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Music

#244: Missed The Archers

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This is mark Joseph “young” blog entry #244, on the subject of Missed The Archers.

Somewhere in the back of my mind I knew there was a Christian band called The Archers.  I knew quite a bit, actually–that it was a sister and two brothers of that surname with a backup band behind them.  I had seen somewhere an album cover of three faces, one of them a smiling blonde girl.  I think I never heard them, but somehow I must have done so because I had a notion of what they sounded like, and now scrounging through videos of their songs I find that notion to have been if not strictly correct at least comporting with what I would have thought at the time.

That assessent was that they had a pop sound that did not really appeal to me nor to most of my peers.

That’s not a particularly fair assessment, in a sense.  In researching this I listened to more than a few of their old songs, and they did a broad range of pop sounds from Gary Puckett and the Union Gap to the early disco-era Bee Gees to a bit of funk.  Their music was technically well-performed, with tight vocals and solid instrumental support, and they had some excellent lyrics in the mix.  Even so, when I try to listen to them while driving my wife always wants to change the music to someone else.  While they were probably recognizable from their voices, it never felt like they had anything uniquely original about their sound–of many of the artists of the time, there was always something about the way they played the guitar or the piano, or the vocal arrangements and frills, or the musical stylings, that so characterized them that you could recognize them when they were providing backup on someone else’s album.  The Archers thus were arguably very good, but not very interesting, that I recall.  They were a Light Records act back in the 1970s, and apparently kept going for quite some time, because as we noted that’s what musicians do.

Since I can’t really say I know any of their songs despite having recognized some (many of which I thought or even knew I heard from other artists), I’m not linking any videos here.  However, they have a MySpace page entitled The Archers | Listen and Stream Free Music, Albums, New Releases, Photos, Video, which I have discovered but not explored, so if you are an Archers fan, they must have been out there not very long ago (since the MySpace rebuild, anyway) and you might be able to catch up on what they’ve been doing.

For my part, I’ve got a lot of artists ahead who interest me much more.

*****

The series to this point has included:

  1. #232:  Larry Norman, Visitor;
  2. #234:  Flip Sides of Ralph Carmichael;
  3. #236:  Reign of the Imperials;
  4. #238:  Love Song by Love Song.
  5. #240:  Should Have Been a Friend of Paul Clark.
  6. #242:  Disciple Andraé Crouch.

Music

#242: Disciple Andraé Crouch

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This is mark Joseph “young” blog entry #242, on the subject of Disciple Andraé Crouch.

In 1973 Andraé (often spelled André) Crouch released an album recorded live in Carnegie Hall the previous autumn.  I was in that audience for that performance, and remember the excitement of the performance that had a mostly young white audience on its feet.

Prior to that I had never heard of him; I wasn’t at Carnegie Hall to hear him.  He was one of six performers that night; he wasn’t even the only one recording an album.  I was there because I was a big fan of the fourth act, Rock Garden, and because I had long wanted to hear the third, The Maranatha Singers, and because this was, in its own way, a moment in history.  New Milford’s Maranatha Church of the Nazarene had sponsored the first major multi-artist Christian rock concert in the northeast, precursor to–well, that’s a bit of history in itself.

The church, home of the Maranatha Coffeehouse and Maranatha Band, decided to attempt to run a concert in Carnegie Hall, and so completely oversold the hall that they filled the large church across the street.  I don’t remember what they called these, but it was the first of, if I recall correctly, four such concerts over the next several months.  The second I know I attended, but of it cannot remember more than that it was originally intended to be in Madison Square Garden, but as that proved too ambitious it was moved to the smaller Felt Forum there.  I do not recall the third at all, but the fourth was held in three different cities and featured then-popular premillenial author and speaker Hal Lindsey (The Late Great Planet Earth).  I always perceived them as the precursor to what I think was the first east coast Woodstock-like Christian rock festival, Jesus ’73, held that summer.  I didn’t make it there, but my friend Jack Haberer took my cassette recorder, a stack of tapes and a batch of batteries, and brought back teachings from such people as Stuart Briscoe and Tom Skinner, which I listened to time and again for many years.  This was the beginning of that.

Of course, Crouch’s involvement was in a sense incidental to that.  Still, he was a major artist for decades, winning seven Grammies and six Dove Awards and several other recognitions.

What Andraé did was something like what The Imperials did from the Southern Gospel direction:  he brought the stylings of Black Gospel into Contemporary Christian Music.  The way the music would end and then abruptly restart to sing the chorus again, the soul counterpoint vocals, these were mostly new to the mostly young mostly white Christian audiences of the Jesus Movement.

It actually bothers me to say that, because I read a review of the concert a few days after I attended it, and the critic credited the excitement there to those things.  I want to say that Andraé had an unquestionable anointing in his music.  God clearly gave him a gift–and the story has been told about that gift.

The story is that Reverend Crouch’s church had no piano player, and were praying about what to do about their unaccompanied music.  Suddenly, unexpectedly, the Reverend called his grade-school boy to the front, and said, “Andraé, if God gave you the gift of music, would you use it for his glory?”  The eleven-year-old Andraé said yes, the church prayed, and two weeks later he began playing the piano in the church–and continued playing for decades.  It was rumored that eventually someone attempted to teach him to read music, and he couldn’t grasp it, although eventually he managed to get past the basics to work more broadly in the music industry.

