Thursday, July 26, 2018

Rebel for God - Eddie DeGarmo



Not all rock bios are equal.

Rebel for God: Faith, Business, and Rock ‘n’ Roll
Author: Eddie DeGarmo
Publisher: Salem Books (www.salembooks.com)
Pages: 352

Not all rock bios are created equal. They are shaped by the perspective of the author. They choose what to include. It somewhat reflects their viewpoint and values.

The debauchery in some accounts leaves me crestfallen. I prefer stories like Rebel for God by Eddie DeGarmo that have more of an element of redemption. The focus is more on what is good, right and acceptable (See Philippians 4:8). I have witnessed more than enough of the sordid. Give me a godly perspective, which is typically absent from the rock biography.

I recognize, too, that not everyone is a reader. Some just care about the music. They don’t want their concert videos interrupted by talking heads. They are not interested as much in the life or the context as the songs. If they wanted a reason why they should care, I suggest that it could lead to a richer experience. A song, an album, might become more meaningful. I recommend this for the skeptical. It’s easy to read, fun and informative.

The author chronicles the entire history of DeGarmo and Key (D&K later on, but used hereafter to represent both time periods), including the making of each album. You don’t have to be a fan but you might become one after reading an account that becomes more captivating as it progresses.

It is also an insider’s guide to the music industry but more than that it’s about living life well. This is not something typically found in the average rock star book.

It was surprising to learn of the early connection with Stephen Lawhead, the celebrated author, whose Celtic works have inspired Jeff Johnson and Brian Dunning to create music that serves as a soundtrack.

Lawhead helped to launch the band’s career and was their first manager.

Another fascinating contact early on was Pat Boone, who signed them to their first recording contract on his Lamb and Lion label. Boone identifies himself as the lamb; partner Mike Curb is the lion.
Scattered throughout the narratives are principles that DeGarmo learned through the ups and downs of his career. The “four-year commitment principle” is especially notable, “I told countless young artists they should make a commitment to their dream for a period of years. When we started we chose to commit for four years; I told them they could choose how long they would give it, but it needed to be at least three years. During that period of time they should give it everything they had … At the end of the time period, if they still couldn’t support themselves and their families if they had them, they should give it up” (90). Wise counsel like this makes the book especially helpful for anyone in the industry. DeGarmo was not only a recording artist but became a music publisher, producer, promoter and eventually the president of the largest gospel and Christian music publisher in the world.

Readers might also enjoy DeGarmo’s sense of playfulness and humor. The commitment principle chapter includes the author’s own Elvis sighting where he exchanges knowing glances with the king.

Sadly, one of the challenges for the band was a steady stream of criticism from other Christians. Often it had to do with opposition to the music styles associated with rock music. Is it compatible with a Christian message? What would Jesus think?

Fortunately, the band learned to respond graciously to attacks, “We knew better than to get into a public rock ‘n’ roll justification debate with these folks. We politely asked them to pray for us and then reminded them ‘God loves you’” … (116).

It didn’t make sense to play any other type of music. They grew up listening to rock. God used the controversy and subsequent publicity to get their music out there. It gave them greater prominence.

One of the most poignant moments came after agreeing to tour with Amy Grant. At the time it was a stretch for both artists and their fans. DeGarmo writes, “Sure, there was a certain amount of culture blending and boundary pushing, but no one expected the kind of outrageous and vocal criticism Amy received from some of her fans. It was downright mean-spirited at times” (181).

The culmination came at the Christian Music Seminar in Estes Park, Colorado, the last show of their tour. D&K had never been invited previously as they were perceived as being too extreme and on the fringe. They rocked “Beautiful Music,” the first song. “At the end (of it), though, there was absolutely no applause,” DeGarmo writes. “You could hear a pin drop. All I could see was a large room full of people with their arms crossed … Amy began to cry” (182).

She poured out her heart explaining that she wanted to make a difference in the lives of young people. Energetic music was a language they understood.

This story reminds me of what one musician conveyed when I asked about something I did not understand. He encouraged me to trust the artist when something is questionable but not clearly wrong.

When I was young in the faith I recall writing a letter to a prominent Jesus music artist, questioning the content on one of their albums. I recognize now that because his choices didn’t make sense to me, I assumed that they were wrong. I was the one in error. If I had given the benefit of the doubt I might have been able to enjoy that record at the time. If we only realized how little we know, it might make us more hesitant to criticize.

