The Roof: The Beatles' Final Concert - Ken Mansfield

From the cavern, to fool on the hill, and then finally the roof

The Roof: The Beatles’ Final Concert

Author: Ken Mansfield (The Man in the White Coat)

Publisher: Post Hill Press (www.posthillpress.com)

Pages: 195

On the debut double LP Loosen Up Naturally by the Sons of Champlin, Bill Champlin sings, “I got one thing to say to the Fool on the Hill / You’re gonna feel funny on a rooftop.” While that may be true for the environmentally conscious, the rooftop in this story becomes the setting that rekindles a little of the magic that produced a meteoric rise from the Cavern Club to the most revered stages.

It is now 50 years since the Beatles last live performance, which is the subject of Ken Mansfield’s latest book, The Roof. The timing of this release could not be better. This year witnessed the announcement that famed filmmaker, Peter Jackson, has been given access to 55 hours of never-released footage of the band’s 1969 studio sessions, which led to the Let It Be recording. The original Let It Be movie reportedly will be made available some time after a new film directed by Jackson is released.

The Roof is a wonderful guide for those who want to enjoy that last performance and what led to it. The author was the US manager of Apple Records and the man in the white coat pictured in the background as the Fab Four give their all on a cold London day. What a terrific cover! It alone makes this worth having for the collector, but the contents make it all the more meaningful.

Mansfield writes to convey a feel; not just communicate facts. He writes for casual fans and Beatles experts by providing intimate details of his experiences with the group and those surrounding them while conveying impressions as a friend and confidant.

If new revelations of significant magnitude are all a reader seeks, they may be disappointed. Much of the preliminary writing is conveying background essential to imparting what that time was like. Mansfield accomplishes his stated intent of establishing the setting, including the historical climate, providing background on the building itself, the inner workings of Capitol and Apple, and some of the dynamics between the chief players. What makes the book special is that this is an eyewitness providing observation, not just someone sharing research.

It all leads to the roof, but I appreciate asides like this: “The day I was invited into the Let It Be sessions at Apple was second only to the concert on the roof when it comes to experiencing Rock ‘n’ Roll history in the making…. I was blown away by being one of only two people in the studio besides the Beatles and Yoko—not the lobby, not the lounge, not the control room with the production/engineering team, but sitting on the floor in the actual recording studio while the four Beatles were recording live…. The other person in the room that day was my friend Billy Preston” (70).

He goes on to mention the well-known paradox: “The idea was to have ‘live’ takes. Looking back, I find it ironic that the album from these sessions, which was issued more than one year later was anything but ‘live.’ It wasn’t until the Apple-approved, McCartney-mandated do over Let It Be … Naked CD arrived more than 30 years later that the intended ‘bare bones’ approach to the music was finally heard” (71).

Immediately I wanted to hear the Naked version, which is available on YouTube. The difference is especially noticeable on “The Long and Winding Road” and “Across the Universe.” Also, this includes “Don’t Let Me Down”; not found on the original Let It Be.

Being in the studio made a lasting impression, “I never realized how good the Beatles were until I was in the Apple basement studio, watching them play their instruments and seeing their creative process unfold before me” (71). He was especially impressed with Ringo’s restraint, his ability to play just the right thing in service of the song.

Mansfield invited Brent Stoker, a contributing editor to Mansfield’s first two Beatle books, to write the chapter, “Taking It To The Roof,” which gets into the intricacies of the songs performed that day. Speaking of the “One After 909” he writes, “The entire band cooks on this one. It was mighty cold up there, and they did it all in one take! Remarkable!” (127).

He mentions that George Harrison’s “For You Blue” would have been a perfect fit in the set list, and John Lennon’s Hofer Hawaiian lap guitar used on the song in the film is visible in rooftop photos but was never called in to action that day. He speculates as to why.He acknowledges that “Billy Preston’s spirited playing on a Fender Rhodes suitcase piano adds so much light and life to the proceedings” (128).

It’s sobering that of the select few that made it to the roof many are no longer with us. Whether still living or deceased they shared a special moment that bonded them forever. Throughout the book Mansfield reminisces about this bond with both groups as he connects again with some who are still living. Their stories are fascinating.

