15 More Striking I-N In Songs

Reading Time: 22 min read

15 More Striking I-N In Songs features songs by Aretha Franklin, Ed Sheeran, Joan Armatrading, Khalid, Luke Combs, and Phil Collins.

According to Phil Collins, he “can feel it coming in the air tonight, oh Lord.” The keyword should probably be air; however, we’re going with the word IN 🤫. As for Joan Armatrading, “You make me stay when I should not / Are you so strong or is all the weakness in me?” The keyword is weakness, BUT for our intents and purposes, we’ll roll with the power of IN. Finally, country musician Luke Combs asserts, “Wide awake, I dream of you / Sleepless in a hotel room.” Once more, there are more important words, but our keyword is IN. 15 More Striking I-N In Songs is all about the preposition, adverb, adjective, or noun, IN. Every song on this playlist must feature the word, IN – NO EXCEPTIONS! 15 More Striking I-N In Songs is the sequel to 15 Striking I-N In Songs (2025). 15 More Striking I-N In Songs features songs by Aretha Franklin, Ed Sheeran, Joan Armatrading, Khalid, Luke Combs, and Phil Collins. So, without further ado, you have a clear pathway IN with these 15 More Striking I-N In Songs!

~ Table of Contents ~

1. Phil Collins, “In The Air Tonight”	2. Kelsea Ballerini, “I Sit In Parks”	3. Lil Mabu, “sand in turks”
4. Joan Armatrading, “The Weakness In Me”	5. Khalid, “in plain sight”	6. Japanese Breakfast, “Orlando in Love”
7. Luke Combs, “Sleepless in a Hotel Room”	8. Christina Aguilera, “Fall in Line” (Ft. Demi Lovato)	9. Ed Sheeran, “In Other Words”
10. Beats By AI, “Straight In The Front Gay In The Back”	11. Pansy Division, “He Whipped My Ass in Tennis (Then I Fucked His Ass in Bed)”	12. Diana Ross, “Touch Me In The Morning”
13. Johnny Bristol, “Hang On In There Baby”	14. Kurt Carr & The Kurt Carr Singers, “In The Sanctuary – Live”	15. Aretha Franklin, “Spirit in the Dark”
I-N In Songs

1. Phil Collins, “In The Air Tonight”

Face Value » Philip Collins Ltd. / Rhino Entertainment Company » 1981

“I can feel it coming in the air tonight, oh Lord.”

Indeed, Phil Collins (b. 1951), indeed! He continues singing in the unforgettable chorus of “In The Air Tonight”, “And I’ve been waiting for this moment for all my life / Can you feel it coming in the air tonight? / Oh Lord, oh Lord.” The lyrics were spontaneous, according to the legendary pop/rock singer/songwriter. “In The Air Tonight” is the opener from Collins’ 1981 multi-platinum album, Face Value. Collins composed “Air.” He produced it with Hugh Padgham. The single earned Collins a top 20 hit, which peaked at number 19 on the Billboard Hot 100. He would have higher charting hits, including seven number ones, but “Air” is one of his most popular and renowned songs. It was certified triple platinum by the Recording Industry Association of America in 2016.

The lyrics raise eyebrows throughout “In The Air Tonight” despite the spontaneity asserted by Collins. In the first verse, he’s angry: “Well, if you told me you were drowning / I would not lend a hand.” Oh, wow! Someone would have to be extremely pissed off not to aid in this situation, right? At the end of the verse, Phil tells her, presumably, “So you can wipe off that grin, I know where you’ve been / It’s all a pack of lies.” Collins doesn’t threaten not to save a drowning person in verse two, but he is bothered and pained by how bad this person, whom he was in a relationship with, is/was: “Well, the hurt doesn’t show, but the pain still grows / It’s no stranger to you and me.” Despite all of the anger, heartache, heartbreak, and pain, Collins masterfully puts it into this marvelous song. His voice sounds incredible. He sings with authenticity and sincerity. The melodies are tuneful while the lyrics are honest and undoubtedly relatable to many who have experienced a horrible relationship. The sound is sweet, too, with quintessential ‘80s keyboard/synthesized sounds, including enigmatic drum programming. Also, there are ripe guitars, a fat bass line that asserts itself later, and a dash of vocoder adds some spice to the track. Collins delivers a brief but timeless, pummeling drum solo after the second verse before the final choruses arrive and fade out. “In The Air Tonight” is not only a surefire classic from Phil Collins, but one of the quintessential songs from the 1980s. It’s timeless to the nth degree!

