Larry Norman: Difference between revisions
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In addition to his own recordings, Larry Norman has produced music by a few other independent artists, such as [[Randy Stonehill]] and [[Salvation Air Force]]. The most high-profile (and most controversial) recording to be released on Norman's label has been the [[Daniel Amos]] album [[Horrendous Disc]], produced by [[Mike "Clay" Stone]]. (''Main Article'': [[Horrendous Disc]].) |
In addition to his own recordings, Larry Norman has produced music by a few other independent artists, such as [[Randy Stonehill]] and [[Salvation Air Force]]. The most high-profile (and most controversial) recording to be released on Norman's label has been the [[Daniel Amos]] album [[Horrendous Disc]], produced by [[Mike "Clay" Stone]]. (''Main Article'': [[Horrendous Disc]].) |
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In 1981 Norman and his father started Phydeaux Records in order to compete with a market of bootlegs of his own music. He has since reported that his vinyl albums have sold for up to $400(USD) among collectors.<ref name=GMHF> |
In 1981 Norman and his father started Phydeaux Records in order to compete with a market of bootlegs of his own music. He has since reported that his vinyl albums have sold for up to $400(USD) among collectors.<ref name=GMHF/> |
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In 1989, prior to the fall of the [[Soviet Union]], Larry and his brother Charles were scheduled to play a show in Moscow. Norman relates that he and his brother became ill after eating a meal that had been prepared as a "special menu" for them. Shortly afterwards, a trio of nurses ("built like football players") appeared in his room and wanted him to go to the hospital. Norman became suspicious and refused. The concert was canceled by army personnel twenty minutes after the band began to play.<ref name=KXL> Hagestadt, André[http://www.kxl.com/ArDisplay.aspx?SecID=13&ID=15847 ''The genesis of Christian rock: Larry Norman interview''] KXL.com [[2003-01-10]] retrieved [[2007-12-27]]</ref> Despite this incident, Norman returned and performed at [[Moscow]]'s [[Olympic Stadium]] in 1990. After seven successful shows at the stadium, he decided to open a branch of Solid Rock Records in the city.<ref name=MG/> |
In 1989, prior to the fall of the [[Soviet Union]], Larry and his brother Charles were scheduled to play a show in Moscow. Norman relates that he and his brother became ill after eating a meal that had been prepared as a "special menu" for them. Shortly afterwards, a trio of nurses ("built like football players") appeared in his room and wanted him to go to the hospital. Norman became suspicious and refused. The concert was canceled by army personnel twenty minutes after the band began to play.<ref name=KXL> Hagestadt, André[http://www.kxl.com/ArDisplay.aspx?SecID=13&ID=15847 ''The genesis of Christian rock: Larry Norman interview''] KXL.com [[2003-01-10]] retrieved [[2007-12-27]]</ref> Despite this incident, Norman returned and performed at [[Moscow]]'s [[Olympic Stadium]] in 1990. After seven successful shows at the stadium, he decided to open a branch of Solid Rock Records in the city.<ref name=MG/> |
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NORMAN: "Upon This Rock" was written to stand outside the Christian culture. I tried to create songs for which there was no anticipated acceptance. I wanted to display the flexibility of the gospel and that there was no limitation to how God could be presented. I used abrasive humor and sarcasm as much as possible, which was also not a traditional aspect of Christian music. I chose negative imagery to attempt to deliver a positive message, like "I Don't Believe in Miracles" is actually about faith. "I Wish We'd All Been Ready" talked about something I had never heard preached from a pulpit as I grew up. "The Last Supper" and "Ha Ha World" used very surreal imagery which drug users could assimilate. My songs weren't written for Christians. No, it was not a Christian album for those believers who wanted everything spelled out. It was more like a street fight. I was saying [to Christians], "I'm going to present the gospel, and I'm not going to say it like you want. This album is not for you."</div></ref> Commenting on Christian music in 1984, Norman said: "I'm pleased with what's happening in England and Europe...but I'm not totally thrilled about the commercialisation of Christian music in America." Two years prior to the 1984 interview, he had complained that Christian music generally meant "sloppy thinking, dishonest metaphors, and bad poetry" and stated that "I've never been able to get over the shock of how bad the lyrics are."<ref name=STRT/> |