I never owned an Andraé Crouch album; I’m not sure I heard one until Finally was delivered to the radio station.  However, I knew quite a few of his songs.  I taught the Luther College Agape Singers to sing Jesus Is the Answer, and still today I often find myself singing fragments of It Won’t Be Long–I love the part, Count the years as months, count the months as weeks, count the weeks as days, any day now we’ll be going home.  I remember singing Through It All (this video includes Andraé telling the story about receiving the gift of music) while paddling through rapids on rivers in the Adirondacks and on the Delaware.  Looking over his discography, I immediately recall The Blood Will Never Lose Its Power, I Don’t Know Why Jesus Loved Me, and My Tribute (To God Be The Glory).  Even people who weren’t fans knew some of his songs; some of those wound up in my aunt’s Southern Baptist hymnal, and Jimmy Swaggart (who preached against any possibility that God could use contemporary Christian music) recorded at least one that I recall.

His twin sister Sandra (behind him in the featured photo) sang with him in the early days and also had an illustrious career, with a Grammy of her own and several solo albums, but I never heard her outside of her work with The Disciples, the name of the band for most of his early career.  He was embraced as one of the Contemporary Christian artists of the time, and appeared on the later Keith Green tribute album First Love with quite a few other artists in our series.

His first album was released in 1968; he died in 2015.  Between those times, he contributed a great deal to Contemporary Christian music and to music generally, and to the advancement of the Kingdom of God.

*****

The series to this point has included:

  1. #232:  Larry Norman, Visitor;
  2. #234:  Flip Sides of Ralph Carmichael;
  3. #236:  Reign of the Imperials;
  4. #238:  Love Song by Love Song.
  5. #240:  Should Have Been a Friend of Paul Clark.

Music

#240: Should Have Been a Friend of Paul Clark

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This is mark Joseph “young” blog entry #240, on the subject of Should Have Been a Friend of Paul Clark.

One of the problems with writing a series of reminiscences like this is realizing how much of that time I have forgotten; another problem is recognizing how much of what was happening I missed.  Paul Clark falls into both of those categories.

This is the fifth entry in a series of reminiscences about what might be considered the early days of Christian contemporary and rock music; previous entries are listed and linked at the end of this article.  My credentials are presented in the first article of this series, the Larry Norman article.  Song title links are to YouTube videos; no representation is made as to whether they are legal copies.

Looking over his discography, I recognize that five albums of his were released during the time I was at the radio station, but I only recognize the album covers of three; the third of those, Minstrel’s Voyage, was a best-of that was released during a long stretch in which he was not recording, and I recognize tracks from that.  Although the cover of Drawn to the Light is immediately recognizable, the only thing I recognize looking at the track list is that there was this weird three-song piece late on the second side; none of the titles recall any music for me.

Clark, though, predates my involvement.  His debut album Songs from the Savior Volume 1 was recorded in 1971 or 72, depending on whom you ask, followed shortly thereafter by Volume 2 of the same.&nbsp I eventually had access to a copy of the collaborative effort Good to Be Home which is listed as by Paul Clark and Friends and doesn’t show on his regular discography.  I remember being impressed by the collection, which featured guitar work from Phil Keaggy, bass and drums from Love Song alumni Jay Truax and John Mehler, and keyboards from Bill Speer.  However, until I heard it again I didn’t recall a single track from the disk.  Listening to it, I recall much, and the title Which One Are You? (second on the disk) strikes me as the one which got the most airplay on our station, although the final track, Abide.  It also features a great deal of nostalgically characteristic Phil Keaggy guitar work.

However, I got to hear Clark live once.  I suspect it was a promotional tour for Drawn to the Light, but I do not recall interviewing him or even meeting him at the show.  However, I remember one part of that show quite clearly.  Clark was alone on stage with an acoustic guitar, and he paused to explain that he did not do requests.  He explained that at this point he had recorded so many albums that he couldn’t keep all the songs performance ready, and just focused on those he planned to play.  He then told of playing a concert with a full band, and as they finished the first song someone near the front yelled, “Hand to the Plow!” (a funky rock piece after the quiet introduction), which is probably Clark’s single most famous piece, or at least the one I’ve most heard mentioned in connection with him.  Clark ignored the voice and played his second song, only to have the fan shout the title again at the end.  When this happened again after the third song, Clark called the fan to the stage.  “What’s your name?” he asked.  “Bob,” came the reply.  “Well, everyone, Bob is now going to sing Hand to the Plow,” and giving him a mike he started the band on the song, and Bob successfully muddled through the piece (“Not too bad, actually.”)  He told that story to discourage us from making requests.

He is generally acknowledged to be one of the original Christian contemporary/rock musicians; I only wish I knew him better.

(In my research for this article I stumbled on a two hour concert, pirated audio from somewhere in the audience, of Paul Clark and Phil Keaggy.)

*****

The series to this point has included:

  1. #232:  Larry Norman, Visitor;
  2. #234:  Flip Sides of Ralph Carmichael;
  3. #236:  Reign of the Imperials;
  4. #238:  Love Song by Love Song.

Music

#238: Love Song by Love Song

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This is mark Joseph “young” blog entry #238, on the subject of Love Song by Love Song.

For many of us schooled in the late sixties, a record album was not just a collection of songs.  Thanks to contributions such as Abby Road and Tommy we viewed a record album as a work of art in itself, a skillful arrangement of music and lyrics which carried the listener from beginning to end through a theme or story.  The self-titled debut album from Love Song is such a recording, from the opening strains of the title song to its fragmentary reprise at end (missing from that video and seemingly from the internet itself) in which the band carries the listener through songs that seem to follow each other in an almost mandatory sequence.

This is the fourth entry in a series of reminiscences about what might be considered the early days of Christian contemporary and rock music; previous entries are listed and linked at the end of this article.  My credentials are presented in the first article of this series, the Larry Norman article.  Song title links are to YouTube videos; no representation is made as to whether they are legal copies.

