of the British Invasion (at least until they were temporarily banned from entering the U.S. in 1965 amid a dispute with the American musicians’ union).

Though never as popular as the Beatles or the Rolling Stones, the Kinks covered no less musical ground, blending elements of rock, folk, pop, country, R&B and British music hall in detailed songs about the lives of English people; the band, rounded out at the beginning by drummer Mick Avory and bassist Pete Quaife, also helped lay the groundwork for garage rock and heavy metal, thanks in large part to Dave’s blistering guitar work. Among their punk successors were the Buzzcocks and most famously the Jam; later inheritors include Yo La Tengo, Fountains of Wayne and any number of acts associated with the Britpop movement of the mid-1990s.

The Kinks, who broke up in 1996 but who seem always on the verge of reuniting, collect 36 of their songs on a new compilation titled “The Journey — Part 1.” A second volume is due later this year.

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The most British song in the Kinks’ catalog: “A Well Respected Man” (1965)

In an era when many of his peers had their sights set on America, Davies wrote with remarkable sympathy about working-class Brits — about their goals and their resentments and about the sometimes-crushing weight of the country’s traditions. “While lots of bands sang in American accents, we were singing in London accents,” he says. He could also rail against the U.K.’s upper crust, as in this crisp but savage portrait of a privileged guy eager to “grab his father’s loot when pater passes on.”

The song that makes Davies think of his mother: “Waterloo Sunset” (1967)

“Unlike many other rockers, I always cared what my parents thought of my music,” says Davies, who adds that, even as a younger man, “I was writing songs for older people.” He recalls playing “Waterloo Sunset” — a gently psychedelic pop tune in which the narrator watches two lovers cross a bridge over the River Thames — for his mother and his older sister Rose and being buoyed by their enthusiasm. The song, which paints a modest scene in almost unbearably pretty colors, “says a lot about people of [my mother’s] postwar generation living in austerity in London. I was a strange kid, not very sociable, but I think with this song she finally understood me a bit.”

The song that makes him think of his father: “ Alcohol ” (1971) A “true Kinkophile,” the singer says, Davies’ father “would have related to this tale of the decline of a philanderer” from the Kinks’ bluesy-rootsy “Muswell Hillbillies” album, which was inspired by the North London neighborhood in which the Davies brothers grew up.

The song that most rips off one of Davies’ heroes: “ So Mystifying ” (1964) To Davies’ ears, this propulsive cut from the Kinks’ self-titled debut makes clear the debt he and his brother owed Chuck Berry, whom he calls “one of the underrated poets in American culture.”

The most depressing song he ever wrote: “Dead End Street” (1966)

“What are we living for? / Two-roomed apartment on the second floor,” Davies sings in this stark hard-times lament. “Yet it’s not actually meant to be depressing,” he clarifies, adding that he thinks of the song as “musical journalism: You’re conveying the bleakness of a real situation through an art form.”

The most misanthropic song he ever wrote: “ 20th Century Man ” (1971) Davies came up with “Muswell Hillbillies’” stomping opener — “I’m a 20th century man but I don’t wanna die here,” he sings — while pondering the “breakdown of community,” as he puts it, that led to London’s bombardment during World War II. “Communities are still breaking down now but for other reasons,” he says. “You go into a restaurant expecting to see people having dinner with one another and they’re all looking at their iPhones.” He laughs. “That’s me being a bit grumpy.”

The best riff Davies ever created: “You Really Got Me” (1964)

“Gotta be that one, right?” he says of the indelible two-note figure — composed by Ray on piano before Dave brought it to guitar — that not only took the Kinks to No. 1 on the British singles chart but also launched the career of Van Halen when the L.A. band covered “You Really Got Me” a decade and a half later.

The easiest song he ever wrote: “You Really Got Me” (1964) “As a songwriter, I’d probably write more lyrics today,” Davies says. “What’s it saying? She’s really got him going, and he’s crazy about her. Very unsubtle in many respects. But that’s the whole point. I didn’t think about the lyrics. I just made them up and sang them.”

The song he never expected to become a hit: “ Tired of Waiting for You ” (1965) Davies remembers having a severe chest cold the day he recorded the vocal for this wistful chart-topper. “So I went in thinking I’d just satisfy the commitment to the record label,” he says. “But I’m pleased with the performance, don’t get me wrong. If I’d tried too hard, maybe it would’ve gone over the top.”