NORMAN: "Upon This Rock" was written to stand outside the Christian culture. I tried to create songs for which there was no anticipated acceptance. I wanted to display the flexibility of the gospel and that there was no limitation to how God could be presented. I used abrasive humor and sarcasm as much as possible, which was also not a traditional aspect of Christian music. I chose negative imagery to attempt to deliver a positive message, like "I Don't Believe in Miracles" is actually about faith. "I Wish We'd All Been Ready" talked about something I had never heard preached from a pulpit as I grew up. "The Last Supper" and "Ha Ha World" used very surreal imagery which drug users could assimilate. My songs weren't written for Christians. No, it was not a Christian album for those believers who wanted everything spelled out. It was more like a street fight. I was saying [to Christians], "I'm going to present the gospel, and I'm not going to say it like you want. This album is not for you."</div></ref> Commenting on Christian music in 1984, Norman said: "I'm pleased with what's happening in England and Europe...but I'm not totally thrilled about the commercialisation of Christian music in America." Two years prior to the 1984 interview, he had complained that Christian music generally meant "sloppy thinking, dishonest metaphors, and bad poetry" and stated that "I've never been able to get over the shock of how bad the lyrics are."<ref name=STRT/> |
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In recent years, however, many CCM artists have credited Norman as an influence on their music, particularly in the subgenre of [[Christian rock]]. He is often cited as influencing both [[Keith Green]] |
In recent years, however, many CCM artists have credited Norman as an influence on their music, particularly in the subgenre of [[Christian rock]]. He is often cited as influencing both [[Keith Green]] and [[Randy Stonehill]] in their conversions to Christianity.<ref name=GMHF/> (In turn both eventually became Christian music artists.) He has granted interviews to magazines covering Contemporary Christian music and accepted industry awards. When asked about the relationship between CCM and his own music, Norman has replied "I'm happy if I've been an encouragement to other artists."<ref name=RFA/> |
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* In 1986, Norman appeared in a music video with Christian artist [[Geoff Moore|Geoff Moore and the Distance]] for a cover version of his song "Why Should the Devil (Have all the Good Music?)" |
* In 1986, Norman appeared in a music video with Christian artist [[Geoff Moore|Geoff Moore and the Distance]] for a cover version of his song "Why Should the Devil (Have all the Good Music?)" |
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Revision as of 03:11, 26 January 2008
Larry Norman |
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Larry David Norman (b.1947-03-08) is an internationally recognized American musician, singer, songwriter and producer. Norman's recordings are noted for their Christian and social subject matter and he is often described as the "father of Christian rock music".[1] Norman has also been described as having had a significant influence on many artists, secular and religious.[2]
Norman has long been associated with what has been referred to as the Jesus People movement of the late 1960's and early 1970's [3], although it has been reported that "he did not particularly identify himself with the youth–oriented 'Jesus movement' of the time".[4][5]
Norman has been recording since 1966 and has recorded numerous albums. Norman's first album, I Love You , recorded when he was the lead singer for the group People!, was released in 1968. The bands cover version of The Zombies song of the same name reached number 7 on Billboard magazines top twenty list in June of that year as a single. Norman left People! prior to 1969 and has since performed as a solo artist, appearing both on mainstream and independent labels.[6]
In 2001 Norman was inducted into the Gospel Music Association's (GMA) Hall of Fame as a solo artist. In 2007 Norman was inducted into the San Jose Rocks Hall of Fame (San Jose, California), both as a member of People!, and as a solo artist. At that time Norman reunited for a concert with People![2]
Due to reasons of ill health, Norman has performed on a very limited basis in recent years.[7] He currently lives in Salem, Oregon.
Early Life
Larry Norman was born on April 8, 1947 in Corpus Christi, Texas. After relocating to San Francisco, California with his family at the age of three, Norman eventually became fascinated with the music of Elvis Presley. During this time he also frequently accompanied his father on Christian missions to prisons and hospitals. At the age of nine, Larry began writing and performing original Rock and roll songs at school, experimenting and incorporating a spiritual message into his music. Attempting to recreate the experience of a worship service for friends at his elementary school, he "walk[ed] around from bench to bench singing."
In 1959 he performed on Ted Mack's syndicated television show The Original Amateur Hour on CBS. Upon leaving home in the mid-1960s, he moved to San Jose, California and became involved in the local rock music scene, opening for both The Doors and Jimi Hendrix.[4]
Career
People!
In 1965/66 Brothers Geoff and Robb Levin formed the band People! along with Larry Norman, choosing the name as an ironic contrast to bands with animal names, such as The Beatles, The Animals, and The Byrds. Norman became the principal songwriter for the band, sharing lead vocals with Gene Mason. The band was also joined by drummer Dennis Fridkin and keyboardist Albert Ribisi.