Phil Collins on The Musical Hype 🔻:

~ Table of Contents ~

2. Kelsea Ballerini, “I Sit In Parks”

Mount Pleasant » Black River Entertainment » 2025

“I sit in parks, it breaks my heart / ‘Cause I see just how far I am from the things that I want.”

Ah, reflection mode – you’ve gotta love it! Grammy-nominated country singer-songwriter Kelsea Ballerini (b. 1993) has experienced her fair share of success, with multiple gold and platinum singles and albums. The brief but potent single, “I Sit In Parks”, is the opener from her EP Mount Pleasant. Ballerini penned “I Sit In Parks.” She produced it with Alysa Vanderheym.

“I Sit In Parks” begins with a gorgeous, enigmatic introduction. The record is set in a lilting, compound duple meter. Ballerini excels with her chill, easygoing vocals. Her tone is lovely. Though it is labelled country, at best, “I Sit In Parks” sounds only moderately country. The chorus, the centerpiece, is more country than anything else, but could pass for pop:

“Did I miss it? By now, is it

A lucid dream? Is it my fault

For chasing things, a body clock

Doesn’t wait for? I did the damn tour

It’s what I wanted, what I got

I spun around, and then I stopped

And wonder if I missed the mark.”

The songwriting is intriguing and well-rounded. Ballerini even throws in some salty language: “So I sit in parks, sunglasses dark / And I hit the vape, hallucinate a nursery with Noah’s Ark / They lay on a blanket and goddamn it he loves her.” That is slightly un-country-like… on recording, at least. One of the most interesting lyrics also hails from the second verse, where Kelsea asserts, “But Rolling Stone says I’m on the right road / So, I refill my Lexapro, thinkin’.” Although “I Sit In Parks” is brief, it is quite enjoyable.

~ Table of Contents ~

3. Lil Mabu, “sand in turks”

“sand in turks” » YOUNG GENIUS ACADEMY INC. » 2026

“Rich with a bag, in peace I’m broke.”

That’s a thought-provoking line, Lil Mabu (Matthew Peter DeLuca). The privileged rapper needs a vacation to get away from the stress: “Need to leave my home, St. Barths, here we go.” Lil Mabu wrote and produced the brief, melodic “sand in turks”. “Sand in turks” features driving, intense bassy synths. It is somewhat cumbersome, at least initially. Mabu is assertive, confident, youthful, and carefree throughout his melodic rap performance. “Sand” features two verses, with the first being the longest. “I need some peace of mind, God, please help me find it / I need to be on a nature vibe, booked a trip to the villa when we arrived,” he raps, and adds, “Then you managed to ruin my fucking time / And you not even here, I hate the silence (I do).” Noted. In the second verse, matters of the heart seem to make him feel, well, some type of way. “If I could be with you forever, I’d be the happiest alive,” he asserts, concluding, “You like a Bitcoin in ‘09, rarest treasure I could find / A beauty that words can’t describe, but I’ll try.” The chorus is big, but also lengthy and only moderately catchy.

“Like the sand in Turks, you hella fine

How am I hurtin’ in paradise?

Maybe we’ll work in another life

I talk to the moon, but it don’t reply

Just like you, cause you never said goodbye

The thought of you comes back every night

Like the whip rented, you was never mine

I’m black and blue like a beach at night

Let me put on my ice.”