The song he thought would be a hit but wasn’t: “Ev’rybody’s Gonna Be Happy” (1965)

The Kinks modeled this spirited dance number on the music of Motown’s house band, the Funk Brothers, and in particular the intricate drumming of Uriel Jones, who’d become friendly with the Kinks’ Avory. “I told Mick it should be written around this drum pattern like Uriel would do,” Davies says. “He could somehow make a drum part into a hook. So we tried to get Mick to do it, but he couldn’t.” The single, released as the follow-up to “Tired of Waiting for You,” stalled out at No. 17 on the British chart. Says Davies: “Maybe it was too intricate a pattern for rock ’n’ roll. It’s not Mick’s fault — I wrote the bloody song.”

The cover of a Kinks song he loves the most: Peggy Lee’s “ I Go to Sleep ” (1965) Davies likes Van Halen’s take on “You Really Got Me,” and he admires “Stop Your Sobbing” by the Pretenders, whose Chrissie Hynde he went on to have a child with. His favorite cover of one of his tunes, though, is Lee’s jazzy version of “I Go to Sleep,” which “made me feel kind of warm inside,” he says, not least because it impressed one of his sisters, who was a huge fan of the pre-rock pop star.

The song he’d like played at his funeral: “Days” (1968)

“Thank you for the days, those endless days / Those sacred days you gave me,” Davies sings in this chiming farewell that he wrote for (but ultimately cut from) the first of the Kinks’ several concept albums, “The Kinks Are the Village Green Preservation Society.” “But that’s only if I have to pick one of my songs,” he says. “If not, I choose ‘SOS’ by ABBA.”

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Esperanza Spalding’s Latest Surprise, and 10 More New Songs

Hear the jazz musician’s team-up with the Brazilian songwriter Milton Nascimento, plus tracks from Saweetie, Omar Apollo and others.

By Jon Pareles and Lindsay Zoladz

Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here , and sign up for The Amplifier , a twice-weekly guide to new and old songs.

Milton Nascimento and Esperanza Spalding, ‘ Outubro ’

The ever-surprising bassist and singer Esperanza Spalding persuaded the mystical and ingeniously tuneful Brazilian songwriter Milton Nascimento, 81, to collaborate on a full album that was recorded in 2023 and is due in August. Its preview single is “Outubro” (“October”), a song that Nascimento originally wrote and recorded in the 1960s. Its asymmetrical melody carries lyrics that reflect on solitude, mortality and the possibility of joy. Nascimento no longer has the pure, otherworldly vocal tone of his youth, but Spalding bolsters him, singing in Portuguese alongside him and probing the harmonies with springy bass lines. Near the end, she comes up with a leaping, scat-singing line that he eventually joins, still enjoying what his composition can inspire. JON PARELES

Cassandra Jenkins, ‘ Delphinium Blue ’

The Brooklyn singer-songwriter Cassandra Jenkins delivers “Delphinium Blue,” the second single from her upcoming third album, “My Light, My Destroyer,” with a slow, cleareyed poise. Among glacially paced synthesizers and gentle percussion, she describes the sensory overload of working in a flower shop, and daydreaming about someone special when business is light. “I see your eyes in the delphinium, too,” she sings, as beauty blooms all around her. “I’ve become a servant to their blue.” LINDSAY ZOLADZ

Omar Apollo, ‘ Dispose of Me ’

“We got too much history, so don’t just dispose of me,” Omar Apollo — the bilingual, Indiana-born pop songwriter — begs, in English, in the slow-building but increasingly convincing “Dispose of Me.” At first the song seems to be just a lazy two-chord vamp, but Apollo pleads his case with rising desperation as instruments subtly chime in. “My body just won’t forget,” he moans, going on to insist, “It was real love.” His ex-partner might have a different opinion, but not in this song. PARELES

Luna Li, ‘ Confusion Song ’

The Korean-Canadian songwriter Luna Li — Hannah Bussiere Kim — ponders separation and reconciliation in “Confusion Song,” which faces a strained relationship with unanswered questions and ambiguous beats. “I thought we were taking space,” she sings over a drumbeat that can be parsed as a waltz or a march. The uncertainty is built into the structure of the music, even as she asks, “How do you see it?” PARELES

