Now you can download BSR via our blog, iTunes. or you can stream our internet radio station! Today we are testing our own station using the loudcaster platform. It’s just another way for you to enjoy Classic CCM from the 80′s & 90′s and interviews with the artists you love. Please let us know what you think, and feel free to request songs.
http://loudcaster.com/channels/1425-backspinradio
It was sometime in 1996. Johnny Q Public was asked to be a part of what was being called the “biggest christian rock show ever”, The Saltbox Tour. Co-headliners were Petra and Whiteheart and the two newbies opening the show were Grammatrain and Johnny Q Public. I grew up listening to Petra and Whiteheart, so that aspect of this tour was kinda cool for me. And keep in mind that my other blog, “Sacrifice of Praise” was also written about this same tour.
This was a big tour. Lots of dates. Lots of big venues. Some of the venues were frankly too big for even the 4 acts to fill, but we didn’t care. There were people there. And most of the time, they had a look on their face like JQP was holding the whole room hostage, with a bomb strapped to the lead singer’s (me) chest! We loved it….. well… I loved it. I still can’t figure out why enjoyed scaring people when I performed. I think it had more to do with getting their attention than anything else. And attention I got! I remember one show on this tour, there was a girl close to the stage. The whole time I was singing, she was using sign language to tell me, over and over and over, throughout our entire 25 minute set, that I was from the devil and that she didn’t see God in me. I wish I knew sign language at the time. I would’ve signed back, “You… are… an…. idiot!” 78
I know I’ve been promising pictures, and I’m still working on that, but you’ve got to understand the “Purple Barney Bus”, in which JQP drove every highway in this country in. It was purple! Actually, more lavender but, still very bright. It had a huge teal “S” shape swoopy stripe down the side. And, if you ever saw it, you would even say it glows!!
We had a show in Seattle. I can’t remember the venue off the top of my head, but it was huge. The biggest venue on the tour. The place where ALL the big acts play. We arrived a day early, and figured we could park in back and sleep there. When we pulled in, the place was packed! Cars everywhere, semi trucks on every corner and two huge grey Provosts buses around back, taking our spot! We looked at the marquee, and there it was in a thousand lights….. OASIS TONIGHT!
This was when Oasis was at the top! Wonderwall, Champagne Supernova, the Gallagher brothers were still arrogant as hell, and were known to walk off stage if only the smallest thing pissed them off. And it was Seattle, so we knew there would be other people mingling around and hanging out backstage. We were super charged!
It took a lot of nerve for us to pull our 1964 Purple Barney Bus into the back gate, and park right beside the two $1M Provosts….. but we did it…… and it was sawesome! Every person on that back dock, stopped dead in their tracks and stared. You could see their lips form the words, “What the hell??”. We told them we were playing this venue the next night, but left the part out, that we’re just the opening band playing 4 songs, while people buy Petra T-shirts! It worked! Our drummer, Brian DuVall, scored the whole band backstage passes for the Oasis show! We were in!!!
Close to show time, we were all walking around backstage and seeing some really cool people. Anthony Kiedis from the Red Hot Chili Peppers was there, and Krist Novoselic of Nirvana, just to name a few. It was packed with people. Celebrities everywhere. I actually ran smack dab into Krist in the hallway, on accident. The fumbled, goofy collision wasn’t nearly as embarrassing as the fact that my face planted right into his belly button! 78 Damn that dude is tall!? There were no signs of Oasis at this point though. Just a bunch of goofballs like us, hoping to be invited to the after party and hang out…. which we were…. but there was apparently a “catch”.
For those with special wrist bands (which we had), there was an area with tables and chairs for us to sit at, and wait. After the show was over, we were told that we’d be allowed to hang out with the band at the after party. Of course this sounded exciting, so there we sat. One hour turned to two and two turned to three. Finally, a guy from the tour, who looked really official, came to the room! We were on the edge of our seats… this is it!… He took all the girls….. and….. never came back. 7878
We headed back to the bus with our heads hung low and disappointed. On our way, we ran into Liam Gallagher in the hallway. He must have been “taking a break”. 78. We approached him to talk about our band and let him know that we’re big fans, and that we have a CD we’d like for him to check out. (Nugget of trivia: When Johnny Q Public was played on MTV’s 120 Minutes, it was the Gallagher brothers who were special guests in the studio that day). Oran handed him ExtraOrdinary. He had a look of disgust on his face, which he always did then, and waved our CD up and down, and said “What is it?”. We were a little speechless, not expecting to be given such a direct response with such an insulting tone. Oran said, “It’s Rock”. And then Liam replies with something that I’ll never forget for the rest of my life. Nor will any member of JQP. He said, “Rock?…… Just rock?………….or does it have any Roll?” We kinda had an “Ok, never mind” spirit as we walked off and got back on our bus. 7878
A couple of hours later, band members and crew started to file out of the back door. Apparently, the “after party” was over. Noel actually approached the front of the Purple Barney Bus, with three girls hanging on his arms, and his lips formed the exact same response that everyone else’s did earlier that day…. “What the hell?”