Lil Mabu concludes with an outro that references the villa’s cost ($20,000 per night) and continues to be haunted by her shadow. “Maladaptive vibe, outta’ sight but in my mind.” All told, “sand in turks” is just al’ight, dawg.

Appears in 🔻:

A Hodgepodge of Place Songs, Vol. 2 (2026)

~ Table of Contents ~

4. Joan Armatrading, “The Weakness In Me”

Walk Under Ladders » UMG Recordings, Inc. » 1981

“I’m not the sort of person who falls / In and quickly out of love / But to you I gave my affection / Right from the start.”

Matters of the heart had English singer/songwriter Joan Armatrading (b. 1950) feeling some way on “The Weakness In Me”. It prompted the question, “Are you so strong, or is all the weakness in me?” Thought-provoking! “The Weakness In Me” is the fifth track from the Grammy-nominated musician’s 1981 album, Walk Under Ladders. Armatrading penned this not-at-all weak musical gem while Steve Lillywhite (b. 1955) produced it.

From the start, “The Weakness In Me” is fantastic. Accompanying this ballad is warm piano, an active, robust bass line, and steady drums. As the track progresses, more colorful music touches accentuate it, including keyboard and the grittier strums of guitar. As awesome as the backdrop is, Joan Armatrading is the star of the show, wowing with her expressive, nuanced vocals. Her tone is beautiful and pure. Even though she’s commanding, Armatrading never under- nor over-sings. She provides just the right amount of oomph and punch. The melodies she sings are tuneful, while the lyrics are incredibly memorable and relatable. “This old love has me bound,” Armatrading sings in the second verse, and adds, “But the new love cuts deep.” Poetic and incredibly sincere. She concludes, within the same verse, “One of you has to fall / And I need you, and you.” The chorus is the section to beat, in all of its heartfelt glory:

“Why do you come here

When you know I’ve got troubles enough?

Why do you call me

When you know I can’t answer the phone

Make me like when I don’t want to

And make someone else some kind of an unknowin’ fool

You make me stay when I should not

Are you so strong or is all the weakness in me?”

All told, “The Weakness In Me” is a stellar ‘80s pop/rock ballad.

Appears in:

~ Table of Contents ~

5. Khalid, “in plain sight”

After the sun goes down » RCA » 2025

“Oh, I got so much to tell you / ‘Cause somethin’ ain’t right,”

Khalid, sings, and adds, “Should’ve saw it comin’ (Hidden in front of me) / In plain sight.” Ooh-wee! The Grammy-nominated contemporary R&B singer/songwriter returned, with plenty of personality on “in plain sight”, the second track from his 2025 album, after the sun goes down. Outed by Hugo D Almonte, on “in plain sight,” Khalid sounds more chill, looser, engaging, and more interesting. Savan Kotecha, ILYA, and Mattman & Robin produced. Respectable and relatively sleek, there is one oddity: a production switch at the end that comes out of left field. As always, Khalid brings strong vocals, singing expressively. “In plain sight” finds him embracing his queer identity and not shying away from it. “What’s the tea ‘bout him? / Said he was just a friend / If it’s a coincidence, baby / Okay, okay, okay, okay,” he sings, with some swagger in the first verse. The second verse is alluring, too: “He was inside our home (Home) / He was inside our space, baby / Even wore my coat / He can keep that shit.” Damn! The chorus, excerpted earlier, is sweet, and extended in the post-chorus. 2025 Khalid via “in plain sight” is the most fun he’s sounded since his American Teen days.

~ Table of Contents ~

6. Japanese Breakfast, “Orlando in Love”

For Melancholy Brunettes (& sad women) » Dead Oceans » 2025

“Orlando in love / Writes 69 cantos / For melancholy brunettes and sad women.”