In 1966 the band signed with Capitol Records, releasing the single Organ Grinder/Riding High. They began immediate work on a full-length album and released another single, a cover of The Zombies' song I Love You, which quickly became a hit single for the band. I Love You reached the Billboard Top 20 and became a #1 single in several markets.
However, this success would be cut short by internal disputes between the band members and their record label. First, all of the band members except lead singers Norman and Mason embraced Scientology, and zealously issued the ultimatum: "We all have to get into Scientology or you can't be in the band." [6] Norman and Mason refused.
A second incident involved the release of People's first album. Larry Norman expected to name the album after the song We Need A Whole Lot More of Jesus, and a Lot Less Rock and Roll and feature Christian imagery on the album cover. However, Capitol Records decided upon release to name the album after the single I Love You instead, with a photograph of the band on the cover. Facing censorship by his record label and a forced religious conversion by his bandmates, Larry Norman left the band upon the release of its first album.[4]
Despite Norman's departure, the band's second album Both Sides of People (1969) featured one Larry Norman composition, the song "She's a Dancer." Norman and Mason also reunited in 1974 for a benefit concert at UCLA, later released as the live album Larry Norman and People! – The Israel Tapes - 1974 A.D.
The six original members of People! reconciled and reunited in 2006. After nearly 40 years, they joined together for a final concert on October 19, 2007, where they were afterwards inducted into the San Jose Rocks Hall of Fame.[6]
Recording "The Trilogy"
In 1969, Norman recorded his first solo rock album, Upon This Rock with Capitol Records. Speaking to the magazine Contemporary Musicians, Norman later expressed his intentions and feelings about the record:
"I wanted to push aside the traditional gospel quartet music, break down the church doors and let the hippies and the prostitutes and other unwashed rabble into the sanctuary...I wanted to talk about feeding the poor, going into the world....[I felt that] most of the modern music was anemic and needed a transfusion."[4]
While Norman drew ire from much of the conservative religious establishment,[4] his music gained a large following in the emerging counter cultural movements. While working at Capitol Records, he was approached by Paul McCartney, who wanted to discuss his music with him. [8] This encounter encouraged Larry, although he inserted a jab at McCartney into the lyrics of his next album. ("I think he really is dead," from the song Reader's Digest. See Paul is Dead.)
In 1972 (now with MGM Records) he recorded a second studio album with help from Beatles producer George Martin, titled Only Visiting This Planet. The same year, Norman made a film appearance in The Blob sequel Son of Blob.
In 1973 he released another album with MGM, titled So Long Ago the Garden. However, believing that his record label was once again interfering with the subject matter of his records, Norman left MGM to become an independent artist.
Only Visiting This Planet, So Long Ago The Garden and In Another Land are commonly referred to as "The Trilogy."[9]
As an independent artist
Since leaving MGM, Norman has remained "a stubbornly independent artist for three decades."[4] The majority of Norman's music that was produced during his most creative years (1966 - 1978, from his People! albums up through solo works like Something New Under the Son) remain the fountainhead of his creative work. He has continuously released albums and recordings under the label Solid Rock Records.
His songs have been wide-ranging, addressing such matters as politics (The Great American Novel), free love (Pardon Me), the passive commercialism of war–time journalists (I Am The Six O'Clock News), witchcraft and the occult (Forget Your Hexagram) alienation (Lonely by Myself), religious hypocrisy (Right Here In America) and many topics largely outside of the scope of his contemporaries.
In addition to his own recordings, Larry Norman has produced music by a few other independent artists, such as Randy Stonehill and Salvation Air Force. The most high-profile (and most controversial) recording to be released on Norman's label has been the Daniel Amos album Horrendous Disc, produced by Mike "Clay" Stone. (Main Article: Horrendous Disc.)
In 1981 Norman and his father started Phydeaux Records in order to compete with a market of bootlegs of his own music. He has since reported that his vinyl albums have sold for up to $400(USD) among collectors.[10]
In 1989, prior to the fall of the Soviet Union, Larry and his brother Charles were scheduled to play a show in Moscow. Norman relates that he and his brother became ill after eating a meal that had been prepared as a "special menu" for them. Shortly afterwards, a trio of nurses ("built like football players") appeared in his room and wanted him to go to the hospital. Norman became suspicious and refused. The concert was canceled by army personnel twenty minutes after the band began to play.[7] Despite this incident, Norman returned and performed at Moscow's Olympic Stadium in 1990. After seven successful shows at the stadium, he decided to open a branch of Solid Rock Records in the city.[4]
Influences
On Rock and Folk music
"It's like a glacier...it's growing and there's no stopping it."