We didn’t see Liam come out. So, I hopped off the bus and went back into the arena, and there he was, completely passed out on a couch in the hallway. One leg off the couch with his foot on the floor, and the other with a bent knee up. One arm was across his forehead, and the other was also stretched out and laying on the floor, not too far from his foot…. I mean… PASSED OUT. At the end of his second arm, still in his hand, was a painting that one of the girls had apparently done for him before the show, and must of had plans to give it to him, at the end. I immediately looked both ways, like a fourth grader crossing the street after just getting out of the last day of school! I bent down and snatched that painting out of his hands! Tucked it up under my shirt, and ran for the bus!
Cheers to Cory Wilkerson for inspiring the telling of this story. 7878
Follow Dan’s blog at DanoFritz.wordpress.com
This Episode features interview with John Schlitt and songs from his new record The Greater Cause. It also features music from Whiteheart, X-Sinner, Vector and Poor Old Lu. Special thanks to “The Walk” Chicago for interview assistance.
Right click the podcast link and “save target as” to download
http://thebillmooreblog.files.wordpress.com/2012/05/bsr171.mp3
Before I go any further I want to make it clear that I don’t think you can properly appreciate The Loudest Sound Ever Heard unless you have experienced its three predecessors: Flap Your Wings, O How the Mighty Have Fallen and Burning Like The Midnight Sun. To illustrate my point I would like you to consider the deliciousness that is the “Hot & Now” Krispy Kreme Donut. Nothing melts in your mouth like a warm, glaze covered KK donut. Whenever the famous “Hot & Now” sign blazes red in the window of a KK Donut shop, there are those who nearly cause traffic accidents as they, with tires screeching, abruptly pull in for a dozen of those southern delicacies. Of course these tasty treats are delectable, even after they have cooled, but anyone ”in the know” will swear there is nothing like a ”Hot & Now” Krispy Kreme Donut.
The point I’m trying to make is that although TLSEH is a wonderful project by itself, if you really want to get the full enjoyment out of it, then before diving in you should explore The Choir’s complete works,(BSR retrospectives covering the first 20 years can be found here and here). If that’s not possible, then start with Flap Your Wings and continue with the two that follow, (To make this easier the guys are offering a digital download of 2010′s Buring Like The Midnight Sun, free for 1 week). The reason for this suggestion is that I strongly feel like these 4 records flow together perfectly, and that your auditory pleasure will be enhanced if you listen to them in succession
With this new collection of tunes we find Derry, Steve, Dan and Tim in a good place. It’s clear they are content with who they are as musicians and have found where they want to be musically. They know what works for them and what their fans have come to expect. On TLSEH the fellas aren’t trying to make the “White” album, but there is still much here to discover. Within the tracks there seems to be a mature sense of peace with God, self and with others. The overall tone is one of hope and encouragement, more so on this album than any in recent memory. These sentiments are best expressed via the pleasant musings of The Forest.
…I believe the sun will shine on you and me, my friend
I have learned to trust the turning of the seasons
Even now the sun is breaking though the clouds again
But I still don’t know the causes or the reasons
And I still can’t see the forest for the trees
Don’t be afraid, don’t hide in the dark
Climb the mountain, hear the meadowlark
Wait for the sun…
Steve’s lyric’s and Tim’s bass licks are as solid as ever, but the real star on this project is saxophone/lyricon player Dan Michaels. Yes, I said Dan. Typically Mr Michael’s contributions to a Choir record are subtle and nuanced. They add a certain beauty that is undeniable, but because of their low-key nature I’m afraid they are often overlooked. However, on TLSEH they come to the fore, and in some cases are actually featured, giving Dan well deserved time in the spotlight.