Word. Those are ear-catching lyrics. Furthermore, Michelle Zauner sings them beautifully in “Orlando in Love”. “Orlando in Love” is the promo single and second track from the Japanese Breakfast album, For Melancholy Brunettes (& sad women). Notably, Zauner mentions the title of the alternative band’s album in the lyrics. Although the song is relatively brief at two-and-a-half minutes in duration, it is S-W-E-E-T. It commences with rhythmic guitar accompaniment. Eventually, gorgeous strings enhance the accompaniment. Other colorful instrumental touches enter the mix, making “Orlando” sound even lovelier and more picturesque. Zauner brings this gem to life with awesome vocals, radiant melodies, and poetic songwriting. Another example of lyricism in all its glory: “The breeze carries salt / And sipping milky broth / He casts his gaze toward the sea out the Winnebago.” Classy and enigmatic, “Orlando in Love” is utterly sublime.

Appears in 🔻:

~ Table of Contents ~

7. Luke Combs, “Sleepless in a Hotel Room”

The Way I Am » Seven Ridges Records, LLC / Sony Music Entertainment » 2026

“I can hear the lonely howlin’ out my window,”

country singer-songwriter Luke Combs asserts, and adds, “I can feel the whiskey not do anything.” Oh, my! Those two lyrics from the first verse of “Sleepless in a Hotel Room” set the tone. This intriguing, minor-key country single is the 13^th track from Combs’s sixth studio album, The Way I Am. Combs wrote “Sleepless in a Hotel Room” with Jonathan Singleton and Randy Montana. Combs produced the track with Singleton and Chip Matthews.

“Sleepless in a Hotel Room” cooks for many reasons. It begins with the sound, countrified musical accompaniment. The backdrop is on fire, thanks to the colorful, rhythmic plucked and strummed strings and the assertive drums. Beyond the solid foundation, the star of the show is Luke Combs, who impresses with his dynamic, expressive, and nuanced vocals. Combs brings the melodies alive. They are tuneful from start to finish. Maintaining engagement, there is a sizable contrast between the verses and the chorus. How does the chorus separate itself? It’s gargantuan – go big or go home, baby! The chorus is the crème de la crème – the section to beat:

“The morning light can’t come too soon

Lyin’ here not next to you

Wide awake, I dream of you

Sleepless in a hotel room.”

The post-chorus is notable, too: “Woah-oh-awoah-woah-oh-awoah.” Woo! Following the second post-chorus, there is a sweet electric guitar solo. The bridge follows, contrasting the verses and the chorus. “Our four walls are painted blue,” Combs sings, and concludes, “Sleepless in a hotel room / A thousand miles past missin’ you.” All told, Luke Combs brings it on “Sleepless in a Hotel Room”.

Appears in 🔻:

Striking Bops from January 2026

~ Table of Contents ~

8. Christina Aguilera, “Fall in Line” (Ft. Demi Lovato)

Liberation » RCA » 2018

“It’s just the way it is / And maybe it’s never gonna change / But I got a mind to show my strength / And I got a right to speak my mind.”

Amen, Christina Aguilera 🙏! “Fall in Line” ranks among the best songs from Liberation, the 2018 comeback album from the Grammy-winning pop artist. This ballad was written by Aguilera, Ojivolta (Mark Williams and Raul Cubina), Jonathan Simpson, Audra Mae, and Jon Bellion. Bellion and Ojivolta also produced it. It features a grinding, soulful six-eight groove, perfect fuel for a dynamic performance by Aguilera and her duetting partner, Demi Lovato. Despite being released as a single, “Fall in Line” failed to chart on the pop charts and has received no Recording Industry Association of America certification to date. It deserved better.

Despite its lack of pop success, the song itself is intriguing. With its unusual music cues, including recurrent distorted male background vocals (Jon Bellion), you can tell Bellion has his fingerprints all over this soulful pop joint. Christina Aguilera starts things off with controlled, but nuanced vocals in the first verse. The message, directed to girls, is pitch perfect. “Little girls, listen closely… / In this world, you are not beholden,” Aguilera sings, and adds, “You do not owe them / Your body and your soul.” Aguilera’s beastly vocals begin to appear on the pre-chorus, letting her pipes rip on the chorus (joined by Lovato), excerpted earlier. The chorus continues:

“And I’m gonna pay for this

They’re gonna burn me at the stake

But I got a fire in my veins

I wasn’t made to fall in line

No, I wasn’t made to fall in line, no.”