The album was more than that, though.  At the time of its release (1972) it was the first Christian rock band to get distribution nationwide, and thus in the minds of many the first Christian rock album.  We thought it wonderful, and argued that the only reason it wasn’t getting national airplay was because of the discrimination against Christian music on public radio stations.

In fairness, it was a mellow album even by the standards of the day.  Front Seat, Back Seat and Little Country Church were outright Country songs; a lot of the guitar work was on acoustic or even nylon-stringed classical instruments, and the wailing distorted lead guitar solo on Let Us Be One is well back in the mix.  On the other hand, the performance and arrangement was top notch across the board, and their use of vocals was unrivaled at the time.

They felt the adulation, and didn’t much care for it.  As Christian musicians they wanted to point people to Jesus, and it seemed that people were pointing more to them.  Three years after their debut album they released what was to be their final installment, Final Touch, and officially dissolved the band.  This was a less-admired album.  The most memorable cuts are the comical southern rock Cossack’s Song and the quiet Little Pilgrim.  They reunited for a live album, Feel the Love, three years after that, and in the late nineties there was a remastered disk under several titles of which Welcome Back was the preferred commercial one in the U.S.  They also appeared live with a dozen other artists from those early years on a live double CD tribute to Keith Green entitled First Love, also in the late nineties.

After their dissolution, Chuck Girard–vocals, keyboards, guitars–continued to do music consistent with the sounds of the band; the best known song was Sometimes Alleluia.  Bassist/vocalist Jay Truax and drummer/vocalist John Mehler lent support to other artists, most notably as part of Paul Clark and Friends, but other than Chuck the band members stayed out of the spotlight.

Fans generally believe that had the band continued it would have produced more wonderful music.  The first album had succeeded in achieving something great; the second, not so much, and Chuck continued to have about as good a career as a Christian Contemporary musician could have at the time, but never produced anything comparable to that first work.

*****

The series to this point has included:

  1. #232:  Larry Norman, Visitor;
  2. #234:  Flip Sides of Ralph Carmichael;
  3. #236:  Reign of the Imperials.

Music

#236: Reign of the Imperials

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This is mark Joseph “young” blog entry #236, on the subject of Reign of the Imperials.

The Imperials began as a pretty standard male southern gospel quartet.  However, they kept crossing lines, pushing the envelope, reinventing themselves, and became a force in middle-of-the-road contemporary Christian music.

This is the third entry in a series of reminiscences about what might be considered the early days of Christian contemporary and rock music, which began with #232:  Larry Norman, Visitor, followed by #234:  Flip Sides of Ralph Carmichael.  Song title links are to YouTube videos; no representation is made as to whether they are legal copies.  My credentials are presented in the first article of this series, the Larry Norman article.

They first shocked their conservative Christian audience by taking a job as backup singers for that icon of everything that was wrong with American youth of the day, Elvis Presley.  This gave them exposure to audiences beyond anything they could have gotten as “another southern gospel quartet”.  It may have alienated some of their core audience, but it put them in a position to sing gospel music to secular audiences when they opened for “The King”.

After that, they broke another rule when they filled an open vocalist slot with Sherman Andrus, making them the first racially integrated gospel band.  Prior to that, there was black gospel music and there was all-white southern gospel music.  Now there was gospel music sung by a quartet one, and only one, of whom was black.  Again their core audience was shaken, but their reach expanded.

Andrus would eventually leave along with fellow vocalist Terry Blackwood to form Andrus, Blackwood, and Company, whose biggest hit to my knowledge was the rock-‘n’-roll tribute Wonderful, done with an almost comic backup from Blackwood to Andrus’ truly stylistic lead vocals.  (Unfortunately, they are also remembered for the completely tasteless idea for a song about the martyrdom of Steven, heaven is just A Stone’s Throw Away.)  Russ Taff joined The Imperials at that time, and also had a bit of a solo career on the side.

About that time Chris Christian had a contract to provide material for one of the major contemporary Christian labels, and the Imperials got him to produce their 1979 albums Heed the Call and One More Song for You, in a style that might be dubbed Nashville Contemporary.  They were a quality act within their style, and their novelty song Oh Buddha became one of the few heavily requested at our album-oriented CCM station.  They were never a cutting-edge rock band, but with recordings of songs like Old Man’s Rubble they broke out of the mold of southern gospel and became a standard in middle-of-the-road Christian contemporary.

I don’t own any of their recordings; they were never on my list of favorites, and my budget pretty much kept me to records I really wanted that I could get the record companies to give me.  They were, however, one of the quality vocal bands of the time, even if their southern gospel roots still influenced their vocal arrangements even after they crossed solidly into the contemporary/rock sound.

Bible and Theology, Music

#234: Flip Sides of Ralph Carmichael

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This is mark Joseph “young” blog entry #234, on the subject of Flip Sides of Ralph Carmichael.

This is the second article in a series of reminiscences about what might be considered the early days of Christian contemporary and rock music, which began with #232:  Larry Norman, Visitor.

For what seemed a lot of years I didn’t like Ralph Carmichael.  He wrote the song He’s Everything to Me, and was responsible for the little booklet of similar songs, songs of a particular style that I found irksome.  The way I have often described it is that these are songs older people bring into church services for the younger people, and young people tolerate as the best they’re likely to get but not really what they want.  The late sixties and early seventies were full of these pseudo-contemporary musicians, from the Hot Hymns and Cool Carols collection by Presbyterians Richard Avery and Donald Marsh to the Roman Catholic contemporary folk singer Ray Repp.  I viewed Carmichael as a facilitator of what I regarded musical pablum.