My favorite example of Dan’s stellar performance would be the quirky, head boppin’ Takin’ the Universe In. From the start Dan’s sax is just plain fat & nasty. It splatters all over the song adding vibe and personality to the mix. Derri’s tender whisper lays Steve’s lyrics perfectly over the track and together they have produced one of the best love songs I have heard in a long time. The whimsical nature of the lyric really moves me. I admire Steve’s enthusiastic affection for his wife and each time I listen to this track I long to love my wife with that kind of passion. The following lyric describes a desire for spousal “oness” that I find deeply profound.
“…I want to ride the train that keeps rumbling your floor
I want to feel the draft that seeps under your door
I want to be there for your hereafter and your here before
To kiss the honey on your tongue
See the glorious morning sun through your eyes
I wanna share the hope in your heart
Dance with the skeletons in the dark of your mind
Baby, I love your mind…”
Vocalist Derri Daugherty has always been known for his emotive vocals. But with this new record I hear a new level of tenderness that takes each song to another place. The tracks Learning to Fly,and Laughter of Heaven come to mind as Daugherty’s voice blends perfectly with his etherial guitar tones. I can’t really explain it, but on this album Derri has a tremor in his delivery that just cuts to the heart. Each song seems to be felt so deeply. It’s almost as if at any moment Derri is going to break down in tears. But It’s not sadness that comes through, it’s more like an intense longing, or a sense of awe. It has always been remarkable how Derri has been able to make Steve’s lyrics sound like they are pouring out from the very depths of his soul.
One track that is sure to generate some buzz is After All (featuring Sixpence’s Leigh Nash). To say that the two voices are perfect together would be an understatement. Derri’s harmony on the chorus drifts seamlessly in and out of Leigh’s beautiful lilting as together they ask “…Are we mear, specks of dust, floating though, the milky way? Are we here, to learn to Love? I think that’s true, either way…”
After revisiting the band’s 21st century works and living with TLSEH for a week, I can honestly say that The Choir, as a band, is creating some of their best art to date. And while many of their contemporaries have long since been forgotten, these men continue to inspire others with relevent lyric and melody. History may record that the loudest sound ever heard was the eruption of the ancient volcano Mt Krakatoa, if that’s the case then I’m willing to submit that the guys in the Choir could be running a close second. But that’s just me.
A few weeks ago we here at BSR featured a blog series entitled Five 80′s Christian Rock Albums That You Must Own. One of the posts featured the 1988 Petra classic On Fire! That post received such a huge response we felt like it would be cool to get Petra’s lead vocalist for 20 years, John Schlitt, to share his thoughts on the record, as well as his new solo release The Greater Cause, and the resurgent Classic Petra. He was happy to oblige. So read on, and when your done, ”PUSH THAT RECORD!”
BSR: What is your favorite Petra record and why?
JS: That’s near impossible to pick just ONE! This Means War, because it was the beginning of a new era for us. Beyond Belief, of course, because it’s probably our most popular album. I do think our praise & worship albums were amazing; I really enjoyed those. But surprisingly I have one more favorite, and that was No Doubt – and actually the song No Doubt too. This song has probably become an underground classic for Petra. It’s just a statement that says, ‘Hey!’ When fear starts getting to you – you just let it go, because with Jesus Christ there is no doubt about His love, there’s no doubt about His promise, there’s no doubt about His existence with you. It was an under-rated album, but I feel it was one of the best we ever did.
BSR: Can you share a story/memory about On Fire!
JS:It was very exciting tour but the thing I think about is the staging. We had this sword set-up and I had to wear special shoes, or I would skid down the ramp and have no skin left! The ramp didn’t look very big but it was. If I fell – I had no place to go. I felt like I was taking my life into my own hands every night.
BSR: Is it safe to say that On Fire! was Petra’s “metal” record?
JS: Well, it had to be a very exciting record to follow This Means War, but I wouldn’t call it metal. I would say it was very exciting ROCK. I understand your question, but it’s not really metal, though Petra came close several times with a number of different albums. This one would have been the closest.
BSR: What is your favorite song off of On Fire!
JS: I consider the first three songs as one song…. All Fired Up, Hit You Where You Live & Mine Field. I love the whole thing! Hit You Where You Live had something about it… but when you put the other two together it was just an amazing combo that presented the whole record.
BSR: Tell us about your new record The Greater Cause
JS: “The Greater Cause” began because so many people were asking for it. I was toying with the idea of a compilation album but everyone kept coming back and saying “We want another rocker from you!” Because of the many blessings I’ve been shown over the years, I wanted to give something back in return. TGC is it.