👏 Lovato takes the lead in the second verse. She matches the energy of her duet partner, maintaining composure and poise: “Show some skin, make him want you / ‘Cause God forbid you / Know your own way home /…You’re more than flesh and bones.” The pre-chorus (Lovato) once more prefaces the powerful chorus, where Lovato spreads her wings and soars. The true magic occurs throughout when Aguilera and Lovato join forces, particularly in the second and third iterations of the chorus. Lovato’s powerful high B is the sugar, honey, iced tea, (just not live)! The big takeaway from “Fall in Line” is empowerment.

Appears in 🔻:

~ Table of Contents ~

9. Ed Sheeran, “In Other Words”

Play » Warner Music UK Limited / Ed Sheeran Limited » 2025

“Give me all your fears / Give me all your dreams / Give me all you’re scared to lose,”

Ed Sheeran sings in the chorus of his song, “In Other Words”. He continues, thoughtfully, “Give me all your future / Give me all your blues / In other words, give me all of you.” Aww 🥰. “In Other Words” is the seventh track from his eighth studio album, Play, released in 2025. Sheeran co-wrote this dedicated, supportive ballad with Blake Slatkin, Johnny McDaid, and Cirkut (Henry Walter). Sheeran, Slatkin, and Cirkut produced it.

“In Other Words” commences with warm, reflective piano. Ed Sheeran keeps the same energy, singing tenderly and expressively without forcing things. His tone is delightful. The songwriting is sincere, while the melodies are tuneful. “Give me your light and give me your shadow,” he sings in the second verse, and affirms, “I’m right by your side.” The chorus (excerpted earlier), one of the best moments of “In Other Words,” picks up steam but remains non troppo with subtle instrumental additions. Strings, arranged by Matthew Sheeran, appear in the second verse. Additionally, there are some harmonized vocals during the second verse as well, which increase the depth of sound. The second chorus is more developed than the first, though it still never overdoes it. A brief bridge distinguishes itself from the verses and choruses (“All of the stars in the moonlit sky / Couldn’t match what you are to me”). The chorus concludes “In Other Words” radiantly. At first restrained, the sound expands, with more dynamic string parts. “In Other Words” is an authentic, enjoyable, and lovely musical performance. The dedication and love that Ed Sheeran feels seem impenetrable.

Appears in 🔻:

~ Table of Contents ~

10. Beats By AI, “Straight In The Front Gay In The Back”

“Straight In The Front Gay In The Back” » Beats By Ai Records » 2025

“Straight in the front and gay in the back / Yeah, my dick likes chicks, and my fudge gets packed.”

Fudge gets packed 🤔? So, our protagonist is bisexual, I presume? Sexually fluid? Who knows with Beats By AI, who continue to shock with their outlandish, AI-created country songs. “It’s a two-lane highway, one-size brick / The other’s that dirt road, taking that dick.” Gah-day-um! Country artists rarely touch on queer sexual experiences. Even when it comes to straight sexual experiences, they only go so far… Like Dixon Dallas, there’s some “bouncing off my booty cheeks” and “pumping deep inside”. “Straight In The Front Gay In The Back” is a two-minute joint that is entertaining and incredibly not safe for work.

Expectedly, “Straight In The Front Gay In The Back” is countrified sound from the get-go. Also, as the excerpted lyrics suggest, it is bold from the onset. The boldness doesn’t stop as sex is the modus operandi. It’s sort of a situation where what happens one way goes down another… something like that. A prime example: “When I pump, pump, pump in a sweet vagina / While he humps my dump truck, big behind / Oh, I tear it up, and he tears it up / And the air smells crazy in my pickup truck.” Wow… Another example: “Sucking her tits while he nuts in my crack.” No further explanation necessary, pervs. So, how about one final thrust 😈? “When he thrust his knee-deep in my b-hole / I get extra push pumpin’ in her p-hole / Extra push mean, extra gush mean / Oh my fuck, it feels so good.” It’s amazing how hyped up the AI singer gets about this three-way sexual experience. Fittingly, there is a country-rocking guitar solo, putting the cherry on top of this wild sex! Like all Beats By AI songs, take “Straight In The Front Gay In The Back” with a grain of salt.