Lila Iké featuring H.E.R., ‘ He Loves Us Both ’

Polyamory gets complicated in this yearning reggae duet. “Don’t be too quick to judge,” the Jamaican singer Lila Iké urges; H.E.R. counters, “You just keep lying to yourself.” Neither of them wanted to “lose a good thing just because,” but that’s all they agree on. The man in question never states his case. PARELES

Rapsody featuring Erykah Badu,: ‘ 3:AM ’

Rapsody basks in longtime love and potential motherhood in “3:AM,” framed as a late-night phone call; it’s on her new album, “Please Don’t Cry.” Backed by cushy electric-piano chords and a cozy saxophone riff, Rapsody raps, “It’s different when you lovers and you best friends/I feel safe with you,” while in the choruses a kittenish Erykah Badu coos, “Baby you can do it, explore me.” But in the last verse, it turns out that she’s only reliving memories. “We grew with each other till we grew apart,” she reveals. PARELES

Saweetie, ‘ Nani ’

Saweetie’s latest single “Nani” is a blast of sing-songy, candy-coated pop that sounds tailor made for summer. “Two shows, one night, what’s that? A hundred-plus,” she boasts on the verse, but otherwise it’s a track more about leisurely strutting one’s stuff than hustling. “I’m bougie, moody, tanning in my Louis,” she raps. “It’s a privilege just to say you knew me.” ZOLADZ

Lido Pimienta, ‘ He Venido al Mar ’

“I still don’t know where I am going/But I have joy in my heart,” the Colombian-Canadian songwriter Lido Pimienta sings in “He Venido al Mar” (“I Have Come to the Sea”), from the soundtrack to “Calladita,” a film by Miguel Faus. She’s making a journey toward renewal, with her guileless soprano sailing above a track that begins with sparse electronic chords and gathers layers of percussion and voices, assembling a cumbia and a community out of thin air. PARELES

SML, ‘ Industry ’

SML, a Los Angeles quintet that laces jazz with electronics, bears down on a mechanized one-chord groove in “Industry” from its coming album, “Small Medium Large.” The track surrounds a blipping beat with fertile, relentless improvisation: synthesizer swoops, bass jabs, blotches of noisy guitar, fragments of saxophone melody, drum kit cross-rhythms. At the end, it ratchets down as if a switch was flipped. PARELES

Little Feat, ‘ Why People Like That ’

Little Feat, the Los Angeles band whose blues-rock-country-funk hybrid was Americana long before the category was named, takes a break from songwriting on its new album, “Sam’s Place.” It’s a collection of blues covers sung by its percussionist, Sam Clayton. The band dug out deep cuts like “Why Are People Like That” by the Louisiana swamp-rock songwriter Bobby Charles. The band lightens up Charles’s version , switching it from minor to major and summoning a New Orleans strut, underpinned by Bill Payne’s two-fisted piano. But Charles’s bitter complaint about greed is still all too relevant: “They take your house and your home/They take the flesh from your bones,” Clayton growls. “Why people like that?” PARELES

Los Campesinos!, ‘ Feast of Tongues ’

The largehearted Welch rockers Los Campesinos! will release their first album in seven years, “All Hell,” on July 19. The lead single “Feast of Tongues” gradually builds in intensity, stacking clever, wordy lyrics that reference a dizzying hodgepodge of modern cultural touchstones (Bessel van der Kolk and David Berman). “I want the trust of every animal,” the frontman Gareth Paisey sings on the chorus, before promising with nervy defiance, “We will feast on the tongues of the last bootlickers.” ZOLADZ

Jon Pareles has been The Times’s chief pop music critic since 1988. He studied music, played in rock, jazz and classical groups and was a college-radio disc jockey. He was previously an editor at Rolling Stone and the Village Voice. More about Jon Pareles

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Journey’s ‘don’t stop believin’’ is still reaching chart peaks decades after its release.

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Journey at the Poplar Creek Music Theater in Hoffman Estates, Illinois, September 3, 1981. (Photo ... [+] by Paul Natkin/Getty Images)

Journey’s “Don’t Stop Believin’” is one of the biggest hits of all time. It’s one of the most instantly recognizable smashes ever, and people never seem to tire of hearing it in almost any setting. Decades after the cut was first released, it’s not only still present on a number of Billboard charts, but it actually manages to rise to a new high point on one list.