I was corrected.

Song title links are to YouTube videos; no representation is made as to whether they are legal copies.  My credentials are presented in the first article of this series, the Larry Norman article.

It’s not that Carmichael wasn’t responsible for the publication and promotion of a lot of this music I thought didn’t really appeal to the target youth audience (and really, that audience was a lot more varied than I credited at the time).  It isn’t even that there were some gems in the trash–I doubt I would have heard Kurt Kaiser’s Pass It On were it not published by Carmichael (and Kaiser’s Master Designer, while not in the same class as the marvelous Pass It On, is a decent song, too).  It’s that there was more to Ralph Carmichael than I knew.  Carmichael might not have been all that adept at writing music for the upcoming generations of the sixties and seventies, but he proved quite adept at finding people who were and getting them in the spotlight.  Ralph Carmichael spearheaded Light Records.

I have no idea who the leading labels are today, but by 1979 there were four major publishers of contemporary Christian record albums.  Word Records (originally Spoken Word Records) came out of Waco, Texas, and their Myrrh label was instrumental in launching careers of quite a few major artists of the time including Barry McGuire and The Second Chapter of Acts.  The Benson Group in Nashville had several labels, of which Greentree Records was the largest in the contemporary field, with a number of Nashville-based artists including Dallas Holm.  Sparrow Records was a latecomer to the field, but quickly became the label of choice for most of the California-based musicians and dominated a lot of the best music.  Carmichael started the fourth, not in time but in size, Light Records, connected to his Lexicon Music and loosely to Word Records.  Andre Crouch and Resurrection Band were the big names on Light, which featured many other artists in a mostly light contemporary sound.

It also released, on vinyl, a weekly half-hour interview and music radio show, The Ralph Carmichael Radio Special, featuring its new releases.  We would receive these in the mail, a disk on which Ralph himself would talk with an artist and introduce all the songs on the A side of a recent album, and then for the next week the B side of the interview record would cover the B side of the album.  This kind of behind-the-songs program was not really otherwise available in Contemporary Christian music–oh, we made our own when we were able, trying to land extended interviews with artists in the area for concerts or available by telephone from elsewhere, but Carmichael made it easy, putting his young artists in a spotlight that boosted their exposure significantly.  He did a tremendous amount for contemporary Christian music in those days.

He ultimately earned a place in the Gospel Music Hall of Fame.  It was well-deserved.

I still am not a big fan of the kind of music he wrote, but I have a lot of respect for the man himself.

I also have a story he told on himself, which I got from Barry McGuire, but it will arise in connection with another artist later in our series.

Music, Reviews

#232: Larry Norman, Visitor

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This is mark Joseph “young” blog entry #232, on the subject of Larry Norman, Visitor.

I floated the suggestion on social media that I might begin a somewhat disjointed series of my recollections of the Christian Contemporary and Rock music scene in the late 70s and early 80s, and it was well received, so I’m going to begin.  It seems that one cannot begin such a discussion without Larry Norman, so that is where we will start.

First, though, let’s clarify my credentials.  I was in high school from 1969 through 1973 (that’s four years, fall to spring), and although the east coast was a long way from the center of the action, the Jesus Movement had hit our town hard, so I knew a fair amount of the music of the time.  I then attended two Christian colleges in succession, and after obtaining two degrees in biblical studies along with a lot of exposure to the music my peers were hearing, I tried out for an established Christian band (more on that later) and in 1979 took a job as a disk jockey on a Christian radio station, WNNN-FM, which a short time before my arrival had been ranked the #12 CCM/Christian Rock station in the country, and just before my departure was said still to be on the short list of fifty radio stations which Christian record company promotions people made sure to call every week.  We reported our top songs to the magazine then called Contemporary Christian Music Magazine, which later shortened its name to Contemporary Christian Magazine but kept the CCM logo.  More significantly, during that span of five years and a month I heard every contemporary Christian recording released by a major label, and quite a few independent ones.  I lived this music.

Of course, memory is imperfect, but it’s one of those things that the longer you think about a subject the more you recall, so we’ll be remembering a lot along the way.

Song title links are to YouTube videos; no representation is made as to whether they are legal copies.

Larry Norman Photograph by Michael Sierra upon induction to San Jose Rocks Hall of Fame

My problem with discussing Larry Norman is that I don’t really feel that I knew him all that well.  I owned a pirated copy of the live performance of Sing that Sweet Sweet Song of Salvation (link is the studio version), and I must have heard other recordings of his.  I jammed on Why Don’t You Look Into Jesus with some college friends who knew it, and knew Six-Sixty-Six, Unidentified Flying Object, and I Wish We’d All Been Ready–three songs strongly reflecting his premillenialism, the last of which made it into a few hymnals–but I was never a serious fan beyond recognizing his importance in the field.  I attended a concert he gave at Gordon College, but only remember the conversation I had with him backstage afterwards (the gist of which is given in my previous web log post #163:  So You Want to Be a Christian Musician); my wife says we heard him again at the Levoy Theater in Millville, New Jersey, but I do not remember so much as being at the Levoy.  I can picture the cover of his cleverly-entitled album Only Visiting This Planet, but barely remember the title song and am not certain I heard any more of it than that.  In the five years I was on the radio station, we never received a single recording from him, so although he was still touring for years (it’s what musicians do, apparently–I recently heard that Blood, Sweat, and Tears was playing at the Levoy) he seemed to have largely dropped off the radar by the early 80s.  He died early in 2008 at sixty years old.