Appears in:

~ Table of Contents ~

11. Pansy Division, “He Whipped My Ass in Tennis (Then I Fucked His Ass in Bed)”

The Essential Pansy Division » DistroKid » 2006

“I was really not the sort / To do well on the tennis court.”

Me either, Jon Ginoli (b. 1959), but like you, I enjoy watching those men serve 😂 😈, particularly Novak Djokovic! “I couldn’t wait to feast my eyes / On his meaty, hairy thighs.” Yummy! Delish! Pansy Division keeps things queer as fuck – emphasis on the fuck part. Honestly, would we have it any other way? Pansy Division exemplifies NSFW punk and queercore to the nth degree. What better way to shock than to release a song, colorfully titled, “He Whipped My Ass in Tennis (Then I Fucked His Ass in Bed)” 😶 😶 😶. See where the fuckery comes into play, now? “He Whipped My Ass in Tenns” appears as the 30^th track on the band’s greatest hits compilation, The Essential Pansy Division. It follows the NSFW Christmas song, “Homo Christmas”. Can you say ho, ho, ho?! 🤭

Surprise, surprise, the lengthy title serves as the titular lyric comprising the recurring refrain of the song. “He whipped my ass in tennis,” Jon Ginoli sings, and continues, “Then I fucked his ass in bed.” Jon leaves little to the imagination. He sucks at tennis (“I couldn’t get into a groove”), but excels at topping this fine, athletic tennis player (“But he said he liked the way I move”)! Beyond the refrain, there is a chorus, an extension of the fuckery taking place in the refrain. Some of the happenings: “Then we licked and sucked / And sucked and licked / And licked and sucked a lot of dick.” To quote Perry Farrell of Jane’s Addiction, “nothing’s shocking”. Worth noting, by the sixth verse, there is a role reversal that also affects the rest of the song. Jon beats him in tennis, and his nameless partner “fucked my ass in bed.” In the final chorus, they switch, concluding, “We whipped some ass in tennis / Then we fucked some ass in bed.” The bold, highly sexual, and unapologetic “He Whipped My Ass in Tennis (Then I Fucked His Ass in Bed)” is best taken with a grain of salt. It’s fun, NSFW, and quite GAY! Beyond Jon’s explicit novel lyrics and exuberant vocal performance, the musical accompaniment is bright, playful, and striking. The @$$ is potent 🤭!

Appears in:

~ Table of Contents ~

12. Diana Ross, “Touch Me In The Morning”

Touch Me In The Morning » Motown » 1973

“Touch me in the mornin’ / Then just walk away / We don’t have tomorrow / But we had yesterday.”

Decorated. Diana Ross (b. 1944) is the definition of an icon. Not only was Ross a big deal as a member of The Supremes, but she also became a widely successful solo artist. Ask yourself this: How has a musician of the caliber of Ross not won a Grammy? Let that sink in… “Touch Me In The Morning” is one of many gems from her illustrious musical catalog. It is, fittingly, the opener from her 1973 album, Touch Me In The Morning. Ronald Miller and Michael Masser penned “Touch,” while Masser and Tom Baird produced it. One of six number one hits on the pop chart, it spent one week atop the Billboard Hot 100.

