GRAMMY-Winning Legend Donald Lawrence/Yolanda Adams/Twinkie Clark Release New Song & Video: In Him There Is No Sorrow!
GRAMMY® Award-winning producer, songwriter, and recording artist Donald Lawrence has released a new single and music video, “In Him There Is No Sorrow,” honoring Twinkie Clark’s beloved song with a newly-recorded performance by Yolanda Adams. The chart-topping, legendary gospel maestro Lawrence has created this new single going out to gospel radio, teaming up with GRAMMY®-winning gospel legend Adams, in celebration of the artistry of pioneering GRAMMY®-winning gospel legend Twinkie Clark.
“In Him There Is No Sorrow” marks the first single release from Donald Lawrence’s upcoming tribute album highlighting Twinkie Clark’s early solo work with reimagined covers of her songs, whose talents as part of her family’s best-selling historic gospel group The Clark Sisters - as well as her work as a solo artist - remain a trailblazing influence on gospel artists today.
In the newly-released single and video from Donald Lawrence & Co., Yolanda Adams sings a powerful, modernized version spotlighting Twinkie Clark’s incredible songwriting that’s made it a classic. Keeping the message of the original song, the “In Him There Is No Sorrow” remake is an emotional tribute praising faith and God’s abilities to provide strength and lift us up throughout our lives. The music video made its broadcast premiere on the BET Gospel and BET Her channels on March 31st.
In his prolific career as a producer, songwriter, recording artist, music director and choir master, Donald Lawrence has garnered multiple awards, including GRAMMY®, Stellar, and Dove Awards, with numerous Billboard #1 singles and albums and over 200 million career streams. An integral force in crafting the sounds of The Clark Sisters and their solo endeavors in the past few decades, Lawrence was the music director on the record-breaking acclaimed 2020 movie biopic “The Clark Sisters: First Ladies of Gospel,” which was a ratings smash hit for Lifetime and the producer of the movie’s accompanying soundtrack.
He has collaborated with a diverse range of artists in gospel and R&B including Stephanie Mills, En Vogue, Mary J. Blige, BeBe Winans, Tasha Cobbs Leonard, Kirk Franklin and more, and been a leader in influencing the sound and visually-stunning performances of gospel choirs, performing with his groups The Tri-City Singers, and Company.
Among Lawrence’s acclaimed gospel albums and hit songs include “Encourage Yourself,” “The Blessing of Abraham,” “Deliver Me (This Is My Exodus),” and “The Gift.” Besides the new single “In Him There Is No Sorrow,” Donald Lawrence is also presenting an international choir gathering with the Edwin Hawkins Music + Arts Global conference, celebrating and elevating the longstanding artform of choir music worldwide, with the conference taking place April 27-29th, 2023 in London, England. More information on Music + Arts Global is available at: https://musicandartsglobal.com/.
Check out “In Him There Is No Sorrow” at the links below, available now on all streaming platforms.
Donald Lawrence & Co. / Twinkie Clark / Yolanda Adams - “In Him There Is No Sorrow” (Official Music Video):
https://youtu.be/ODxsOJ-rIQw
Donald Lawrence & Co. / Twinkie Clark / Yolanda Adams - “In Him There Is No Sorrow”:
https://DonaldLawrence.lnk.to/InHimThereIsNoSorrowPR
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To connect with Donald Lawrence, visit:
Website: http://donaldlawrence.com/
YouTube: https://www.youtube.com/channel/UChXKWkEyaUgQ-lfz45L4-uA
Instagram and Twitter: @donaldlawrence
Facebook: /DonaldLawrenceMusic
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You know Ghost has to be the best fucking pillow. He's a giant of a man, beefy and strong, with a nice warm layer of softness covering his muscles. He's a radiator of heat. Laying on the couch, can hardly fund one that's long enough his feet don't hang off the edge, you just want to drape yourself on top of him. Snoozing against his chest, your legs tangled with his, he drags his fingers up and down your spine soothing you deeper to sleep.
Sleep is so hard for Ghost to come by, but he's happy to be of service for you. And maybe he even finds himself dozing, his fingers trailing slower and slower until his head drops to the side, his eyes too heavy to keep open any longer. He naps on the couch with you, snoring as you raise and lower with each intake of breath into his barrel chest. Neither of you have ever been safer, neither of you less alone, neither of you have slept better than you do right now.
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The Mighty Nein are so funny because Matt’s just there like, “Lorenzo was supposed to get away. You were not supposed to keep the Happy Fun Ball. You were NOT meat to go to Xhorhas. Trent was supposed to escape—” Mighty Nein just steamrolling their way through their own campaign. They do what they want. The DM’s long-term plans have no authority over this party
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You know, it's rather interesting to me that Taylor Swift's parasocial relationship with her fans is honestly more akin to a YouTuber than a writer's. When I scroll through her tag on tumblr/Twitter, it's far more regarding the connection to her personal life/relationship developments than the actual metaphors/fictional story she might be telling. Everything comes back to how her songs reflect back on her relationships with Joe/Matty/Travis/Jake/insert ex-boyfriend here. And what fascinates me about it is that even though she complains about it, she leans into that very perception because it strengthens the parasocial bond.
The marketing for TTPD so clearly being about Joe Alwyn and the songs to Matty Healy. The marketing/video for Red TV so CLEARLY being about Jake Gyllenhaal, with so many of the new lines in All Too Well specifically being digs at him (I'll get older but your lovers stay my age, casting an actor that looks like him for the video, specific lines in I Bet You Think About Me). The fact that songs like Getaway Car and Bejeweled and Gorgeous and London Boy and Lavender Haze being picked apart at time of release and long after for signs of relationships crumbling. The way she uses surprise songs in relation to her relationship development with Joe/Matty/Travis. The damn TTPD "stages of grief" playlists where she deliberately undid/changed the meanings of old songs just to keep her audience speculating on her love life.
It's not sexist to point out that her wielding her love life is a marketing tool and that the strongest connection to her audience isn't the strength of her writing/the composition of her music- it's her deliberate crafting of a connection between her music and her personal life, leaving the audience invested in her music as an extension of Taylor the Person/Girlfriend rather than Taylor the Artist.
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