Music Day - Desert Rose

I really only have two criteria for Music Day posts: 1. It must be legally available for purchase; and 2. It should be a song that means a lot to me at the time of writing.

This is a song that I always glossed over. White Heart has so many loud, interesting complex songs that I was very confused by this ballad's immense popularity. If you mention the name 'White Heart' (to anybody who even knows who White Heart is), this is, nine times out of ten, the first song they mention. And that boggled my mind -- what about Let The Kingdom Come? What about Raging Of The Moon? What about Heaven Of My Heart? I do primarily listen for the lyrics more than the music, but in ten years of listening, I never 'got' the lyrics to this particular song.

Until now.

I am currently living in a VERY remote 'small town' that is literally an hour and a half drive from any other civilisation. There are no arts, no theatre, no dance classes, not even a freakin Staples. We've talked of moving but small tourist towns like this have a way of hiking grocery and gas prices so high that it is literally impossible to put together any kind of savings in order to actually do it (gas prices have been $1.43 a litre here since July; meanwhile my parents three hours north are zipping around on $1.17 gas. In the same province).

I don't have dance and I don't have money. I'm just watching my dream wither and die without practice. And I've been crying out to God, asking why He gave me this dream only to take it away again; terrified that I'm going to die in this literal hole in the ground, completely forgotten. I'm terrified of proving my program director right when he said I would never amount to anything.

Is this one of those desert experiences that so many people in the Bible went through -- Moses, the Israelites, Elijah, Jesus...? Is there still some important thing I'm supposed to do forty years from now and I just have to go through the motions until then?

I still feel angry and ignored sometimes when I think about how Brittney and M and my cousin died and I'm still here. It's not survivor's guilt so much as it is jealousy. They already live in a place where mercy is unreceipted, but I'm not lucky enough to get that chance. Given the choice between life and death, I would absolutely pick death. I'm not suicidal, per se, but I wouldn't fight death if it came for me. This world is not my home, and I want to go home. I don't even really know what 'home' is, but I know this world isn't it. I'm just so weary of life here.

And it's hard not to despair completely when all you see is the desert rising up on all sides -- literally.

(Forgot I was supposed to be doing a Music Day post. Pretending those last five paragraphs never happened.)

The song opens with a mellow but very classic '80s keyboard intro that hints at some of the haunting woodwind flavours that the band would explore in more depth on their next album Tales Of Wonder. And the tender, clear, angelic voice of Rick Florian (who I still maintain in the greatest singer to walk the face of the earth, even after five years of listening to music of all eras and genres while acquiring a BA in Music) comes in, painting a picture of an ocean of featureless sand and the tiny beauty drowning in it.

And you wonder

You wonder

Can you last much longer

This cloud you live under

Will it cover you?

The chorus features White Heart at their band-harmony peak. Harmony was something that White Heart always excelled at (their best-known line-ups featured a minimum of four competent vocalists), and it shimmers here, floating along on that bed of gentle keyboard that Mark Gersmehl weaves throughout the song.

Sometimes holiness

Can seem like emptiness

When you feel the whole world's laughing eyes

This is the part that resonates with me. I feel abandoned, alone, empty, tossed to the side, unwanted, unneeded, and useless. I feel like I and my life have been wasted and I'm just a shell of all my old dreams and potential just shuffling around waiting to die.

After the second chorus, the heretofore muted harmonies go from backdrop to centre stage, filling the song with layers and that beautiful '80s 'big' production. Chris McHugh's fantastic drums go a long way here too, and the effect is so lush and rich that it was several years of listening to this album non-stop (because of the title track and Storyline) before I realised that there isn't actually a verse here, only vocalising and a bit of vamping from Florian. (They pull off the same stunt in their song Let The Kingdom Come from their previous album, but that time they did it by distracting the listener with truly epic guitars, giant drums, and energetic rock vocals.)

Title: Desert Rose

Artist: White Heart

Album: Powerhouse

Year: 1990

Label: Sparrow Records

iTunes here; YouTube here.

Heaven knows

Heaven knows

He will hold your tender heart

Oh desert rose...

Day 23: National Choreography Month

Finished the Queen song and now I'm getting back to my choreographic roots with a large-group White Heart number -- specifically Heaven Of My Heart (1993).

I think this one comes out of some of the emotional background of Who Wants To Live Forever -- that weight of nostalgia, that longing for another world. I'm still so tired of being here. I'm not suicidal, most of the time, just weary... this breathtaking, soul-scarring, heartbreaking, physically heavy weariness, this bone-crushing, mind-melting nostalgia for something I can hardly remember or perhaps never experienced. I feel like I don't belong here, and I want to go somewhere where I do... home -- wherever that even is anymore.

Locked in a sky so blue

Is a land made for me and you

And we're going there, but until the dream comes true

There's a secret place

So full of love and grace

When the world spins and breaks apart

I'm going to the other heaven of my heart...