Still, his impact was never insignificant.  He is known to have been instrumental in the salvation of early CCM folk-rock artist Randy Stonehill (and we did receive one album from him during those early 80s years).  He was an acquaintance of Paul McCartney, and I recently heard that Bob Dylan came to Christ in Larry’s kitchen.  He is said to have been the original Christian rock musician, and may well deserve the title.

On the other hand, it might well be argued that his early dominance can be attributed to a lack of competition.  His at times squeaky tenor voice is an acquired taste, and his songs were mostly simple pop progressions and melodies with shallow lyrics–good solid evangelistic material, most of it, but not very competitive with the sounds that would come starting in the mid seventies.  If you liked Larry Norman, it was almost certainly because he was the first decent alternative to secular rock and pop music, or because you had met him and heard him live.  He was charismatic on stage, and well worth seeing in concert.  He was a powerful personality off-stage, and a minister with keen discernment and an understanding of the people he met.  His ministry counts for a great deal, even if his music is not all that remarkable.

And in heavenly terms, that’s what really counts.

Bible and Theology, Books by the Author, Elections, Games, Law and Politics, Logic and Reasoning, Music, Temporal Anomalies/Time Travel, Time Travel Movies

#219: A 2017 Retrospective

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This is mark Joseph “young” blog entry #219, on the subject of A 2017 Retrospective.

A year ago, plus a couple days, on the last day of 2016 we posted web log post #150:  2016 Retrospective.  We are a couple days into the new year but have not yet posted anything new this year, so we’ll take a look at what was posted in 2017.

Beginning “off-site”, there was a lot at the Christian Gamers Guild, as the Faith and Gaming series ran the rest of its articles.  I also launched two new monthly series there in the last month of the year, with introductory articles Faith in Play #1:  Reintroduction, continuing the theme of the Faith and Gaming series, and RPG-ology #1:  Near Redundancy, reviving some of the lost work and adding more to the Game Ideas Unlimited series of decades back.  In addition to the Faith and Gaming materials, the webmaster republished two articles from early editions of The Way, the Truth, and the Dice, the first Magic:  Essential to Faith, Essential to Fantasy from the magic symposium, and the second Real and Imaginary Violence, about the objection that role playing games might be too violent.  I also contributed a new article at the beginning of the year, A Christian Game, providing rules for a game-like activity using scripture.  Near the end of the year–the end of November, actually–I posted a review of all the articles from eighteen months there, as Overview of the Articles on the New Christian Gamers Guild Website.

That’s apart from the Chaplain’s Bible Study posts, where we finished the three Johannine epistles and Jude and have gotten about a third of the way through Revelation.  There have also been Musings posts on the weekends.

Over at Goodreads I’ve reviewed quite a few books.

Turning to the mark Joseph “young” web log, we began the year with #151:  A Musician’s Resume, giving my experience and credentials as a Christian musician.  That subject was addressed from a different direction in #163:  So You Want to Be a Christian Musician, from the advice I received from successful Christian musicians, with my own feeling about it.  Music was also the subject of #181:  Anatomy of a Songwriting Collaboration, the steps involved in creating the song Even You, with link to the recording.

We turned our New Year’s attention to the keeping of resolutions with a bit of practical advice in #152:  Breaking a Habit, my father’s techniques for quitting smoking more broadly applied.

A few of the practical ones related to driving, including #154:  The Danger of Cruise Control, presenting the hazard involved in the device and how to manage it, #155:  Driving on Ice and Snow, advice on how to do it, and #204:  When the Brakes Fail, suggesting ways to address the highly unlikely but cinematically popular problem of the brakes failing and the accelerator sticking.

In an odd esoteric turn, we discussed #153:  What Are Ghosts?, considering the possible explanations for the observed phenomena.  Unrelated, #184:  Remembering Adam Keller, gave recollections on the death of a friend.  Also not falling conveniently into a usual category, #193:  Yelling:  An Introspection, reflected on the internal impact of being the target of yelling.

Our Law and Politics articles considered several Supreme Court cases, beginning with a preliminary look at #156:  A New Slant on Offensive Trademarks, the trademark case brought by Asian rock band The Slants and how it potentially impacts trademark law.  The resolution of this case was also covered in #194:  Slanting in Favor of Free Speech, reporting the favorable outcome of The Slant’s trademark dispute, plus the Packingham case regarding laws preventing sex offenders from accessing social networking sites.

Other court cases included #158:  Show Me Religious Freedom, examining the Trinity Lutheran Church v. Pauley case in which a church school wanted to receive the benefits of a tire recycling playground resurfacing program; this was resolved and covered in #196:  A Church and State Playground, followup on the Trinity Lutheran playground paving case.  #190:  Praise for a Ginsberg Equal Protection Opinion, admires the decision in the immigration and citizenship case Morales-Santana.

We also addressed political issues with #171:  The President (of the Seventh Day Baptist Convention), noting that political terms of office are not eternal; #172:  Why Not Democracy?, a consideration of the disadvantages of a more democratic system; #175:  Climate Change Skepticism, about a middle ground between climate change extremism and climate change denial; #176:  Not Paying for Health Care, about socialized medicine costs and complications; #179:  Right to Choose, responding to the criticism that a male white Congressman should not have the right to take away the right of a female black teenager to choose Planned Parenthood as a free provider of her contraceptive services, and that aspect of taking away someone’s right to choose as applied to the unborn.

We presumed to make a suggestion #159:  To Compassion International, recommending a means for the charitable organization to continue delivering aid to impoverished children in India in the face of new legal obstacles.  We also had some words for PETA in #162:  Furry Thinking, as PETA criticized Games Workshop for putting plastic fur on its miniatures and we discuss the fundamental concepts behind human treatment of animals.