Some of the most meaningful words were the hardest to write for the author. It wasn’t the specifics but the reminder that difficulties with others sometimes have no explanation. In such times one comfort is knowing that Christ himself went through similar perplexity and even betrayal. What pain compares to having a friend turn against us?

Barbara Bush said, “Never lose sight of the fact that the most important yardstick of your success will be how you treat other peopleyour family, friends, and coworkers, and even strangers you meet along the way.” What I like about the author is that he writes charitably about conflicts and disagreements. I appreciate his honesty and humility. His treatment of others is one of his greatest successes.

Let me add in closing that D&K’s commitment to evangelism throughout their career is admirable. They were uncompromising even when it cost them personally. Many thousands of people came to Christ through their ministry. Well done!


Wednesday, July 11, 2018

Resurrection Letters, Vol. 1 - Andrew Peterson



Crafting nine diverse songs related to the Resurrection is no small feat.

Resurrection Letters, Vol. 1
Artist: Andrew Peterson (www.andrew-peterson.com)
Label: Centricity Music
Length: 9 songs/39 minutes

“His Heart Beats” is a dramatic open to Resurrection Letters, Vol. 1 by Andrew Peterson. The song is about the moment when Christ came alive. The underlying percussion mimics a heartbeat. The rhythm relentlessly propels the song forward. The electric guitar work has an otherworldly sound. Similarly, the hammer dulcimer sounds more like a sitar. The words are sung with a hushed insistence.

On the verge of proclaiming Christ’s victory over the grave, Peterson references the ancient hymn, “So crown him the Lord of life/crown him the Lord of love/crown him the Lord of all.” It’s an interlude of worship, as the music suddenly resolves from its urgency.

The next track, “Risen Indeed,” is as poetic as the first track is exhilarating.

And so the winter dies with a blast of icy wind
Like a mournful cry, it’s giving up the ghost again
Another sheet of snow melts away to gold and green
Look at Peter go, he’s racing to the tomb to see.

Peterson is a wordsmith of the highest order. He is skilled in combining theology and sound in vibrant ways; it’s not at all wooden. It helps too when you have a first-class producer and performer like Ben Shive at the helm.

The chorus of “Remember Me” is like a mesmerizing chant. In contrast, the verses are backed by a hip-hop rhythm led by the sound of a snare drum. Peterson fires off the lines in a steady rap. I don’t think he has ever done anything like this. Its uniqueness in this collection is immediately appealing.

The music of “I’ve Seen Too Much” is indicative of the roots music sound heard on several tracks. Unlike those who profess the faith but now deny it, I cannot go back. I’ve seen too much of the reality. The faith once delivered, with all its mystery and perplexity, remains the best explanation for this present life.

“Remember and Proclaim” is a communion song that expertly captures the double application of this rite. The cheery rhythm and lead guitar work make for a joyful sound.

“Maybe Next Year” appears to have been inspired in part by a trip to the Western Wall and the phrase “next year in Jerusalem,” the last words in the traditional Passover. Believers in Messiah look forward to his return, when they will meet in the New Jerusalem. Andrew Osenga’s guitars are prominent, heralding this long-held desire.

“Is He Worthy?” may be the finest, most worshipful composition that Peterson has ever done. It is in a liturgical style. Peterson asks a series of questions whose answers are self-evident. They address the mood of our times. A choir responds to each call in the affirmative. The chorus exalts Christ as the only one worthy; there is no other. It’s a reminder to continually look from ourselves to Christ. The first brings despair; the other hope.

I sent the YouTube video to my 81, soon to be 82, year old mother, who became elated. Immediately, she asked for a copy and more by the “new guy.” For those who have not found what they are looking for in Christian artists, Peterson is one of many making valid art. He has been around for years making music worthy of the Name. As on the closing “All Things Together,” he gives glory to God for all that Christ has done and is doing. Truly, all things are held together by the risen and exalted Christ.

Be sure to check out Resurrection Letters: Prologue, which I have reviewed separately and is a companion to this recording. Buy it as one one package if available. Otherwise get both. Prologue is smaller, but just as good if not better, and an important introduction to this work.

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