I've been realising lately that the theme of a lot of my work (not just choreography) is the theme of escape. Not extreme, altered-reality escape -- not detaching oneself from one's emotions; more like escaping into a better reality. I spent so much time in my head because that was where my better worlds were -- the worlds in my head that I unlocked and sculpted with my fingers on the keyboard and my feet on a creaking wood floor. Maybe this song best describes what I've been doing with my artistic output all along. The themes were about escaping because that's what I have always wanted, more than anything -- to be able to reach the goodness that exists only just beyond the curtain of the physical, time-bound world. I can feel it, I sometimes see glimpses of it, but it can't come here, and, until my time comes, I can't go there either. I guess this is why songs like Terry Scott Taylor's Beyond The Wall Of Sleep (among others) resonate with me SO strongly -- at least there is one other person on the planet who sees it too. It's not just me.

And escape is not just the theme of my work, it's often the reason I create. I can go forward to heaven, or back to times I had with people who I will never see again until I can move forward to heaven -- and in the past few years, creating art has often done both at the same time. Choreographing this song specifically takes me back to the time when I still had viable dreams of choreographing and performing, and the friendship of people like M and Brittney. If I could lock myself in any year forever, it would be 2012. There was so much potential and hope in my life then. Now I'm just old and washed up. Doing this piece has really made me realise just how critical M's very existence was to my creative process. There's a duet section in this piece, and I still see her beside me in my mind's eye, doing the beats and turns as I write them down -- her endless energy and bright dramatic eyes. She wanted to escape too, and she was lucky enough to get it. I would be lying if I said I wasn't jealous. I've already choreographed a piece in her memory, but I think this one is in her memory too. No doubt everything I choreograph from now on will be.

I'm about a third of the way through the song now. It's a light, airy allegro piece, very ethereal, lots of arms and heads and a few floating turns... a lot like the music itself, energetic yet dream-like. I am LOVING choreographing the duet part (I still have a little bit of it to go), especially making them intertwine with each other and with White Heart's glorious harmonies. I can't put into words how much I wish M could dance this with me for real. I wish the curtain of time didn't seperate us.

There I go, trying to escape again.

Music Day - The Fine Line

Fell in love with this song last summer. After years of hearing about Adam Again and how great they were, it was this song that finally hooked me. It's actually about drugs -- which I know basically nothing about -- but it's so funky and cynical that I love it anyway. I don't usually like blues or jazz music, but here the band blends both genres with rock and the result is so fresh and different that you can't help but be entranced by it. If we're honest, though, my favourite part is the brooding chorus vocal from Riki Michele. It adds a little bit of sizzle to an already steaming song. My next favourite part is the syncopated guitar line at the beginning of the interlude (what can I say, it's the tap dancer in me).

Fun fact: Jon Knox of White Heart fame also drummed for this band.

Title: The Fine Line
Artist: Adam Again
Album: Homeboys
Year: 1990
iTunes here; YouTube here.

The devil in black
Break your mama's back
Feeling like a maniac...

P.S. -- There is a Kickstarter campaign NOW UNDER WAY (right here) to reissue their 1995 album Perfecta on CD and vinyl. Deadline to pledge is 30 June. Don't miss out on this! I funded last year's campaign to give Homeboys the same treatment, and I have no regrets.

(Belated) Music Day - Looking Glass

Next up, on 'this week in Kate's existential crisis'...

I actually forgot this song existed until I was scrolling through my iTunes library looking for good tap dance improv practice songs.

The entire album is White Heart at its most mature and most mellow. By this point, the powerhouse six-piece rock band had dwindled to three -- Rick Florian, Mark Gersmehl, and Billy Smiley. This song opens with an acoustic guitar, of all things. Rick's voice is still smooth as butter (although most of the songs featured Gersh on lead vocals, so the point is kind of moot). But the fire behind their playing had dwindled to a mere ember.

This is not to discount this album entirely. What the album lacked in musical imagination, it almost made up for in sheer depth of songwriting. The lyrics here are some of the most probing and mature ever released under the White Heart name.

There's an irony, I think, in starting this album with an attempt at a recommitment song and then spending the rest of the album talking about estranged relationships. The irony is furthered by the fact that this is White Heart's last album to date, and it is extremely likely they knew this at the time they recorded it. It's something like starting with Independence Day and then following it up with a SUPER mellow ABBA album. It could have come off well if the other songs weren't so depressing. This is probably the most upbeat song on the album (which tells you a lot).

Title: Looking Glass
Artist: White Heart
Album: Redemption
Year: 1997
Label: Curb Records
iTunes here; YouTube here.

It's a shame, though, that this was their last album. They could have done so much better. They could have gone out with a bang. But instead this must stand as their final work (because at this point it doesn't appear that they'll ever get their collective act together enough to even record a new song, even though there are hundreds of us waiting with wallets open to Kickstart this thing).

I want to heal
Want to feel my heart again
And not the way it's been...

Music Day - Walkin' In Faith

Written 10 January 2014, 11.07pm.

Discovered this through the Frontline Records Facebook page last week. I clicked the link they posted and stuck one earbud in, expecting some decent background-music rock. Within the first twenty seconds of the song, I put in the second earbud.

This thing rocks hard, but it's melodic. It's kind of like a heavier version of White Heart, or a less over-the-top version of '80s Stryper. Think White Heart's Dr Jekyll And Mr Christian with a little more muscle (and slightly less stellar vocals, but that's only because nobody can top Rick Florian). Also, turns out these guys are Canadian, which makes them even better.