We also talked about discrimination, including discriminatory awards programs #166:  A Ghetto of Our Own, awards targeted to the best of a particular racial group, based on similar awards for Christian musicians; #207:  The Gender Identity Trap, observing that the notion that someone is a different gender on the inside than his or her sex on the outside is confusing cultural expectations with reality, and #212:  Gender Subjectivity, continuing that discussion with consideration of how someone can know that they feel like somthing they have never been.  #217:  The Sexual Harassment Scandal, addressed the recent explosion of sexual harassment allegations.

We covered the election in New Jersey with #210:  New Jersey 2017 Gubernatorial Election, giving an overview of the candidates in the race, #211:  New Jersey 2017 Ballot Questions, suggesting voting against both the library funding question and the environmental lock box question, and #214:  New Jersey 2017 Election Results, giving the general outcome in the major races for governor, state legislature, and public questions.

Related to elections, #213:  Political Fragmentation, looks at the Pew survey results on political typology.

We recalled a lesson in legislative decision-making with #182:  Emotionalism and Science, the story of Tris in flame-retardant infant clothing, and the warning against solutions that have not been considered for their other effects.  We further discussed #200:  Confederates, connecting what the Confederacy really stood for with modern issues; and #203:  Electoral College End Run, opposing the notion of bypassing the Constitutional means of selecting a President by having States pass laws assigning their Electoral Votes to the candidate who wins the national popular vote.

2017 also saw the publication of the entirety of the third Multiverser novel, For Better or Verse, along with a dozen web log posts looking behind the writing process, which are all indexed in that table of contents page.  There were also updated character papers for major and some supporting characters in the Multiverser Novel Support Pages section, and before the year ended we began releasing the fourth novel, serialized, Spy Verses, with the first of its behind-the-writings posts, #218:  Versers Resume, with individual sections for the first twenty-one chapters.

Our Bible and Theology posts included #160:  For All In Authority, discussing praying for our leaders, and protesting against them; #165:  Saints Alive, regarding statues of saints and prayers offered to them; #168:  Praying for You, my conditional offer to pray for others, in ministry or otherwise; #173:  Hospitalization Benefits, about those who prayed for my recovery; #177:  I Am Not Second, on putting ourselves last; #178:  Alive for a Reason, that we all have purpose as long as we are alive; #187:  Sacrificing Sola Fide, response to Walter Bjorck’s suggestion that it be eliminated for Christian unity; #192:  Updating the Bible’s Gender Language, in response to reactions to the Southern Baptist Convention’s promise to do so; #208:  Halloween, responding to a Facebook question regarding the Christian response to the holiday celebrations; #215:  What Forty-One Years of Marriage Really Means, reacting to Facebook applause for our anniversary with discussion of trust and forgiveness, contracts versus covenants; and #216:  Why Are You Here?, discussing the purpose of human existence.

We gave what was really advice for writers in #161:  Pseudovulgarity, about the words we don’t say and the words we say instead.

On the subject of games, I wrote about #167:  Cybergame Timing, a suggestion for improving some of those games we play on our cell phones and Facebook pages, and a loosely related post, #188:  Downward Upgrades, the problem of ever-burgeoning programs for smart phones.  I guested at a convention, and wrote of it in #189:  An AnimeNEXT 2017 Experience, reflecting on being a guest at the convention.  I consider probabilities to be a gaming issue, and so include here #195:  Probabilities in Dishwashing, calculating a problem based on cup colors.

I have promised to do more time travel; home situations have impeded my ability to watch movies not favored by my wife, but this is anticipated to change soon.  I did offer #185:  Notes on Time Travel in The Flash, considering time remnants and time wraiths in the superhero series; #199:  Time Travel Movies that Work, a brief list of time travel movies whose temporal problems are minimal; #201:  The Grandfather Paradox Solution, answering a Facebook question about what happens if a traveler accidentally causes the undoing of his own existence; and #206:  Temporal Thoughts on Colkatay Columbus, deciding that the movie in which Christopher Columbus reaches India in the twenty-first century is not a time travel film.

I launched a new set of forums, and announced them in #197:  Launching the mark Joseph “young” Forums, officially opening the forum section of the web site.  Unfortunately I announced them four days before landing in the hospital for the first of three summer hospitalizations–of the sixty-two days comprising July and August this year, I spent thirty-one of them in one or another of three hospitals, putting a serious dent in my writing time.  I have not yet managed to refocus on those forums, for which I blame my own post-surgical life complications and those of my wife, who also spent a significant stretch of time hospitalized and in post-hospitalization rehabilitation, and in extended recovery.  Again I express my gratitude for the prayers and other support of those who brought us through these difficulties, which are hopefully nearing an end.

Which is to say, I expect to offer you more in the coming year.  The fourth novel is already being posted, and a fifth Multiverser novel is being written in collaboration with a promising young author.  There are a few time travel movies available on Netflix, which I hope to be able to analyze soon.  There are a stack of intriguing Supreme Court cases for which I am trying to await the resolutions.  Your continued support as readers–and as Patreon and PayPal.me contributors–will bring these to realization.

Thank you.

Bible and Theology, Books by the Author, Elections, Games, Law and Politics, Logic and Reasoning, Music, Temporal Anomalies/Time Travel, Time Travel Movies

#197: Launching the mark Joseph “young” Forums

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This is mark Joseph “young” blog entry #197, on the subject of Launching the mark Joseph “young” Forums.

Once upon a time, what now seems a long, long time ago in a galaxy far, far away, there were forums at Gaming Outpost.