I would say the album combines elements of classic rock infiltrated with blues rock, rock anthems and heavy rock ballads. It’s hard to categorize, exactly, but those are the types of songs you will hear. Every song on the album has a message that is pertinent to what is happening in our daily lives. How relevant are we, as Christians, in the world today? What are we doing in our surroundings – how are we making a difference? We need to use common sense in this world and awaken to the fact that Jesus is Lord, no matter what those around us may say – or do.
Even as I now listen the word I say is WOW! I was SO blessed to have quality musicians, writers & an amazing producer – amazing. All I can say is wow! This IS a real rock album… yes, it has a retro vibe to it – but with modern touches that bring it into the present.
BSR: What are your thoughts about Classic Petra?
JS: I saw the band the other week at the Hard Rock Café in Nashville. They did a great job! It was good to see those guys; they looked like they were having fun on stage. I loved seeing them enjoying themselves.
You know, the guys in Classic Petra were a part of the same team that I was on when I first started with Petra in 1986, though without Greg Volz, of course. I really appreciated all of the guys because they were very encouraging to me as a young Christian coming in to the Christian ministry. So I appreciate each one of them as supporters of a new artist (myself) coming into a new system way back then. So whoever goes to see Classic Petra is going to be blessed!
One of the first things that attracted me to the Delicate Fade record was the album cover. I know that may seem a bit juvenile, maybe even shallow, but I make no apologies and If I could figure out a way to blow it up and hang it on a wall, I would. Years after the record’s release, I was told that the art depicted on the front cover was actually a piece of trash found in the backyard of producer Steve Hindalong (The Choir). If you look real close you can see a fat T-bone steak advertised for $10.99.
I’m intrigued by the process that caused a scrap of trash to become a beautiful piece of art. I wonder how long it laid in Steve’s backyard and what sort of element formed such precise degradation. Was it blistering heat from the sun, or the frigid chill of winter? Perhaps it was the gentle pitter-patt of a warm spring shower. Of course, the probable answer is “all of the above”.
Speculation aside, I can’t help but see humanity in this odd bit of garbage. Each one of us are cursed to face the harsh elements of life, yet in spite of searing heat, bitter cold, and raging tempest, God methodically uses turmoil to shape us into complex works of art. And while the world may regard us as “backyard trash”, the Father grants us infinite value. If you’ll allow me to borrow from the band Sixpence None The Richer, were all a “beautiful mess”.
One of things that strikes me about Delicate Fade is the constant tension between the tender hope of songs like title track Delicate Fade, and the painful rage found in songs like Burn. This tension plays throughout the entire project and it draws the listener into the emotional rollercoaster of a man dealing with the neck snapping ups, and downs and the gut wrenching, twists and turns of a bitter divorce. Yet in the midst of all the anguish and tearful nights spent sleeping on the cold studio floor, Marc experiences slivers of hope and healing. And as you listen to the record in its entirety, you will feel each powerful emotion that Byrd felt during the writing and recording process.
That’s an important point to remember, Delicate Fade is one of those rare offerings that must be experienced as a whole. I’m resisting the temptation to talk about my favorite songs, because it’s so vital that one listen to each track in succession. Delicate Fade is more than just a great modern rock record. It’s a snapshot of one man’s life, stripped, laid bare, and poured out in a remarkable musical confession.
Like so many other albums before it, Delicate Fade did not receive the recognition deserved. Now is your chance to rectify that injustice. Find it, buy it and experience the visual and auditory masterpiece that is Common Children Delicate Fade.
I really like this review, and I can’t wait to hear the new record for myself!!
http://hardrockhaven.net/online/2012/05/john-schlitt-the-greater-cause/
Not including an Altar Boys record in the Five 80′s Albums You Must Own series was very difficult for me, as their music had a profound impact on my teenage years. So many Altar Boys tunes were personal rallying cries that I would sing to myself in order to fire up my faith. As I moved into my college years my taste in music matured. Fortunately, the song writing and musical approach of former Altar Boy’s frontman Mike Stand, began to mature as well.
After closing the book on the Altar Boys and a few solo records under his belt, Stand teamed up with Rob Goriab (Kosmos Express), Steve Latanation (Brighton,This Train, Ragamuffin band), and Bob Wholer (Breakfast With Amy, Uthanda) to form the band Clash of Symbols. The Symbols quickly released the EP: Sunday is an Altogether Different Proposition, but really hit their stride with the BAI release Begging At The Temple Gate Called Beautiful.