Their guitarist is awesome. His playing makes me think of Oz Fox (Stryper). It's some seriously good stuff. Usually I kind of zone out a song's guitar work (Daniel Amos and Prodigal being the only exceptions), but not with what I've heard of this band so far. This is really compelling. I can't put my finger on it, but it's darn good.

Title: Walkin' In Faith
Artist: Angelica
Album: Walkin' In Faith
Year: 1991
Label: Frontline Records
iTunes here; YouTube here.

Covers That Need To Happen #1

Can we just take a moment to talk about a cover that really needs to happen?

Okay. Russ Taff's song Higher. Seriously. Go listen. You have full permission to groove. (I should probably throw an '80s-music warning on this song though. Then again, this entire blog should have an '80s-music warning on it.)

And now, picture Freedom-era White Heart covering this. Tommy Sims on that bass, Gersh on the keys... and I can't even properly handle the thought of Rick Florian's voice over that.

The End Of The Rattletrap

Last Sunday I drove the rattletrap for the last time.

It was only a matter of time. Regular readers of this blog will recall the myriad of posts about its voracious appetite for engine coolant (to be regaled with one such tale, click here). It had no air conditioning to speak of, and the heat only kicked in if the vehicle ran for more than forty consecutive minutes. The door covering the gas cap clung to the side with a lone rusted hinge, flapping like a flag at highway speeds but try as we might, we couldn't pry it off of that last tenacious hinge. The thing was so run-down that I could probably leave it unlocked with the keys on the front seat in downtown Edmonton and nobody would bother to steal it. Somewhere in the back it had a chronic rattle -- hence the name. My mother hated driving it mostly for that reason, but I found that if you turned White Heart and Daniel Amos up loud enough, that usually fixed the problem.

It started out as a family minivan in September 2001, after my mother totaled our green Spirit. After carting around three, then four, then five, then six children, it entered retirement in early 2010 when the family grew too big to fit in its grey bucket seats and a larger van joined the vehicular ranks.

Retirement was temporary though... six months later I totaled my car, and my parents decided to dust off the minivan, rename it 'The Little Van,' and give me one of the keys. I had learnt to drive on this van... my dad would take to me to town and then tell me 'turn at those lights,' 'turn here,' and so on until we somehow magically wound up at Tim Horton's.

And so I become the proud driver of the Little Van, although I privately and affectionately christened it 'The Rattletrap.' It was in the rattletrap that I took the left turn that almost killed me for the first time since that accident, and it was the rattletrap that acted as taxi for my younger friends at church until they got their licenses. I was at the wheel when the odometer hit 200,000 kilometres, and I was also at the wheel this spring when it rolled over 300,000 (as I write, it sits at 307,329).

The rattletrap became a bit of a haven for me. The house is absolutely not soundproof at all, so the only time I felt comfortable enough to sing (something I enjoy but in which I am absolutely not confident in my 'abilities') was alone, in the rattletrap, listening to Petra, White Heart, Prodigal, and in the past year and a half, Daniel Amos. I memorised a ridiculous amount of song lyrics on my one-hour-each-direction commute to dance class and/or dance team every week. The rattletrap had a phenomenal sound system, and believe me, I took full advantage of it. It sounded better than every CD player in our house (trust me... we've got a few), and I grew to love driving. Because driving meant music, and I could pay (almost) undivided attention to the glorious music if the only other thing I had to focus on was driving.

I drove to ballet class, Bible study, and worship team practice most frequently. In fact, the rattletrap and I conquered the drive to the dance school so often that I could put in almost any album I owned and know exactly which part of which song I would be listening to at certain points of the journey. If I got delayed, the music and the scenery would be incongruent. To this day I cannot listen to White Heart's album Don't Wait For The Movie without seeing the city lights, the overpasses and the skyline (and the construction) during Dr Jekyll And Mr Christian. I would often pull up to the dance school exactly as the last notes of How Many Times was fading out. Driving home from Bible study and worship team practice would often have me driving during dusk or early darkness, and I relished every second of it.

But the rattletrap was aging. The aforementioned budget for coolant was growing. Even the faithful and much-used CD player started to get a little bitter and grumpy. At first it simply refused to play the CDs I've burnt on the computer. It was a blow to not be able to listen to my Prodigal albums (I haven't been able to get the new deluxe re-release package yet because of financial constraints -- however, you, dear reader, are in need of this collection), but hey, I still had a few factory-pressed DA albums. So I contented myself with listening to ¡Alarma! all summer long. But then, one day when I returned to the rattletrap to drive home from my grandmother's house, it simply refused to pick up the CD where it had left off. I argued with it for half the drive home and even put in DA's Darn Floor - Big Bite, which it had played without complaint only a few days earlier. It shot me an error message before the disc was even fully loaded in the player, and then refused to return the disc to me. I eventually got the CD back, but I knew the rattletrap was now in its final days.

Two weeks later it started to 'overheat' even with the coolant tank full. We could only drive it for about ten minutes (if that) before the warning light would come on. We could no longer tell whether to heed the warning or ignore it.

It was over.

I cried as I nursed it home for the final time, in silence. It still handles beautifully -- it was almost like a ballroom dance partner. People tell me all the time I'm such a smooth driver, but I think most of it was the rattletrap.