“Touch Me In The Morning” is a masterpiece. It showcases elite musicianship from all parties involved. The musical backdrop is elite, comprised of piano, an athletic bass line, soulful guitar, vibes, and a picturesque, dynamic orchestra. A bit of a complex pop/soul classic, it is adept at blending pop and soul balladry with more assertive disco and funk cues. Diana Ross brings her A game vocally, marvelously bringing the radiant melodies to life. “Hey, wasn’t it yesterday / We used to laugh at the wind behind us,” she sings, in the second verse, and continues, “Didn’t we run away and hope / That time wouldn’t try to find us?” Sigh, oh, the love, that, unfortunately, must end: “Yeah, I really need you near me tonight / ‘Cause you’ll never take me there again.” Bummer. Ross sings most of the time, but adding another brilliant wrinkle, she also talks. “Hold you until the time / Your hands reach out and,” she says, and continues, singing, “Touch me in the mornin’.” Adding to the sheer excellence of this juggernaut are classy, refined background vocals. “Touch Me In The Morning” is celestial – a Godsend of a song. Even as Diana Ross sounds like a natural on this classic, she struggled recording it 🤯. The perfectionist in her required multiple takes to achieve the perfect vocal on a song that she found difficult to sing. The good news is her persistence paid off, yielding one of the top-tier songs in her/the soul music catalog. This one is timeless, folks.

More Diana Ross on The Musical Hype 🔻

~ Table of Contents ~

13. Johnny Bristol, “Hang On In There Baby”

Hang On In There Baby » UMG Recordings, Inc. » 1974

“Hang on in there, baby, please don’t let me down / Please don’t destroy this new joy we found.”

Sometimes, a songwriter and producer lands their own hit. That is what happened to Johnny Bristol (1939 – 2004), who is renowned for his work behind the scenes. With “Hang On In There Baby”, Bristol carved out success as a solo artist. The song is the second track on his 1974 album, fittingly titled Hang On In There Baby. He wrote and produced the song. This ace-in-the-hole peaked at number eight on the Billboard Hot 100. Bristol was nominated for two Grammys at the 17^th Annual Grammy Awards: Best New Artist of the Year and Best R&B Performance Male for “Hang On In There Baby,” of course!

From start to finish, Johnny Bristol wows us with his talented and tremendous musicianship. The singing is marvelous, making you wonder why Bristol didn’t earn more recognition vocally. He sings enthusiastically and expressively as he encourages her, in the chorus, “Hang on in there baby, hang on in there darling / I’m gonna give you more than you ever dreamed possible.” Beyond his terrific performance, the songwriting is top rate, too. The melodies are tuneful in the verses and especially, the chorus. The theme and lyrics are also on point. “That sweet moment of surrender / Mmmh, we’ll hear the thunder roar,” Bristol sings in the first verse, continuing, “Feel the lightning strike / At a point we both decided to meet the same time tonight.” In the second verse, he asserts, “There’s true love between us girl / Mmmh, so let us touch that cloud / That every girl dreams of / Oh, we’re almost there darling, we’re truly making love.” Adding to the elite nature of “Hang On In There Baby,” the musical underpinnings – the harmonic progression, the arrangement, and production – deserve an A+. The ‘70s soul aesthetic is in full force, with the percussive groove, robust bass, and refined orchestral touches (winds and soaring strings). Also, did I mention there are key modulations, upping the ante, bringing up the energy to higher heights? Johnny Bristol deserved more recognition, but the greatness of “Hang On In There Baby” is indisputable.

Appears in 🔻:

~ Table of Contents ~

14. Kurt Carr & The Kurt Carr Singers, “In The Sanctuary – Live”

Setlist: The Very Best of Kurt Carr & The Kurt Carr Singers » Sony Music Entertainment » 2011

“Yes / Yes, Lord, for the rest of our days / And we will praise You for the rest of our days!”

Amen! Hallelujah! The praise is turned up to the nth degree on “In The Sanctuary – Live”. That’s how it should be on a song that exemplifies praise and worship, right? Right! Kurt Carr and The Kurt Carr Singers bring it on the bright, exuberant-sounding live recording.

“In The Sanctuary – Live” features a standard church band, as well as brass. The anointed Kurt Carr Singers carry the tuneful melodies. “We lift our hands in the sanctuary / We lift our hands to give You the glory,” they sing, and confirm, “Yes, we will praise You for the rest of our days.” Meanwhile, Kurt Carr provides the ministry, ad-libbing. Later, the choir ensures the church knows exactly who the ‘You’ is.