With the release of BATGCB some wanted to compare COS to Weezer, based solely on the very “Weezeresque” tune “Absurd”, but the majority of the band’s music was post punk/modern rock. If I were forced to compare them to anyone it would be STP, or Soul Asylum.
Comparisons not withstanding “Absurd” has always been one of my favorites as well as the radio hit “Free”. As I mentioned earlier, Mike’s songwriting had begun to mature, so gone were the “wear your faith on your sleeve” Altar Boy anthems. With COS you had to dig deeper and listen closer if you wanted to grasp what Mike was saying. The themes were a little darker and on this record the band dealt with topics like anger and war, which makes sense considering that as country we were just starting to recover from Desert Storm.
But lest you think all of BATGCB was doom and gloom, Mike’s effervescent faith is well represented with songs like “Saved” and “Portrait of A King.” And despite the darkness and depression that seemed to mark the early 90′s, Mike and crew made sure that the light of Christ broke through in spite of the tortured navel gazing that seemed to dominate the culture at the time.
Sadly, when you bring such a group of talented musicians together it is almost impossible to make it last. Such is the fate of COS. Although Mike recorded another record in 2002 using the name Mike Stand & Clash Of Symbols. The players featured on BATGCB were not a part of that project.
You might be an Alter Boys fan, or maybe you just dig great Christian modern rock music. Either way, Clash of Symbols: Begging at the Temple Gate Called Beautiful is “A Must Own”.
I’m sorry, but there is no way I can do a “Five 80′s Christian Rock Albums You Must Own” blog and not include a Petra record. The problem is trying to decide WHICH Petra album to post! I love so many Christian bands, but no band touches my heart and means more to me than Petra. I’m not alone, there are legions of fans just like me who would name Petra as not only the first Christian rock music they ever heard, but their favorite band as well. At this point many of you might be thinking “ok Bill, I get your choice of Petra, but On Fire? Seriously?” Stick with me as I make my case for why On Fire! is a “must have”.
On Fire! was, and is, an overlooked musical delight sandwiched between two other notable Petra records. John Schlitt’s breakout project This Means War, and the career defining Beyond Belief. So considering the circumstances I can understand how On Fire! might have slipped through the cracks, but C-rock fans would be remiss to not give the 1988 release another listen.
I’m just going to put this out there, but I think On Fire! was a metal record…ok maybe not metal like Sacred Warrior, or Barren Cross, but I think it was Petra coming as close to doing a metal record as they could. For proof I ask you to listen to this sampling of 4 of the first 5 songs from the On Fire! record. Just humor me and do it, you won’t be sorry.CLICK HERE
Ok I’m going to assume you listened to the sample. Now, do you see what I’m saying? Take the throbbing, in your face, HUGE Ronnie Cates bass line on the opening song Fired Up. I mean, it is THUMPIN’!
On cut 2 Louie’s kick and Bob’s nasty distortion makes you want to pound your fist and shake your head. John’s vocals just snarl at you as he shouts “Hit you where you live, you can’t hold back, when your struck by his love you will know…hit you where you live, it’s so close to home, when your all sold out the mark will show…”
Cut 3 is by far the most metal song Petra has ever recorded. I mean come on people, did you not just hear John Schlitt drop a hardcore scream on the intro?? The rhythm section hits like a precision military unit in lock step. It seems fitting as John’s vocal explodes with my favorite line “…better keep your head down, better keep your eyes peeled, because life is, life is minefield!”
After a breather with classic Petra ballad First Love, cut 5 is the last shot in one of Petra’s best opening salvos. Again, Ronnie’s bass opens with machine gun intensity and when played at maximum volume, each note thuds against your chest like the old school medicine ball we used to toss around in gym class.
Of course I can’t leave out other noteworthy tracks Counsel of The Holy, Somebody’s Gonna Praise His Name and Stand in the Gap. Let’s face it, there’s not a bad apple in the bunch on this one. Lyrically Bob is at the top of his game. As a teen I could easily understand and be ready for action with the militaristic “get ready for battle” imagery he uses in Minefield and Defector.
I can’t really explain it, but On Fire! has been and continues to be, one of my favorite ”go to” Petra records. When you consider the bands incredible body of work, that’s really saying something. Petra On Fire! is a must have.
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