I knew when I first became its primary driver four years ago that its days were numbered, but you're never quite ready for the day when it comes. And now that I'm back at college, I will never see it again; never again share with it a dark magical highway with streetlight-stars and skylines lighting my way to dance, friends, or home.


I miss you already, Little Van. Thank you for the good times, and always for the music.

Record Collector Problems

So for my birthday, my grandmother took me shopping. Most females my age would probably buy clothes and shoes in such a situation, but to me, 'shopping' means 'music.' So on the Monday (freaking holiday Monday -- me and the August long weekend have a hate-hate relationship. Actually, me and long weekends in general have a hate-hate relationship), I hit the vinyl shops (all two of them) and came away with a pretty good haul if I do say so myself.

Some points I would like to make about the excursion:

Do you have any idea how much willpower it takes to leave the second copy of DA's ¡Alarma! at the store? I was seriously tempted to get both copies. Even though they were exactly the same. And I had already bought the first one. And I have the deluxe CD reissue they put out last year (buy it here. It is just as awesome as they say it is).

Found an After The Fire album that I only bought because I vaguely remembered reading about it on the 500 Greatest Albums blog. In fact, I found three copies of this album. Of course I bought the one with the skip in the middle of the best song.

Bought the 1977 Pantano/Salsbury album (entitled Hit The Switch) purely because of the ravings of those over at the Jesus Music forum on Facebook. Completely worth the money. Imagine mixing the songwriting of Prodigal with the playing of early DeGarmo and Key. And a talking guitar that puts the then-future Bon Jovi to shame.

Found the one Margaret Becker album we don't have... for $24.95. This at the shop where I snagged a pristine copy of DA's Horrendous Disc (which is, to my understanding, the most sought-after and hard-to-find DA record) a month ago for ten bucks.

Also saw Stryper's To Hell With The Devil not once, not twice, but three times... in the same store. In three different places.

Was hoping to find some Randy Stonehill -- nothing.

Why do they make the crate units at the shops so darn high? I had to stand on my very tiptoes and lean forward onto the tableau to flip through the records at the very back of each crate. I'm not very heavy, but those things were wobbling.

I realised today, while importing the ATF record and trying to classify the genre of it, that I really only need two genre tags for my iTunes library: Rock and Not Rock.



Also, two big pieces of music news!

1. White Heart is touring... and we have cities! Columbus, Atlanta, Dallas, and Chicago -- go buy your tickets now and bring these guys out of retirement! If these shows go well, we may just get another tour in 2015... and maybe they'll venture up to Canada for that one. Also, they've been dropping hints on a new album. They haven't actually come out and said, 'we're making a new album,' but they keep talking about new music coming soon, which is basically (hopefully) the same thing.

2. One of my favourite albums of all time, Daniel Amos' Doppelgänger, is being reissued in a deluxe CD package. This is cause for extreme excitement. No timeline on that yet, but I assume it'll be by the end of the year.

Building Puzzles

Note: This was actually written a couple of weeks ago, however, the stress of packing and moving (as referred to in the post) zapped my energy to finish and publish this until just before the Internet went down for four days. As I write this note, I am actually at the college and have just began classes. Therefore the timeline in this post is a little bit out of whack (when I say 'right now,' it now actually means like two weeks ago), but the general informational idea (such as it is) is still the same.

So after that post talking about that little detour (or, more accurately, hairpin-sharp left turn) into the college thing, you faithful readers may or may not have wondered, 'Will she still do choreography?' (Okay, I know you probably didn't care, but humour me.)

As of right now, yes. Actually, I'm kind of choreographing like a mad woman. Having never been in a public school setting I have no clue what to expect from college. I hear people griping about the workload -- assignments and essays and homework and things -- but I don't know how much truth there is to that, or if they're all just being public-school whiners (crap. I said that out loud, didn't I?). As a result, I'm not sure how much spare time -- if any -- I'm going to have for personal pursuits such as choreography, so I'm trying to cram in as much as I can now, just in case. On paper, my course load this semester seems not bad (three classes Mondays and Wednesdays and two on Tuesdays and Thursdays), but who knows how much outside studying there'll be...

I've talked before about my experience with emotion being good for creativity (whether it's quality creativity remains to be seen). So having to leave my beloved dance school and now psyching myself up to saying goodbye to my friends and family here in two weeks and then moving -- something I've never done before in my life -- out of province is sparking a lot of creativity. Since the beginning of June I've choreographed (fully notated) Changeless, Sanctuary, and Daniel Amos' lovely Beautiful One (that last one only took 28 hours from initial idea to full notation), plus I've also sketched out a lot of other stuff and it's all quite good (in comparison to everything else I've done so far).

Following that I was working on a White Heart song (hey, DA and White Heart make good nuanced music, okay?) called Heaven Of My Heart. It's off to a slow start, though... I know sort of the feel I want for it, but the specific steps to accomplish said vision are so far eluding me, so I've been flipping back and forth between a few other songs... notably White Heart's Silhouette, John Michael Talbot's The Birth Of Jesus, and Terry Scott Taylor's Dancing On Light (words cannot explain how much I love this song). I have a lot of good ideas for all of them, but for some reason I don't want to commit to one... probably because I had committed to Heaven Of My Heart and it's not going anywhere. I hate leaving choreography half-finished (Montana Sky still haunts me).

However...

