Goooood morning! It’s 0700 and I am waking up to another day of back to school excitement, this semester with an extra dose of crazy thanks to my new (minimum-wage) job as a teaching assistant. But thanks to the Good Morning Vietnam soundtrack, I have a fresh batch of retro tunes to get me out of bed and kick-start my mornings. For those of you who can actually remember when some of these little gems first came out, you are so very welcome. Now if you’ll excuse me, I have a very important caffeinated beverage to go inhale whilst I boogaloo around the kitchen.
Take a listen to the first single from Joseph Habedank’s upcoming solo album! It’s called “Never, No Never.” I’m very tough on new songs, but I can say confidently that if this is representative of the rest of Joseph’s record, I need to get me a copy!
Every now and then, I peek through the fingers covering my eyes long enough to see if there’s any music the kids like today that isn’t completely awful. Recently, I was moderately surprised and pleased to discover the band OneRepublic, and even more interested to learn that front-man and producer Ryan Tedder professes Christianity. Granted, it’s a “Bono Christianity” that gives him no qualms about also producing work for other pop artists who are decidedly opposed to all Christian morality. Still, it’s not every day you see an Oral Roberts grad, raised by Pentecostal missionaries, making mainstream pop music. There’s enough interesting material in Tedder’s career choices and philosophy for his very own Christians in Entertainment post, but that’s for another time.
At any rate, it’s clear that gospel music has influenced OneRepublic’s music. Explaining one of his signature production motifs, Tedder says, “Handclaps, always. Why? Church.” Maddy Easter told me that he and his wife are even thinking of covering one of the band’s recent hits for an upcoming project. Today, I’d like to present their most heavily gospel-infused tune as a “borrowing” candidate for another one of our own more progressive artists. While I don’t care for a whole lot of the band’s work, darned if I can’t stop hitting “replay” on this one. It’s titled “Preacher,” and it’s dedicated to Tedder’s grandfather, whose tough love and wisdom inspired him through his youth. Continue reading
Filed under Borrowing, Songs
In honor of Father’s Day, here’s a special entry in my too-long-neglected “Questions and Answers” series, where we examine two songs that address the human condition from two perspectives—the one without, the other with hope. Today’s topic is fatherhood. To those whose earthly fathers have brought them only pain and fear, what do we as Christians have to offer? What can we say to the person who says “Everyone I ever trusted has let me down”? The answer is that we have a heavenly Father whose word is sure and whose faithfulness endures to all generations. Continue reading
I enjoy browsing the winners of large songwriting contests. It’s always fun to discover brand new talent, and it reveals something about my own musical tastes when a large selection of completely new music is put in front of me. Most recently, I took a listen to some of the musicians who placed in the 2013 International Songwriting Contest. There are certain genres I just avoid altogether (electronica, hip-hop, etc.) and others where the genre isn’t what it used to be (Top 40, adult contemporary). And then, happily, there are the genres where good music is still being made. This year, I kept coming back to the Americana, folk/singer-songwriter, blues and country selections. I guess I prefer music that says something to “music” that exists merely to put a worm in your ear.
The wealth of untapped talent out there is incredible. I laughed and cried over several of the songs that placed in these categories. In several cases, I actually preferred the 2nd or 3rd place finishers to the category winner. Below are some of my favorites. Think of this sampler as a little slice of “coffeehouse cake,” or alternatively, “songs that are too good for radio.”
In 2005, Brian Free took a break from quartet singing and put out what is still one of my favorite solo efforts in southern gospel. Although I’ve never quite wrapped my brain around that other-worldly voice, his ear for a good song was as canny then as it is now. My personal favorite is the fresh, vigorous country rocker “Dare to Be a Daniel” (written by fellow Gold City alumnus Steve Lacey). Other highlights include “Anthem of the Ages,” which BFA could record today like new, and the tune I’m highlighting today, “Taking My God At His Word.” I could hear a number of artists doing this today, including the Perrys, Barry Rowland & Deliverance, Ernie Haase & Signature Sound, and Greater Vision.
I think I would be most excited to hear Chris Allman take a stab at it, but for Ernie to have a go would be great fun too. What do y’all think?
It’s been a really long time since I did an entry in this series, formerly known as “Poetry in Song,” and I’m not even sure that the folks who seemed interested when I first began it a few years ago are still hanging around. But in case they are, and in case anyone else enjoys reading my rambling about songwriting and would like to explore what makes a song work lyrically with me, here is another installment! Today, we’re picking a song from the world of
pop/rock country music: “Come Back to Me” (Artist: Keith Urban, Album: Fuse). This is a heart-wrenching song from the perspective of a man whose love is leaving to chase after things that he knows can’t satisfy her.
Before we dive in, mention must be made of Urban’s ravishing guitar work and the way it just melts into that synth backdrop. True musicianship dat. But I’ll save the full-on Keith fan-girling for another day. Now, on to the lyrics of the song, which was written by Shane McAnnally, Brandy Lynn Clark, and Trevor Joseph Rosen (three members of what I like to call “The Nashville Machine,” aka that faceless throng of writers whom nobody recognizes by name and without whom good and bad pop music alike would grind to a halt). I tucked away three main tips from them.
Here are two neat videos I just found and enjoyed, where Matt Fouch and Scotty Inman take fans behind the scenes for two new songs on Legacy Five’s new album.
We haven’t had a southern gospel versus CCM song smackdown in a while, so now seems as good a time as any. The two songs featured today are very similar lyrically, but they come from completely different generations stylistically. Representing the contemporary worship genre is Casting Crowns with their ballad “Who Am I?” When I first heard it I remember thinking it was one of the better worship ballads I’d heard in a while. I still think it’s a cut above average for this genre. Here is a newer, acoustic version featuring their female vocalist instead of Mark Hall:
And representing inspirational gospel, here is the Gaither Vocal Band song “Because of Whose I Am.”
You might recall a post I wrote some time back comparing an Irish pop/folk band called The High Kings with Ernie Haase & Signature Sound. (And if perchance you haven’t read it, do take a look an it please you, I’m partial to it and you might discover some good new music. Also, my favorite High King found and liked it, so there’s that.) Anyway, while the High Kings mostly stick to folk as a group, their solo tastes vary widely. Today I’m pulling a song from baritone Brian Dunphy’s solo project and offering it as a “borrowing” candidate for a southern gospel soloist. In my head, I think this would suit Devin McGlamery particularly well. Stylistically, I would compare it with his recent solo single “While I Still Can.” It’s a sweet tune, written by Dunphy himself together with band-mate Darren Holden, and I believe it’s dedicated to his parents. (I was also reminded of the tune “Ellsworth,” which I consider to be a compliment, but I know some readers don’t share my sentiments there. Perhaps they’ll be glad to know this one isn’t as transparently tear-jerking. ;-) ) Ronnie Booth is another singer who comes to mind.
They’d talk about forever
Hold each other close
Dream about the family they would raise
They were young and innocent
In their old-fashioned ways
God be with those days
This may not be the last High Kings solo entry in the “Borrowing” series. Darren Holden also has one or two country tunes that could translate over quite well.
Filed under Borrowing, Songs