By 1971, TIME Magazine was reporting on the growth of the Jesus Movement, and while Larry Norman took some steps to distance himself from it,[4] he had become the most popular musician among its followers. TIME Magazine reported that Eric Clapton had become a "convert of the Jesus Movement," and a 1971 cover article also named members of Peter, Paul, and Mary and Fleetwood Mac within its sphere of influence. Johnny Cash was also named; he eventually produced the film/double album The Gospel Road.[3]
Norman sought to help musicians who were struggling with drug problems in the 1970s. He began a Bible study called "The Vineyard" for actors and musicians, and as it grew Folk/rock performer Bob Dylan became one of the attendees. Dylan subsequently became familiar with Norman's records Only Visiting This Planet and So Long Ago the Garden. During this period, he released three albums that were stylistically similar to Norman's: Slow Train Coming (1979), Saved (1980), and Shot of Love (1981). [11]
While Norman said in a 1984 interview that he didn't know Dylan very well, he remembered thinking "This is the greatest album I've ever heard"" when Slow Train Coming was released. He said of the album "I'll never write one as good as that, he'll never write one as good as that, - nobody will. It touched me in every area. You know men in conflict, like Dylan was when he was dying to self and becoming a Christian are very interesting...We were all afraid that he would be overly affected by the evangelical simplicity of American mindlessness and write an album that wasn't really worth his gift for poetry. That album is like a prayer, it's a beautiful prayer, a social communion. It's a communion for all the disenchanted people that are angry."[12]
Irish singer-songwriter Van Morrison and American singer-songwriter John Mellencamp have also claimed to be fans of Larry Norman's music. Over 300 artists have covered his songs, including Sammy Davis, Jr.[10]
According to a claim by rock historian Walter Rasmussen, Pete Townshend once admitted that The Who's 1969 album Tommy was inspired by the rock opera "Epic" by People!. However, Townshend has since denied the connection.[13][9]
On Punk/Alternative rock
Following tours by the first wave of punk musicians in the British Isles in the mid-1970s, the post-punk band U2 was formed in Dublin, Ireland. Active simultaneously in the local punk music scene and the "Shalom Fellowship," some members of U2 eventually became "fans" of Larry Norman's music.[10] Both artists performed, making unannounced appearances, at the U.K.'s Greenbelt Festival in 1982.
Charles Thompson IV discovered Larry Norman's music at age 13 after moving to California and seeing him in concert. Thompson said of Norman during this period: "I don't think Larry Norman was necessarily respected by religious people...he had more of a rebellious rock'n'roll kind of an image." "I dressed like him, I looked like him, he was my total idol."[14] While at college in Massachusetts, Thompson adopted the stage name Black Francis, and formed The Pixies along with Joey Santiago, Kim Deal, and David Lovering. According to Kim Deal, the title of the Pixies' 1987 EP Come On Pilgrim, as well as a similar line from the song "Levitate Me" derive from a Norman catchphrase used during live performances.[15]
While recording the Pixies' album Surfer Rosa, producer Steve Albini recognized the Pixies' references and realized that he and Black Francis both "had an affection" for Norman's music. They discussed Larry Norman at length during the recording process of the album.[16] In turn, in 1991 Nirvana released the album Nevermind, which fostered the alternative rock explosion of the 1990s. Kurt Cobain described the album, and especially the single "Smells Like Teen Spirit" as an attempt to "rip off the Pixies." (See main article: Pixies) Because Surfer Rosa had been one of his favorite albums, Cobain specifically requested that Steve Albini produce the band's third album In Utero.
With the increased popularity of alternative rock in the 1990s, the Pixies earned increased recognition for their work. They were invited by U2 to join them on the Zoo TV tour in 1992. At one show, Francis was introduced to Larry Norman by members of U2, who had informed him beforehand that Larry would be coming to the show. [17]
After completing the tour, the Pixies disbanded in 1993. Kim Deal continued to perform as a member of The Breeders, which she had begun in 1988. Black Francis began performing under the solo stage name Frank Black. The debut album Frank Black and the Catholics, recorded in 1997 and released in 1998, featured a cover of Larry Norman's song "Six-Sixty-Six."
Collective Soul, who released several successful alternative rock singles during the 1990s and early 2000s, cited Daniel Amos as a major inspiration for their work. Norman released Daniel Amos' album Horrendous Disc on his label in 1981.