The other day while listening to the ShufflePod, David Meece's heavenly symphony God's Promises/Rainbows In The Night came through (followed immediately by the Swirling Eddies. I love my iPod). This is a gorgeous song, and it has ballet written all over it. I always knew I would do it someday, but 'someday' would come when I had really refined my ability to choreograph a smooth, flowing dance and aesthetically pleasing formations. This is a phenomenal majestic song and as a choreographer I cannot give it anything less than the best that ballet has to offer. I knew if I were to do it at that point, I couldn't even do the song justice, and even mere 'justice' is not good enough for something so sweeping and marvelous. I wasn't yet ready for a project of this caliber -- it would be six and a half minutes of grand, majestic, and very precise classical ballet for twelve people.

Last time I even thought of this song was probably in the spring sometime. I hadn't heard it in a long while (it's a crime to forget this song, and yet I keep doing it). Since then, things have changed -- I've had the opportunity to take a couple of ballet classes in the next level up than I was in, and it's one of those 'big jump' levels... you go from floating and gentle ballet to quick, precise and expressive ballet. I've noticed choreography coming far easier and far more quickly than before I took that class, plus my dancing is way more interesting now. I have a lot more technique to draw on thanks to that class.

Also, in the past week and a half or so I've been watching pretty much every classical ballet video that exists on YouTube. All the classic ballets (Swan Lake, Sleeping Beauty, Giselle, I even saw some Alice In Wonderland...), and quite a few rehearsals, plus a bunch of Balanchine's stuff (despite having spent most of my life in the ballet community and having heard he was such a great choreographer, I've never actually seen his work).

You know how it works -- the more you watch something or listen to something, the more it sinks into the fabric of your being. Watching literally hours and hours and hours of rehearsing and excerpts of great ballets has packed my head so full of ballet stuff: intricate footwork, quick and complex movements, strings of impressive extensions, turns, and jumps without a break. (If you only watch one ballet excerpt in your entire life, watch this one... you will never fully understand how amazing this is if you've never been on pointe, but even to the untrained eye this is no doubt impressive.)

As a result of all the learning, the other day when that David Meece song came through, I began to wonder if maybe now I was ready.

So I'm seriously sketching it out now -- not officially notating, but coming up with pieces and fitting them together. It really is like building a puzzle, only you also have to create the pieces first. I did this with Sanctuary, with fantastic results -- Sanctuary is freaking gorgeous. The ending alone could stand as my best work (so far). Of course, by the time I finished I was ready to shred my sketch pages (my cross-references had cross-references which cross-referenced back for two lines of information before another cross-reference sent me off on another quest for a different page. The ending may have turned out spectacular, but sketching that first and then filling everything else in later on the following pages was insanity), but at least the final product was worth it. Because it worked so well with Sanctuary, I used the same approach with Beautiful One -- essentially choreographing the entire thing in my head and outlining it in English notes, then just transcribing it into BMN. I can pretty much guarantee that was how I managed to create the dance for Beautiful One from scratch so quickly.

Sorry, kind of a ramble... but as I'm writing I'm realising I think I found my creative rhythm!

Anyway, I haven't totally committed to God's Promises/Rainbows In The Night yet, but it's much closer to what I envisioned than it was a month ago... I seriously thought it would be years and years, and it's kind of surreal to think that maybe it's not that far off. I'm excited, anyway.

Music Day - Powerhouse

This is perfect rocking-out concert material (see Exhibit A and Exhibit B). Big drums, big hair, great guitar riff, rumbling bass, and Rick Florian.

It starts with with a solid guitar riff, then the drums and bass come in and together they build a great little nest of straight-up rock goodness for Rick's vocals to slide into a few measures later. Halfway through the first verse you begin to hear a little bit of keyboard. Rick himself sounds just a touch edgier than he does on some of the earlier projects -- even the rockier songs on the previous album, Freedom, featured very clean vocals where he was concerned (which, now that I think about it, is precisely why I love this his singing so much. It takes a lot of skill to keep a clean vocal when you're singing Power Tools).

And now back to today's song...

I've always liked that guitar riff sliding down into the chorus, and then the band vocals burst on the scene: 'Pow-er-house!' In the second and subsequent choruses, there's quite a lot going on vocally -- band vocals, backing vocals, Rick's lead...

They take it down (slightly) for eight sets of eight, just long enough to give the song some texture (and add some light keyboard and a sort of otherworldly 'Power...' from Rick), then the guitar chugs back in and blazes through a solo that's loud if nothing else, and then it all stops, everything, and just the band shouts again 'Pow-er-house!'

And with a sparkling keyboard, the chorus kicks back in. I think my favourite part is just at the end of the chorus, that last high hold from Rick (We need the powerhouse...) and then the drum sort of 'stutters' before the guitar comes back in and does kind of a reprise of the solo (it actually sounds a little out of place here, but the sheer passion with which it's played makes it tolerable).

Title: Powerhouse

Artist: White Heart

Album: Powerhouse

Year: 1990

Label: Star Song

iTunes here; YouTube here.

Go ahead, crank it and roll down the window. If anybody asks, it's summer's last hurrah -- those are always allowed to be 1990 arena rock. (Beyond Belief, anyone?)