“Don’t Stop Believin’” rises to No. 121 on this week’s edition of the Billboard Global 200. That’s a new best showing for the track on Billboard’s namesake ranking of the most-consumed songs in the entire world.

This frame, “Don’t Stop Believin’” jumps from No. 133 to No. 121. Somehow, despite the fact that the tune has now lived on the Billboard Global 200 for 124 weeks, it’s never climbed this high before.

“Don’t Stop Believin’” is one of only two songs from Journey that have reached the Billboard Global 200. The tally was introduced only a few years ago, so it’s not entirely shocking that the group hasn’t landed many wins on the tally, which uses a methodology that combines sales and streams.

In addition to “Don’t Stop Believin’,” Journey has also appeared on the global ranking with one other tune. In 2022, the Bryce Miller/Alloy Tracks remix of “Separate Ways (Worlds Apart)” debuted and peaked at No. 132 on the Billboard Global 200.

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As “Don’t Stop Believin’” reaches a new high on the Billboard Global 200, the tune is also performing well in the United States. The song is seemingly always a hit on some Billboard chart, but this frame it’s doing better than it has in a while.

“Don’t Stop Believin’” returns to the Rock Digital Song Sales chart this frame. The unforgettable smash reappears on the purchase-only, genre-specific tally at No. 15. It’s also a non-mover at No. 13 on the Rock Streaming Songs ranking.

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Journey Of Reconciliation Lyrics

Mortification  by  Mortification

Song   ·   4:14   ·   English

© 1991 Intense Records

His eyes could hardly see the long road ahead Blood and sweat dripped down His face as He was lead His body was beaten, far beyond repair They thought He was just a man But He was God This man was not guilty of any sin He had done nothing wrong, He was innocent He chose to take all the world′s wrong And take it down to the abyss The journey continued to the place called the Skull Step by step He staggered on, the sky was getting dull On and on He kept up with this pain He must take He went through this, when will the world wake Jesus Christ is the only Son of God He did all this for you because He loved you Many were weeping many more laughing Many were mocking many were scorning This man would do what no one understood The sacrifice was made by God's own right hand This man was not guilty of any sin He had done nothing wrong, He was innocent He chose to take all the world′s wrong And take it down to the abyss The journey continued to the place called the Skull Step by step He staggered on, the sky was getting dull On and on He kept up with this pain He must take He went through this, when will the world wake Jesus Christ is the only Son of God He did all this for you because He loved you At last the arrival at Calvary's hill They tore off his rove and naked He stood They nailed Him to a cross they got their wish But in three days they'd never guess He rose from the grave He rose from the dead He rose from the grave He rose from the dead

Writer(s): Steve Rowe, Jayson Sherlock<br>Lyrics powered by www.musixmatch.com

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Abi Carter is the newest 'American Idol' winner: Look back at her best moments this season

Newly crowned 2024 winner Abi Carter was an "American Idol" frontrunner since her Season 22 audition , where Luke Bryan declared she "may be the winner."

But that didn't mean the 21-year-old musician from Indio, California, was coasting over the course of the season, which ended with Sunday night's finale.

Though Carter earned one of three coveted platinum tickets from  Lionel Richie ,  Katy Perry  and  Luke Bryan and became known for her emotional performances of sweeping ballads, she also came out on the "Idol" stage with several alternative and rock hits to show she wasn't a one-trick pony.

When she wasn't wowing viewers with her vocals singing Billie Eilish's " What Was I Made For? " (her audition song) and " Part of Your World " from "The Little Mermaid," she was storming the stage in dramatic fashion with songs like Fall Out Boy's " My Songs Know What You Did in the Dark (Light Em Up) " and Evanescence's " Bring Me to Life ."

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"I probably had a lot of the voters who liked me for the slow, nice things but then there's a massive part of the voters that don't like the slow stuff," Carter told media outlets, including USA TODAY, an hour after her "Idol" win. "So I think it was really cool — that gave me the opportunity to show versatility I didn't even know I had."

In celebration of Carter being crowned "American Idol's" 22nd winner , here's a look back on her season.

From Jennifer Hudson to Abi Carter: All 22 'American Idol' winners, ranked

Abi Carter says she wouldn't 'be here without Billie Eilish'

During the May 19 finale, in a full-circle moment, Carter received a surprise personal message from Eilish.