Well, there were forums almost everywhere, but the ones at Gaming Outpost were significant, big deal forums in the gaming world for a while, and then not so much but still important to me and to many of those who read my work and played Multiverser.  They were probably then the most reliable way to reach me, and there were plenty of discussions, not to mention quite a few games played, on those forums.

Then they crashed, and all of that was lost.

I can’t promise that this won’t happen to these new forums, but we’re going to make an effort, with the help of our Patreon and PayPal.me supporters, to keep them up and running, and to pay attention to what is posted here.

I arranged the forums in alphabetical order; I was going to arrange them in reverse alphabetical order, because I have always hated being the last in line for everything, but as I installed them the software put the next one on top, and although I could see how to resequence them, I realized that that would put Bible and Theology on the bottom, and while I’m not a stickler for silly formalities I could see that some people would object to that, more so than anyone would object to any other forum being at the bottom.  It is probably appropriate that it is on top.  The forum categories correspond roughly to the web log main topics, with a few tweaks and additions.

I long wished for a place to discuss time travel and time travel movies, and that’s there now.  I don’t expect most of the discussions will wind up here, but perhaps at least some will, and that will make it worthwhile.  I’ve also made a home for discussions of the Christian Gamers Guild Faith and Gaming series, and for the upcoming (this December) Faith in Play and RPG-ology series there.  There are music and ministry sections, space for logic problems discussions, law and politics pages, space for games, and a place to discuss my books, if anyone is interested in any of those topics.

I have also added a Multiverser game play forum.  I have in the past been overwhelmed by the number of players who wanted to play, even with my rule that I would only post one time per day to any game thread and expected players to observe the same courtesy (except for obvious correction posts).  Please do not presume that because you want to play Multiverser you can just start a thread and I’ll pick up your game.  I will give first priority to people who have played the game with me before, whether live or online, picking up where we were; I will also open the door on an individual basis to people who have wanted to play for a long time but for various reasons have not been able to do so (such as Andrew in South Africa).  Beyond that, well, talk to me and I’ll see what kind of time I have–after all, I have no idea how many of my previous players will return, or how much work it’s going to be to get back up to speed on their long-interrupted games.

My thanks to Kyler and Nikolaj, who have already helped me track down some of the bugs and fix them.  I’m told that if you are not registered, the link on the top left corner of the page will work, but the one on the top right corner will not–unfortunately, I can neither see either link while logged into the site, nor find how to fix a lot of those problems.  But I am working on it, and there is a forum specifically for contacting me about problems, and a link to my Facebook page if you can’t even get as far as that.

I look forward to seeing you.

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Bible and Theology, Music

#181: Anatomy of a Songwriting Collaboration

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This is mark Joseph “young” blog entry #181, on the subject of Anatomy of a Songwriting Collaboration.

I have long been of the opinion that the best way to learn to write songs, initially, is to find someone who already does and work with him, in essence apprenticing as a songwriter.  That’s how I learned, although it occurs to me that I never really wondered how my mentor learned.  Still, I had learned quite a bit of music theory and had attempted quite unsuccessfully to write songs before I met him, and very quickly learned the secrets once I started working with him.  I have since worked with quite a few people who had never written a song before, and taught them the basics of how to do so.  So there might be other ways to get started, but working with someone who already knows what he is doing is a tried and true approach.

img0181Music

Because of this, I’m not claiming that anything I write could ever teach you how to write a song.  I can teach you quite a bit of music theory (I did some of that in Mr. Young’s Music Theory Class on Facebook), but to learn to write a song I think you would have to go through the process with me.  On the other hand, this past weekend I persuaded my youngest son to collaborate on a song, and it came out fairly well, and so I am going to attempt to explain the process that brought about the song here.

I am going to state the caveat I have often stated in other contexts:  all songs are different, and there are many different ways in which they come into being.  When people ask whether the words or the music come first, I always say no, because it does not work that way.  There have been times when I have begun with words that had no music, and other times when I had a melody but no lyric, or even a chord progression or background that was worth forming into a song.  How it happened this time is one example, but it shows aspects of process.

It began while I was driving in the car.  I should credit the Reverend Jack Haberer, because if I recall correctly when we were together at Ramsey High School he put under his yearbook picture, “Secretly desires to be born again again,” and the line has stuck with me over the decades.  It was nagging at me as I was driving, so I pulled a digital recorder from my pocket (I have one on my cell phone and another that is just that) and dictated something roughly poetic.  I do this sometimes with ideas for articles, stories, songs, and tasks I should complete, because I know I will forget quite soon if I don’t, and even with the convenience of recorders that I don’t always think to use too many ideas escape me.

Upon arriving home, I played back the recording and cleaned it up a bit, typing up a document that read

If deep in your heart you remember when–
Did you want to be born again again?
The good news is the news is true:
Jesus comes to make all things new,
Even you.
Even you.

So I had the beginning of a song idea, but I had no melody, no music for it at all.

What I did have was a desire to help my youngest son Adam with his own music.  He happens to be a natural–like me, he picks up instruments and figures out how to get music out of them.  He plays the piano for hours, but has very little notion of the names of the chords or key signatures.  He is learning; he questions me frequently, about what he’s doing on the piano or the guitar or the recently-added cello or other instruments.  He is very creative, but he doesn’t often write what we call “songs”–he does improvisational music, and then tries to remember fragments of it, or he records himself jamming at the piano and uploads it to the Internet but can’t otherwise reproduce it.  I wanted to give him something of an understanding of how I write a song, and so I wanted to collaborate with him on something.  I printed those words and kept them on my desk for a couple hours.