Music Day (Or, A Probably-Pointless Trip Down Memory Lane)

Last fall and early winter, this was my driving-to-tap-class album. The dance studio is far enough away from our house that I can listen to an entire album on the way there, and another on the way back. Tap was on Monday nights and while the album on the way back would vary, on the way there it was always Don't Wait For The Movie.

The first couple songs were me setting the speed, getting to the highway. By the time I got to the first city lights (I skirt two cities on the way in and enter the third), Fly Eagle Fly would be starting.

Here the magic began. Not so much the song (it's actually kind of a really cheesy song), but the visual... velvet black nightscape dotted with oncoming headlights and the streetlights of the city up ahead. And as I took the ramp onto the main highway, Convertibles would always start to play.

Let The Children Play and King George would mark my time on that highway, following the streetlights for part of the way, and then as I approached the second city and got onto the exit for the ring road I would get to listen to No Apology, and then Maybe Today would always just start as I went under the first overpass on the ring road and into the beginning of the curve. It was always a glorious sort of moment, not in that it was a big dramatic thing, but because the tinkling intro and the quietly-soaring keyboard backing Mark Gersmehl's brooding vocal seemed to be so, so perfect with the glittering streetlights in the endless Alberta night sky. I think this moment was the reason I always, always chose this album on that drive.

As I got to the halfway point on my trip on the ring road, Dr Jekyll And Mr Christian would start, and it would always just be ending as I was coming up across from the second city's skyline. (About halfway through the tap session I noticed that and holy crap I almost had a heart attack the first time I saw it... It was all lit up and so so beautiful -- red and green and blue and purple and streetlight off-white. I hadn't realised you could see the skyline from that road.)

And then I would exit off into the third city (well, not technically a city, though it's big enough to be one) during this, the final song on the album, to kind of calm me down and gently lead me into the dance school's little parking lot. Often I would pull into the parking lot with one chorus left to go, and if I wasn't running terribly late I would stay out in the rattletrap and let the song finish.

Title: How Many Times (Seventy Times Seven)
Artist: White Heart
Album: Don't Wait For The Movie
Year: 1986
Label: Sparrow Records
iTunes here; YouTube here.

This album so quickly became my soundtrack for winter night city driving, following the string of streetlights along the highways, stars against a black sky. Several times it was snowing during the drive and I seem to remember one time where it was raining. Once the fog was just so that it caught the streetlights and scattered the light everywhere, lighting up the entire road and the sky above it. It was almost -- though not quite -- like driving in the daytime, so spread around was the light. There was one section on the ring road that randomly didn't have streetlights (still can't figure out why not), and driving through there that night was almost terrifying... the rattletrap isn't exactly known for its great headlights (actually, it's not really known for its great anything, but I digress), and without the light to scatter around, the fog pressed in and blocked the streetlights ahead and the streetlights behind almost completely from view. It was almost completely dark there for about a minute.

Oh, the song? Well -- Rick Florian. That should tell you everything you need to know. It's a good lyric too:
How many times
Have You wept from the anguish of all my shame
How many times
Have I nailed You up on that cross of pain...

It starts out with the concept of protagonist trying to come to terms with the concept of forgiving someone who's wronged him -- knowing it's what Christ has commanded, but struggling to lay aside his pride in order to do so.

But then after the interlude (a lovely simple keyboard bit that capitalises very well on the 'quiet struggle' mood of the song), the protagonist's point of view shifts to his precious Christ on the cross -- did Christ not forgive me of things far more grievous? Who then am I to withhold the grace that shouldn't have even been mine?

The ending is gorgeous. Protagonist is still wrestling with his desire to not forgive and is halfheartedly trying to convince God that 'no really, this is unforgiveable' when he knows better. And to each one of his arguments, a soft voice comes back to him: Seventy times seven.

And finally he is silent in the face of the reminder of simple, powerful love.

Seventy times seven.



(For those wondering what 'seventy times seven' has to do with anything... once, Jesus' disciple Peter asked Jesus how many times he should forgive somebody who's wronged him. Peter asks, "Is seven times enough?" Jesus (God in the flesh) says, "No, not only seven times, but seventy times seven." The term 'seventy times seven' has since come to be, for better or worse, a 'sacred buzzword' of sorts, a code phrase within the church meaning 'forgiving.' You can read the account of Peter's question and Jesus' answer in Matthew chapter 18, starting at verse 21.)

Music Day

Seriously? I haven't featured this song yet?

This was the only track I initially liked from the album of the same name (though I thought Ritual was kind of cool too). White Heart hadn't rocked hard like this since Bye Bye Babylon.

Oh, it starts quiet enough... but at about the nineteen-second mark the drum kicks up and then the bass falls in, gritty, crunchy, and most of all loud, with a similarly styled guitar ripping across the top on the seventh beat (dance counts), then the sixth and eighth beats of the next phrase.

Two more sets of eight, and then Rick comes in -- an almost-menacing intimate whisper, the power of his voice just barely restrained as he sweeps up into I don't know your name...

A breath, and control returns, a delicate tip-toe melody now for You've been hanging around for so long at my place...

By the time he sings It's crawling back again to find me and slips up into a desperate near-scream on Get it out of my mind... the song has taken on a slightly creepy feel. 'It' is never explained, though looking at the context of the song I'm picturing something kind of like Lecrae's Indwelling Sin -- the old sinful man trying to regain control of the redeemed human, to the horror of said redeemed human.