Beginning in 2004, the Pixies embarked on a reunion tour. During this time, in June 2005, frontman Black Francis joined Larry Norman for what was expected to be his final U.S. concert. The pair performed Norman's 1978 song "Watch What You're Doing."[1]
Larry Norman's brother is Charles Normal, an alternative rock guitarist who also performed at the June 2005 concert. He is presently a member of the band Guards of Metropolis (previously Softcore) as well as Frank Black's post-Catholics backing band.
On contemporary Christian music
Larry Norman's relationship with the wider Christian church, and with the Contemporary Christian music industry, has been contentious for a number of years. According to Portland news/radio station KXL, Norman's early social positions caused a stir among many conservative Christians. His views against racism and poverty caused him to receive multiple death threats in the 1970s.[7] A widespread ban on Norman's music, which is largely still in effect today, existed in Christian stores. This ban was due not only to Norman's social positions, but his preferred company as well. Said Norman in a separate interview:
"The churches weren’t going to accept me looking like a street person with long hair and faded jeans. They did not like the music I was recording. And I had no desire to preach the gospel to the converted."[18]
When asked if his 1969 album Upon This Rock was a "Christian" album, Norman responded:
"No, it was not a Christian album for those believers who wanted everything spelled out. It was more like a street fight. I was saying [to Christians]...This album is not for you."[18][19] Commenting on Christian music in 1984, Norman said: "I'm pleased with what's happening in England and Europe...but I'm not totally thrilled about the commercialisation of Christian music in America." Two years prior to the 1984 interview, he had complained that Christian music generally meant "sloppy thinking, dishonest metaphors, and bad poetry" and stated that "I've never been able to get over the shock of how bad the lyrics are."[12]
In recent years, however, many CCM artists have credited Norman as an influence on their music, particularly in the subgenre of Christian rock. He is often cited as influencing both Keith Green and Randy Stonehill in their conversions to Christianity.[10] (In turn both eventually became Christian music artists.) He has granted interviews to magazines covering Contemporary Christian music and accepted industry awards. When asked about the relationship between CCM and his own music, Norman has replied "I'm happy if I've been an encouragement to other artists."[18]
- In 1986, Norman appeared in a music video with Christian artist Geoff Moore and the Distance for a cover version of his song "Why Should the Devil (Have all the Good Music?)"
- In 1995, several Contemporary Christian music artists released a tribute album, One Way: Songs of Larry Norman. Several popular Christian artists contributed to the project, including dc Talk, Rebecca St. James, Audio Adrenaline, and Grammatrain.
- In 2001 Norman was inducted, along with Elvis Presley, into the Gospel Music Hall of Fame.
In popular culture
- Larry Norman made a cameo appearance in the 1972 film Beware! The Blob.
- In the 1987 recording and subsequent performances of the Pixies song "Levitate Me," lead singer Black Francis shouts "Come on Pilgrim, you know He loves you!" while imitating Larry Norman's accent.
- In the mid-1990s, Simpsons Comics released a limited edition print of a "Simpsonized" Larry Norman performing "Why Should the Devil Have all the Good Music?"
- In addition to the Simpsons Comics release, a Simpsons watch was also produced featuring the yellow, three-fingered likeness of Larry Norman.[20]
- Larry Norman's music was featured in the 2007 Emmy-nominated film about the life of Lonnie Frisbee, titled Frisbee: The Life and Death of a Hippie Preacher. Norman also compiled an alternate soundtrack for the film titled Frisbee.
Discography
Since the 1960s, Larry Norman's work has appeared on over 90 albums, compilations, and concert bootlegs. These recordings have been released under various labels, with various artists. A partial sampling of these albums is listed below.
| Album | Year of release |
|---|---|
| Upon This Rock | 1969 |
| Only Visiting This Planet | 1972 |
| So Long Ago the Garden | 1973 |
| In Another Land | 1976 |
| Labor of Love | 1982 |
| Stranded in Babylon | 1991 |
| We Wish You a Larry Christmas | 1998 |
| Tourniquet | 2001 |
Notes and references
- ^ a b Sanford, DavidFarewell, Larry Norman Christianity Today 2005-06-27 retrieved 2007-12-26"The man known as the Father of Christian Rock, whose health has been failing in recent years, played his last U.S. concert Friday night in his hometown of Salem, Oregon."