In particular, I enjoyed reading about Billy Preston and Mal Evans, the gentle giant. The latter met a tragic end. It is still so painful that the author had to use an earlier writing of the events to include here.

And in the end it’s Mansfield’s faith that enables him to put everything into perspective. In the epilogue he returns to the roof where he surveys his journey. He summarily writes, “I finally became a man today because I realize it is all about just being His child” (182).

Experiences are transitory. Friends come and go. Life is fragile. God can use all that transpires to bring people to the place where they realize that their relationship to Him is what matters most.

To The One - UPPERROOM

First full length from the creators of “Surrounded (Fight My Battles)”

To The One

Artist: UPPERROOM

Label: Independent

Length: One hour, five minutes

To The One by UPPERROOM reminds me of what C. S. Lewis wrote in The Lion, The Witch and the Wardrobe:

“Aslan is a lion⸺the Lion, the great Lion." "Ooh" said Susan. "I'd thought he was a man. Is he-quite safe? I shall feel rather nervous about meeting a lion"..."Safe?" said Mr Beaver ..."Who said anything about safe? 'Course he isn't safe. But he's good. He's the King, I tell you.”

Those who favor conservative, quiet worship might be nervous about listening to this. Is it safe? It’s not safe if you want to avoid guitars that roar, bass that pounds and drums that herald.

Moments of spontaneity are found throughout this live recording, mostly at the end of songs or as a brief interlude. Sometimes they fall flat but it’s part of being a less polished, less tame experience.

This is not to say that it’s all wild and loud. It’s modern rock applied in a worship setting. Crescendos are balanced by quieter moments. Songs ebb and flow for five minutes and upwards. It does make for some repetition that can be a little monotonous. The opening track at over 10 minutes is a prime example.

There is, however, some depth to the lyrics, which are intimate expressions that are traceable to this collective’s prayer room. Though they are not necessarily the best songs on this release, I give them credit for touching on themes that may not be addressed as often like gratitude, the Holy Spirit and healing.

The promotional material boasts that “Surrounded (Fight My Battles)” includes new verses. Michael W. Smith includes the song on his new live recording, Awaken: The Surrounded Experience. It’s a highlight with verses that reference Psalm 23 while making connections with New Testament practices. It’s beautifully sung here by a female lead.

One application I make is that being in Christ is the foundation on which we take our stand. Scripture makes it clear that we don’t fight as those in the world do. Our weapons are spiritual, even praise and worship. It’s thoughts like this combined with captivating music that make this appealing.

Another personal favorite is “Washed,” an anthem with a simple, steady rhythm that boldly declares, “I am washed by the blood of the lamb.” Appropriately the guitars are anything but passive on the chorus. It’s a celebration of a prodigal being made clean. The Lamb who is also a Lion makes the difference. Is He safe? No, but He is good. He makes it as though one had never sinned!

This has a loose slightly Charismatic feel, which may appeal to those who like something more fluid.

The technical prowess is evident in the instrumentation. In particular, I enjoy the guitar work but all of the playing is competent and well-produced. You can clearly hear the audience participating and responding with enthusiasm, which makes it more exciting.

I put this in the forefront of modern worship recordings even though I favor something less given to excess. Even though it might not be safe for some like me, it is benevolent in heart like the object of its worship. It’s worth checking out for those who like something on the edges of the frontier.

UPPERROOM is a church founded in 2010 in the creative Design District of Dallas. More than 100 vocalists, songwriters and musicians are involved in leading worship three times a day, six days a week. This is their first full length release, which follows their Moments (2018) EP.

The First Testament - John Goldingay (Translator)

When words become too familiar they can lose their impact

The First Testament: A New Translation

Translator: John Goldingay

Publisher: IVP Academic

Pages: 924

For some odd reason I have always remembered a family member mockingly repeating my mother’s pronunciation of the word Yisrael. My mom must have learned this from someone like Zola Levitt, who being Jewish had insight into the original languages of the Old Testament.

If my mom were to read The First Testament by John Goldingay she might be pleasantly reminded of what she learned long ago and feel a slight sense of vindication. Yisrael is the translation throughout. Jerusalem becomes Yerushalaim. Judah is Yehudah. If I understand the author correctly, it is because he is translating from the original languages rather than a subsequent rendering in Latin, Greek, or some other language.