I absolutely love the guitars in the chorus -- low, fuzzy, almost static-like. It's a smooth trade-off... the vocal in the verse was heavily processed, but in the chorus it's mostly organic. However, the guitar takes over the fuzzed-out sound, giving the song a subtle change of pace while still feeling consistent.

Then we get the two sets of eight from the beginning again. (Darn it, I'm listening like a choreographer. Brain apparently does not want to shift into music-enjoyment mode.)

Listening to this again, I think this is the lowest I've heard Rick's voice, right there at the beginning of the second verse. He's very dynamic on this song, actually. I'm surprised more people don't quote it as a favourite (because we all know White Heart songs live or die by how spot-on Rick was when they recorded the vocals -- at least the rock ones). He's in fine form here -- almost growling, a touch of sarcastic menace, then screaming high (the word 'wailing' is the closest synonym I have off the top of my head), and it's all done so smoothly. Nearly every line has a different dynamic, and you're hard-pressed to find the transitions. The line You know that's a lie is delivered in a way that calls to mind the fire from Dr. Jekyll And Mr. Christian nine years before, and yet there's a touch of sadness in it -- you know that pained feeling you get when you see someone you love being a total idiot and destroying some aspect of their lives when you know they know better? Yeah. It kind of sounds like he's watching something like that.

Regular readers know that usually I don't pay attention to guitar solos (that or I hate them with a passion... depends if I'm choreographing it or not), but this is a killer solo. The bass and the drums still play behind it, adding power to it, and (thank goodness) it's not one of these presumptuous guitar solos where they just kind of shoe-horned it into the song because every song needs a guitar solo, right? It changes directions partway through, going from straight up rock-guitar-solo to something a little more finessed but equally loud. As the song rocks on, hurtling with reckless abandon to its close, the guitar work becomes rather off-kilter. So now you've got a totally fuzzed-out, not-quite-centered guitar and Rick's clear angelic voice still throwing in some stuff over it. It's perfect.

And then it all comes to an abrupt end with the vocal sliding up and snapping delicately off into nothing and a reverberating guitar chord picking up where the vocal track leaves off, carrying the song to a suspenseful-yet-satisfying ending.

Ladies and gentlemen, allow me to present... Inside.

Title: Inside
Artist: White Heart
Album: Inside
Year: 1995
Label: Curb Records
iTunes here; YouTube here.

Enjoy.

Music Day

It's my birthday today and you know what that means... it's White Heart Month here at the Edge Of The Dream! (Provided, of course, that the iTunes Store actually has five White Heart songs that I haven't already featured.)

The other day I was listening to White Heart's Freedom album on my iPod. It's a totally different experience on the iPod -- headphones always make the mix sound better anyway, but this specific album is heaven on earth through headphones. Plus, this album just means so, so much to me -- track two, Sing Your Freedom, has gone down in this blog's history as the first piece of choreography I ever completed, Eighth Wonder holds the distinction of being the first piece of my choreography to be publicly performed, and the phenomenal opener Bye Bye Babylon was the song that catapulted White Heart firmly into the slot of 'My Favourite Band Ever Of All Time.' I listen to my CD copy of the album that I ripped from my mother's well-loved cassette at least twice a week, probably more.

I rarely listen to it on my iPod though. Usually I listen to my iPod when choreographing a specific song, and I tend to listen to full albums on CD as I'm driving places in the rattletrap.

However, Freedom is different on the iPod not because of sound quality, but because of the tracklist. As I mentioned, my Freedom CD was originally a tape. Then, several months after I created it, I found out that the original CD release of the album had an extra track sandwiched in between The River Will Flow and Let It Go, a track which I assume was excluded from the cassette and vinyl releases due to time constraints (though don't quote me on that). iTunes had the track (for once -- pause while we give sarcastic applause), but I'd already burned the CD and didn't want a perfectly good CD to go to waste. So I still listen to the cassette version but because I'm a purist, I have the official CD tracklist on the iPod.

So the other day as I was listening to the album on my iPod, I suddenly went 'holy crap I forgot about this song!'

Title: Set The Bridge On Fire
Artist: White Heart
Album: Freedom
Year: 1989
Label: Sparrow
iTunes here; YouTube here.

This is a freaking good song. Guitar, bass, keys, drums... everyone is in top form here. The interlude is one of the best I've ever heard. It's not just a standard 'insert guitar solo here' deal, every instrument gets to play. The synth, real soft and gentle (yet it manages to be stately) and then the guitar rips through and the bass and a different guitar comes in and then...

There's even a great little acoustic guitar riff at the end of each verse. The rest of the song is hardcore rock, but somehow they make that little acoustic bit work.

Even the rhythm is great -- driving, and not quite centered.

Fans often cite this as one of Rick's best vocal performances to date (along with Desert Rose, How Many Times, Dr Jekyll And Mr Christian, Sing Your Freedom, Unchain, et cetera et cetera...), and the title is well deserved. He simply soars here. It sounds so effortless.

Lyrically, the song makes some good points. It doesn't beat the visual to death, but it explores it just enough to make you really think about it. Do you really want to live forever in that headspace of regretting the things you've done, the times you've messed up?