"Hi Abi, it's Billie. I wanted to say congratulations on making the Top 3 on 'American Idol.' This is such a big deal, and I'm so happy for you. It's so amazing to see you in the finale after you sang my song 'What Was I Made For?' in your audition," the Grammy winner said as Carter, shocked, sank to the floor on stage.

Eilish added, "I love you so much. I wish you nothing but the best. I am here to support you forever, and I love ya."

Carter told members of the press after filming, "I've literally been a fan of Billie Eilish since her first single, 'Ocean Eyes,' came out. That, I'm pretty sure, changed me musically (and) who I am as a person. I just don’t think I'd be here without Billie Eilish."

Of Eilish's video, she said, "Maybe that was a kick and helped me. It's changed my life. She's changed my life.”

Luke Bryan predicted Abi Carter as the winner after her audition with 'What Was I Made For?'

As the final televised audition, Carter finished Episode 2 with a bang.

"I hope I can do it justice for you," she told Perry, who'd expressed her love for Eilish's song.

As the 21-year-old sang and played the piano, the judges exchanged approving glances. With her closing notes, the room erupted in applause, with the judges giving a standing ovation as Carter cried.

"Thank you for being an example of singing from your heart. What were you made for? You were made for this, 100%," Perry said before embracing the singer.

"That may be the winner of 'American Idol,'" Luke declared, adding, "I've never heard the crew clap."

After Carter's family rushed into the room to congratulate her, Perry exclaimed, "She's the best thing we’ve ever heard!"

Richie concurred: "That’s the best we've ever heard on this show," he said. "I'm not kidding."

Carter looked back at the life-changing audition in March while speaking with the Palm Springs Desert Sun , part of the USA TODAY Network.

"It was nerve-racking, of course. I'm pretty sure I blacked out during the performance," she said. "But to see all three of the judges stand up, and for Katy to come up to me and give me a big hug, for Luke Bryan to say that he thought I was going to be the next winner of 'American Idol,' and Lionel Richie to agree with him and say they didn't even have to vote, that just meant the absolute world to me.

"I thought I was dreaming."

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Abi Carter was an early favorite for the judges

In an 18-episode season, Carter rarely fumbled.

A week after she squeaked into the Top 24 despite performing Cher's "If I Could Turn Back Time" with bronchitis, Carter made a valiant comeback with her performance of "Oceans (Where Feet May Fail)" by Hillsong United in Episode 8.

"I don't know if I’m allowed to say it, but you're my favorite," Perry said as Carter was brought to tears. "I just think you are so gifted."

Fast forward a few weeks, and Carter was continuing to kill it in the live shows. After she sang Elton John's "Goodbye Yellow Brick Road" in Episode 12 , Perry deployed one of her favorite adjectives for her fellow Southern Californian: "angelic."

"From day one, it's always been you," Perry said. "Tonight, it's always been you. You sing with such an angelic frequency, and I think a lot of things are going to happen in the future when you sing."

As the competition narrowed down to the Top 5, Perry was as shocked as the rest of the viewers by Carter's fiery performance of "My Songs Know What You Did in the Dark."

"Why were you saving that for almost the last show? You can do that?" Perry said, then added, "That performance made me scared for my job."

Who is Abi Carter? The 'Idol' winner's background

Carter, the second oldest of seven children, was homeschooled for most of her life, she told the Desert Sun in March. She attended high school for part of a school year but decided to stay home and help her single mom manage their family when her parents got divorced.

"My mom had to start going back to school to get a degree to support all of us," she said. "I, subsequently, kind of had to leave public high school and go back into homeschooling so that I could get a job to be able to buy a car and take my siblings to and from school and extracurricular activities because my mom was then occupied with her schooling."

With the inspiration of her mom, who enjoyed singing, Carter was a lifelong chanteuse. When she was 7 or 8 years old, she started piano classes. And when her family could no longer afford the lessons, the teacher "continued to do it for free because she believed so much in me," Carter recalled.

She went on to perform all across the Southern California's Coachella Valley in street fairs and on small stages in local venues. For college, she attended California State University San Bernardino and earned a degree in psychology.

Contributing: Ema Sasic, USA TODAY Network