It makes some terms quite unfamiliar: Egypt is Misrayim. Personal names become less recognizable. Mosheh for Moses. Yaaqob for Jacob. Occasional brackets contain clarification. Continued reading helps to form associations between the new and familiar readings. When I come to come to Pelishtites I know it is referring to the Philistines.

Some readers might appreciate that instead of LORD for God’s personal name, Yahweh is used. Instead of LORD of hosts, we get Yahweh of Armies.

I like how instead of “fear,” which can represent more than one word in the original language, Goldingay uses “for you who are in awe of my name ...” (Malachi 4:2).

As with any new translation there may be questionable choices. The “supernatural man” for “man of God” is a curiosity. “Smart” instead of “wise”? “Dimwits” instead of “fools”? Other questions may arise but this leans more towards word for word instead of sentence by sentence, and does not attempt to smooth over difficulties. Its aim is to bring readers in closer proximity to the original autographs.

I like the arresting nature of it all! When the words become too familiar they can lose their impact. It becomes too easy to gloss over something that we have read many times before. This is a definite aid for study; for contrast with other translations.

There is an introduction to each Bible book providing insight into God’s purposes in light of the texts. Though brilliant in its presentation, the one in Genesis gives pause. Goldingay suggests the events should be taken as more than “simply historical.” It’s important to read the context of his comments but he casts doubt on some of the literalness, “Noah putting specimens of every animal species into a giant box in which they survive a worldwide flood? Lot’s wife turned into a column of salt?” Whether right or wrong, hopefully readers will not be dissuaded from giving this resource a try. No translation is perfect. It’s probably indisputable to say the same about one’s theology.

The First Testament! Old has negative connotations. Goldingay writes, “The ‘New Testament’ did not regard the ‘Old Testament’ as ‘old’ in the sense of antiquated or out-of-date; hence my referring to it as the First Testament rather than the Old Testament” (xi). I applaud the name change. The author goes on to say that despite these texts being a living resource for Jesus and the New Testament writers in understanding God and all of his ways, “Christians don’t read them very much.”

God forbid! They may be eclipsed in glory but are still glorious. They look forward; the other looks back. Both reveal Messiah, providing a complete picture. The Church would be impoverished if we had one and not the other.

The First Testament is never more beautiful than in the Psalms. It is fitting that it shines brightest in these inspired expressions of Hebrew poetry.

I use Logos Bible Software and have access to many different versions of the Bible but none quite like this. I submitted a suggestion that they consider publishing this book in their format. Reading and consulting a variety of translations is instructive and helpful. This is a worthy addition to any library.

Heaven on Earth - Planetshakers

R&B stands out

Heaven on Earth

Artist: Planetshakers

Publisher: Venture3Media (V3M)

Length: 1 hour 24 minutes

Can a music style like EDM be used in praise and worship? Heaven on Earth by Planetshakers answers a resounding yes and shows how effective it can be.

EDM (Electronic Dance Music) is employed in varying degrees on several tracks. This may be challenging to those who are more inclined to the pop/rock style of modern worship. Nevertheless, the performance is excellent and provides contrast with the other styles. I still marvel that years ago these sounds didn’t even exist. Improvements in technology have not only made them possible but make them fascinating.

What makes this release worthwhile for me, however, is “Electric Atmosphere,” a live recording of a different sort. This is an outstanding example of making joyful sounds. It’s R&B worship at its best. The bass pops. The guitars are so tightly clipped that it’s almost like you could use them to cut hair or maybe a lawn.

The atmosphere is charged with the sound of the crowd periodically repeating “hey” and “ho” as if they are batting the words back and forth with every outburst. What a hoot!

A similar winning combination surfaces on “The Greatest,” another live cut, with the audience proclaiming, “You are the greatest!” I truly enjoy this R&B vibe.

“Move out of My Way” comes in two versions. What surprises me is how well they do the heavy metal version, a studio track. The first version is a combination of several genres done live. I find a little humor in the get out of my way so that I can lift up praise thought. The songwriter is declaring an intention in the strongest possible terms. The call and response is delightfully sassy.