Great message. Phenomenal performance. If you only own one White Heart song, this should be a contender.

EVEN MORE DA Awesomeness!

And you all thought my White Heart obsession was bad. (Don't worry. The White Heart obsession will return once they release that EP.)

Anyway, for those of you who read my review of Daniel Amos' new album Dig Here Said The Angel who didn't get the advance download (though I wouldn't be surprised if everybody who read it was also a Kickstarter backer), you can now pre-order the album on their website here.

And, if you scroll just a little farther down on that same store page, you can also find another real treat -- the ¡Alarma! album on CD. Oh, but not just that -- two CDs (deluxe remastered ones), plus photos and booklets and bonus tracks and enough goodies to satisfy this Daniel Amos nerd in training for... well, let's give it about a week before I've memorised it. Lyrically, this is a genius album (really though, which one isn't?). Sarcasm at its finest.

I don't have a real ending for this post, so I'm just going to steal a quote from Terry Scott Taylor (from one of the live bootleg shows, I forget which) (EDIT: I finally found it -- it's the Cornerstone 2000 show): "I'm not trying to plug anything. I'm really not... but I am."

This Just In...

For once in my life I'm speechless. I am seriously jumping up and down and screaming in delight (silently, but screaming nonetheless)...

A Most Excellent Evening

Today was a very good day. Actually, mostly just this past hour or so, since I checked my Facebook (though I did have a ballet class this morning. That was pretty great too).

Item One: White Heart media galore! Videos and pictures abound! Apparently they did the photo shoot today. For once, I was actually glad to see pictures in my news feed.
(Some links for you all: White Heart Facebook page. Videos one, two, and three (all YouTube). Note that the videos probably aren't really that interesting unless you're a fan.)

Item Two: The long-awaited cover art to the new Daniel Amos album has been revealed! And as if that wasn't cool enough...

Item Three: My photography is featured in it! It's not the main picture, but the point stands that my photography is featured on the freaking COVER ART of the new Daniel Amos album!

This isn't some hole-in-the-wall local band, people, this is Daniel freaking Amos! And they apparently liked my photo enough to put it on their new album's freaking cover. A cover that will be seen by thousands of people the world over for years and years to come.

(I may be just a tiny bit excited about this... I can't even imagine the excitement of the guy who did the main piece.)

Music Day

I can't add much to this song. This pretty much nails it. It's White Heart's Dr. Jekyll And Mr. Christian from the perspective of the 'heathen' -- some might call it a stroke of genius, but it's really quite a logical standpoint (in fact, it's long overdue if you ask me). While White Heart took on the subject from the perspective of another member of the church (which could easily be taken as hypocritical, especially if Rick hadn't delivered the vocal with such concern), these guys put themselves on the outside looking in. As a result, the song hits closer to home than anything White Heart could have done, and yes, it is much harsher. But with the North American church in such a disgusting state of nearly-comatose apathy, only the harshest realities can possibly wake us now.

Thanks guys. You'll get a lot of flack for this one, but we need to hear this more than we know.

Title: Dear Mr Christian (feat. Dee-1 and Lecrae)
Artist: Derek Minor
Year: 2013
Label: Reach Records
iTunes here; YouTube here. (I don't recommend watching the video on an iDevice or in a moving vehicle -- the visual concept is great and the camera work is as smooth as possible, but even watching it on a stationary computer I got rather dizzy.)

I'll Just Let This Speak For Itself...

(From the Reunion Tour Event page. I didn't make that first post, but I very much appreciate the person who did for alluding to the question... especially because of the response it generated.)


Oh please, oh please, may it be true...

Closer To Another Dream

*total fangirl squeal*

A WHITE HEART REUNION TOUR IS IN THE WORKS!

It's all very tentative... no dates yet (and the odds that they'll come to Canada at all -- never mind small boring farmer-filled Alberta -- are slim to none), but IT STILL COUNTS!

Now, I've kind of got to temper this a little bit... a few years back there was a reunion tour in the works and the whole thing got cancelled rather far into the process, but eventually one of these tour plans has got to work out.

This is killing me... the suspense, the waiting, the not knowing -- not knowing if it'll even actually happen, not knowing if they'll come to Canada, having to face the very real possibility of knowing my favourite band EVER is actually on tour and there's a very good chance I won't be able to see them...

Man... if only I didn't have to pay for dance classes and college... I could spend all summer saving up so I could roadtrip to the nearest concert. Even if it is in the States. (Crap. In that case I would need to get a passport too.)

The announcement said six dates... well, Nashville is pretty much a given, so you've got five. Even Toront -- I mean The Centre Of The Universe would be hard-pressed to get one out of five when it's got the entirety of the States to compete with.

This is why we need an album. But touring is a good sign -- I hope (desperately).

Music Day

These guys sound like White Heart. That automatically makes them awesome. The first time I heard this song I spent the entire song thinking, 'That's not Rick Florian, is it? No, it's not... is it? No. Man, it sure sounds like him. Hmm, maybe... no, it can't be...' (For the record, it's not him, but I'm pretty sure the guy who sings this is his long-lost twin.)

Title: Kick It Down
Artist: Liaison
Album: Liaison
Year: 1989
Label: Frontline Records
iTunes here; YouTube here.