- ^ a b Quillen, SherryLocal legends on stage San Jose Mercury News 2007-10-17 retrieved 2007-12-27 "His gritty, idiosyncratic approach to "Jesus rock" earned him a devoted following that wasn't limited to Christian music fans. Charles Thompson III, who called himself Black Francis when he fronted the influential group the Pixies, is one of his fans in the secular world."
- ^ a b The New Rebel Cry:Jesus is Coming! Time 1971-06-21 retrieved 2007-12-26"Go Tell About Jesus—The sounds produced by the rock groups are not always good nor the lyrics always effective evangelism, but the best of the Jesus-rock music is both professionally and theologically solid. Larry Norman, probably the top solo artist in the field, attacks the occult in his album Upon This Rock: "Forget your hexagram/ You'll soon feel fine/ Stop looking at the stars/ You don't live under the signs."
- ^ a b c d e f g h Alfonso, BarryLarry Norman Biography Musicianguide.com retrieved 2007-12-27 "For his part, Norman kept a certain amount of distance between himself and his youthful followers. "I did not particularly feel comfortable with the Jesus Movement," Norman told Contemporary Musicians. "I was not one of the kids who had recently become a Christian. I did not have any scintillating 'testimony' of getting high on Jesus and then giving up drugs, girls and the pursuit of material possessions.... In fact, I felt that I was neither part of the 'establishment' [n]or part of the alternative lifestyle enclave which felt itself so superior to their parents and our civic leaders."
- ^ Alfonso (2006 18-19)
- ^ a b c Ron Harris. "Split over Scientology, 60s band 'People' reunites for one night". The Salinas Californian.
- ^ a b c Hagestadt, AndréThe genesis of Christian rock: Larry Norman interview KXL.com 2003-01-10 retrieved 2007-12-27
- ^ Norman, Larry"The Jesus Movement - "Singing A New Song" The Liberator one-way.org retrieved 2007-12-27]
- ^ a b Larry Norman - So Long Ago The Garden newmusicplease.com 2006-08-28 retrieved 2007-12-27
- ^ a b c d Larry Norman: The Gospel Music Hall of Fame Biography, reproduced by KNET radio. "Later, even Bob Dylan, John Mellencamp, Black Francis of The Pixies nee Frank Black, the group U2, and Van Morrison have called themselves fans."
- ^ Source: Promotional Materials for So Long Ago the Garden (remastered), (External commercial site.)
- ^ a b Larry Norman interview, Strait, 1984.
- ^ Source: Liner notes from People: I Love You Korea (2007).
- ^ Frank, Josh Caryn Ganz, Fool the World: The Oral History of a Band Named Pixies (St. Martin's Press, 2006) 83-84. ISBN 978-0312340070
- ^ Frank (2006) 84.
- ^ Frank (2006) 99-100
- ^ Frank, Josh Caryn Ganz, Fool the World: The Oral History of a Band Named Pixies (St. Martin's Press, 2006) 215. ISBN 978-0312340070 "Thompson: I remember my first opportunity to meet Larry Norman came through U2 of all people. A lot of people in the U2 organization are Christians, basically."
- ^ a b c Rumburg, Gregory reproduced at Larry Norman.com Rock for the Ages CCM Magazine
- ^ Spencer, Michaelinternetmonk.com retrieved 2007-12-27 CCM: Larry, think back to 1969 and the release of your "Upon This Rock" on Capitol. Was that a "Christian" album as we think of them today? If not, what was it? NORMAN: "Upon This Rock" was written to stand outside the Christian culture. I tried to create songs for which there was no anticipated acceptance. I wanted to display the flexibility of the gospel and that there was no limitation to how God could be presented. I used abrasive humor and sarcasm as much as possible, which was also not a traditional aspect of Christian music. I chose negative imagery to attempt to deliver a positive message, like "I Don't Believe in Miracles" is actually about faith. "I Wish We'd All Been Ready" talked about something I had never heard preached from a pulpit as I grew up. "The Last Supper" and "Ha Ha World" used very surreal imagery which drug users could assimilate. My songs weren't written for Christians. No, it was not a Christian album for those believers who wanted everything spelled out. It was more like a street fight. I was saying [to Christians], "I'm going to present the gospel, and I'm not going to say it like you want. This album is not for you."
- ^ Information about the production of the watch is not immediately available, but its existence can nevertheless be verified. For example, an eBay member attempted to sell one in early December 2007. The listing and accompanying photograph may still be seen here: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=170175176699
Additional resources
- Alfonso, Barry The Billboard Guide to Contemporary Christian Music Billboard Books; 1 ed 2006-10-01 ISBN 978-0823077182