“Jesus, we give You the praise

Emmanuel, we lift up Your name

Heavenly Father, coming Messiah

And we will praise You for the rest of our days

Yes, we will praise You for the rest of our days.”

While there is plenty of repetition in “In The Sanctuary,” there is contrast as well. Beyond lyrical contrast, there is fine use of modulation, which intensifies the praise and spirit even more. Also, at times, the different voices sing in parts, keeping things engaging. The most memorable highlight of the song is its lengthy vamp, which emphasizes God’s importance and praises His great deeds. No extensive analysis is necessary, however. Kurt Carr & The Kurt Carr Singers uplift to the utmost on “In The Sanctuary – Live”. The praise is a mighty praise!

Appears in 🔻:

Kurt Carr & The Kurt Carr Singers, In The Sanctuary – Live: Music Lifts No. 7 (2026)

~ Table of Contents ~

15. Aretha Franklin, “Spirit in the Dark”

Spirit in the Dark » Atlantic Recording Corp. » 1970

“I, I’m getting the spirit in the dark / (Um-hum-hum) / I’m getting the spirit in the dark.”

Amen, Aretha Franklin (1942 – 2018)! The Queen of Soul certainly lifts the spirit on her gospel-tinged soul gem, “Spirit in the Dark”. “People moving, oh, and they grooving,” she continues singing in the first verse, “Just getting the spirit / (Um-hum-hum) in the dark.” “Spirit in the Dark” is the sixth track off of Franklin’s 1970 album, Spirit in the Dark. That album features another Aretha favorite, “Don’t Play That Song”. Franklin penned “Spirit,” while Tom Dowd (1925 – 2002), Jerry Wexler (1917 – 2008), and Arif Mardin (1932 – 2006) produced it.

“(Doot-doot)

It’s like Sally Walker

(Do-do-doot-doot)

Sitting in a saucer

(Do-do-do-do-do-do)

That’s how ya (Doot) do it.”

“Spirit in the Dark” begins with bluesy, gospel-tinged piano. After those keys make the initial statement, Aretha Franklin sets the tone with her own bluesy vocal run. She shines, delivering soulful, gospelized lead vocals. No, the song never dives deep spiritually, but it feels spiritual from the beginning. And, to be fair, Franklin does encourage us to “Go on and move / Move with the spirit.” Amen! Beyond her powerful lead vocals, there are superb background vocals. Also, beyond the piano, the organ packs a punch as it enters the mix. After exhibiting subtlety early on, those background vocals up the ante, truly turning up and catching fire during the double time, vamping section that concludes the track.

“(I think I’ve got it!)

All of my brothers

(Move with the spirit)

All of my sisters

(Move with the spirit)

Move

(Move with the spirit)

With the spirit

(Move with the spirit).”

Ooh-wee! Aretha Franklin is spirited to the nth degree from start to finish on “Spirit in the Dark”. There is no way you won’t feel something on this deep soul classic!

Appears in 🔻:

Aretha Franklin, Spirit in the Dark: Music Lifts No. 41 (2025)

~ Table of Contents ~

I-N In Songs
15 Striking I-N In Songs (2025)	15 More Striking I-N In Songs (2026)

~ Table of Contents ~ » ~ intro ~

15 More Striking I-N In Songs (2026) [📷: Brent Faulkner / The Musical Hype; Atlantic Recording Corp., Beats By Ai Records, Black River Entertainment, Dead Oceans, DistroKid, Motown, Philip Collins Ltd., RCA, Rhino Entertainment Company, Seven Ridges Records, LLC, Sony Music Entertainment, UMG Recordings, Inc., YOUNG GENIUS ACADEMY INC.; Canva AI; Gordon Johnson from Pixabay]

15 More Striking I-N In Songs | Playlist

Published by the musical hype on April 20, 2026April 20, 2026