He is notoriously difficult to catch, but while I was rushing about getting his mother ready for work I saw him standing in the living room, grabbed the lyrics, and said something on the order of, “I thought you might like to collaborate on a song.  Here are some lyrics to get it started.”  He took them over to the piano and started playing something and singing something.  I was only half listening as I was otherwise occupied, and by the time I joined him he had worked some of the bugs out of it and I tried to pick up his melody.

Honestly, I was a bit disappointed with the rather stock chord progression he had adopted, even with the unusual stray notes, and the melody was nothing terribly original–but the song had vitality and drive, and that fit it extremely well, so I quickly tried to learn his melody, which probably changed a bit in the process.  He had also doubled the end words, so that Even you was sung four times rather than two.

He then grabbed the paper and ran looking for a pencil or pen.  People who know me will wonder that I didn’t just reach into my shirt pocket and hand him one, but around the house I don’t wear the shirt with the pencils, only the pocket T-shirt, so I only sometimes have a pen available.  He grabbed one from the kitchen, and scrawled words on the page as the pen died in his hands.  Still, there was enough there that we had a second verse, and I got one of my pens and filled it in, with a few tweaks, thus:

There in your mind when you feel abused,
Don’t you get tired of being used and used?
Darkness falls, then the light breaks through.
Jesus comes to make all things new,
Even you.  Even you.
Even you.  Even you.

After that, we were talking about a bridge.

That progression I mentioned was A minor, G major (with a suspended 4 frill), F major, E major (with a suspended minor second frill)–yes, quite common, quite boring from a musical theory perspective, and it repeated, playing through three times for each verse.  I wanted to exit into a bridge with an unusual transition, and he had played something I liked (he was on the piano, I was on the guitar).  I started talking about where the chord would be “expected” to go, and before I’d gotten very far he told me what chord to play.  Well, he didn’t exactly tell me, “Play an F major 7 with an added augmented four,” but he told me where to put my fingers and that’s the chord he wanted.  As root progressions go, it was not terribly interesting (from the V of VI to the IV), but the dissonance inherent in the chord was interesting, and he wanted to slow it down so I shifted to a light picking (I tend to avoid tempo changes in my songs, preferring meter changes that achieve the same effect but are more precise).  He sang the next words, You want what you want, creating the shape of the melody for the bridge, and then started spitting out words that he liked as individual lines.  I told him to write them down, because it was obvious we were going to lose some potentially good material if we didn’t do something.  He wrote you got the joy, Jesus got the pain, then crossed out Jesus got and replaced it with He took, and added away to the end.  He next wrote your sin is a stain–redemption sustains, but it was all disjointed.  I said I wanted to invert that line, strike the away, and make pain rhyme with stain, but we needed a line between to make it fit.  He suggested you get what you get, and with a bit of scribbling arrows on the page we wound up with

You want what you want.
You got the joy, He took the pain.
You get what you get.
Redemption sustains, sin is a stain.

I still wanted a second bridge, something that would break out of the ordinariness of the progressions so far, because the other chord in this bridge was a G six nine, and we played it in essence F to G to F to G, returning to the original progression–and the melody was only slightly different from that of the verses, although slowed.

My vision at this point was that we were going to write a third verse related to that idea of sin, do a different second bridge, and resolve it in a fourth and final verse.  The tempo being what it is, the song was moving fast and I thought felt short.  I put forward an opening line for the third verse, Asking yourself why you want to sin, and we started talking about what to say next.  The contrast between losing and winning came to the fore, and I wanted to say something about choosing to lose, but couldn’t fit it comfortably and still get to the word win for the rhyme scheme.  Between us we hammered out the second line, and along the way Adam said that the words to win should flow into the next line, the object won opening that line.  I observed that the second line in previous verses always had the double ending–again again, used and used, and that we should maintain the pattern, to win to win–and then that this would achieve what he wanted, if we made it to win.  To win victory in the opening of the next line.  The rest of that flowed quickly, and we had a third verse,

Ask yourself why you want to sin,
Why you lose, you were made to win.  To win
Victory, and to make it through
Jesus comes to make all things new,
Even you.  Even you.
Even you.  Even you.

And now we came to the point where I wanted the second bridge, and I pushed for the resolution from the E major to go to something at least a bit unanticipated, the C major.  I also agreed again to reduce the drive.

At this point we needed a progression, and Adam said that he wanted me to go from the C up half a step, so I slid it into the D-flat major.  That certainly satisfied me for unusual progressions, and he liked it as well–but he said we needed to resolve that, and since I was the expert on that point he left it to me.  I decided I could go from the D-flat to the A-flat to the E-flat, and from there I could get back to the C easily enough (all major) and repeat the progression.  I also recognized that the last note of the melody of the verse was the E, and I could hold it into the beginning of the bridge and start this melody on the same note.  The melodic line at the first chord change was tricky, but I managed to bring it down to be on the G by the time we reached the E-flat chord, which was the common note going back to the C chord, and a leap back up to repeat the line worked.  I wrote the words with the melody at this point, and Adam put them on paper.  I also after the second descent held the G with my voice and changed the chord from the E-flat to the G major, thinking that it would give me the leading tones to get back to the A minor for my final verse.

But–

That fourth verse was supposed to resolve the message of the song.  There were probably a lot of things we could have said, but I had none of them in my mind yet and I realized that the unexpected shift to the G major chord provided a musical resolution to the song, and that the words of what was supposed to be the second bridge resolved the message rather well.  I presented the alternatives to Adam–write a closing verse, or end the song here–and he agreed that this was a decent ending for the song.  Thus our fourth verse never materialized, and our second bridge became instead our coda:

Thank God for what He’s done
To set us free
He gave His only Son
For you and me.

And you should be able to hear the song here on SoundCloud.

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