For those who might prefer worship anthems that start quiet and ebb and flow between peaks and valleys, there are four live tracks that are each about eight minutes or longer. I like the change from the EDM sound, but they tend to be a little too familiar and repetitious.

This release is actually the culmination of a trilogy. It includes songs previously released in parts one and two, plus five additional songs released from part three. Part three was released the same day as this one.

Ten of the songs are also captured on video, which is part of the CD/DVD package. Nine of the fifteen songs on the digital release are live.

The radio single of the title track closes the digital release and is absent from the physical CD. The album version is the third song.

Planetshakers is a global movement based in Australia led by pastors Russell and Sam Evans. They launched Planetshakers church in 2004, which now has over 14,000 members in Australia making it one of the nation’s fastest growing churches. Currently, there are four global campuses including one in Austin, TX.

Why Should the Devil have all the Good Music? - Gregory Alan Thornbury

Provoking radical fidelity

Why Should the Devil have all the Good Music?

Larry Norman and the Perils of Christian Rock

Author: Gregory Alan Thornbury

Publisher: Convergent Books

Pages: 292

Imagine being given unlimited access to the papers and archives of an artist that you have listened to for many years. One of the fascinations of Why should the Devil Have All the Good Music? is what Gregory Alan Thornbury chooses to include. So much could be said! Then there is the challenge of what to make of it. The peaks! The valleys!

After watching the documentary Fallen Angel: The Outlaw Larry Norman, where Norman gets “shot down,” I was crestfallen. Even here, the reminders of indiscretions resurrected those dark feelings that like ghosts haunt me once again. Nevertheless, I am thankful to get an alternative view to Norman’s life, one that feels more balanced.

If that is not reason enough to read this, the writing is superb; the thought incisive. The Norman estate made the right choice in opening the vault to this author. So much of the history of Jesus Music is here, which makes this essential reading for any interested in the intersection of faith and rock. It’s utterly fascinating.

Even though some of Norman’s dreams and visions were never fully realized, it’s a pleasure to behold his more noble ambitions. If as some say, God gives credit for right aspirations, Norman must have gained commendation. Despite the ways that he fell short, as we all do, his goals pointed him toward praiseworthy ends. It’s something that I needed to see in light of Fallen Angel.

In Another Land was my introduction to Norman’s recordings. By the time that I made my way to So Long Ago the Garden, I was still new to the Christian faith, having more zeal than knowledge. After the straightforwardness of Another Land, I was perplexed by Garden. Why so few overt Christian references? Reading about the background and aftermath of this release enables me to see that Norman was badly misunderstood and judged. It make me think of the quotation on the back of the dust jacket, “I was both happy and unhappy to have Larry Norman’s earthly arc fully explained. How the hell did he survive all that?” (Black Francis, songwriter and lead singer of Pixies). I am grateful for the explanations, but sorry that I was among those who questioned Norman’s judgment on this controversial release.

An insight from Norman sheds light on what is a long time coming among Christians:

Music is a powerful language, but most Christian music is not art. . . . It never relies on—in fact it seems to be ignorant of—allegory, symbolism, metaphor, inner-rhyme, play-on-word, surrealism, and many of the other poetry born elements of music that have made it the highly celebrated art form it has become (98-99).

As a new Christian, uneducated about the world of art, I had no concept of the elements described by Norman. Fortunately, over the years there has been more instruction on theology and the arts. Otherwise, like the proclamation of the gospel, how can we know unless someone tells us?

This book does not try to reconcile the contradictions—something only God can do. It’s aim, like Norman’s ministry, is to provoke an encounter leading to radical obedience. Curiosity, superficial engagement and maintaining the status quo are insufficient. Norman was aiming at an authentic following of Jesus.

Perhaps Norman’s life is a reminder that we dare not miss this pursuit. What we get right or wrong is of little consequence in comparison. The world needs to see more of Jesus in the life of his followers.

I think Norman will be pleased if the totality of his life inspires toward this end. So if you read this book and/or listen to Norman’s recordings, think about what it means for Jesus to be the way, the truth and the life.

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 people—your 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!

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.