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...

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.

A Prodigal Goes Home

Well I came into town alone
And I sang my songs for free
I was three years away from my home
And low down as a lowdown soul could be...

Most of you who care about this sort of thing will probably have heard this already, but in case you haven't, Loyd Boldman (vocals/keyboards/songwriting for the band Prodigal) passed away the evening of 22 April. He had struggled for several years with some serious health issues, but as I understand it, it was liver cancer that finally brought him to the end.

I'm not really sure how to react yet. I only found out about ten minutes before I started typing this post.

The hazard of liking music created in the '80s means that the artists who created it were generally born in the '50s or maybe the '60s. This means that unless Rick Florian or Terry Scott Taylor lives to be 150, I will probably outlive every one of my favourite musical artists. I will have to watch as they, one by one, vanish from the earth. I knew that, but I pushed the thought out of my head... This is the first loss from the era that I've experienced with this kind of immediacy. I was not yet born when Mark Heard passed away, I didn't hear of the Lost Dogs or Adam Again until long after Gene Eugene's passing (the same situation again regarding The Call and Michael Been), and it wasn't until about two years after Dana Key died that I really began to listen to DeGarmo and Key (though I'd known of the band since childhood).

Back to Mr Boldman.

I believe I've probably talked before about this man's incredible voice. He's right up there with Rick Florian as one of my favourite vocalists of all time. Loyd had a huge, soaring, booming voice that for all its strength could carry a sometimes unnerving amount of vulnerability as the lyrics required. Two of my favourite performances are Future Now (1985) and Neon (1984). The former is a truly dynamic performance, showcasing both the loud, booming, powerful Boldman as well as a strained near-whisper communicating as if from within the quiet fear and heavy unrest of the 'everyman'; the latter brings out a more ponderous, poetic, melancholy, hopeful, yearning Boldman.

I also have a deep love for the songs he wrote. He could be just sarcastic enough to make one think about why we think the way we do (I get my good times from a laugh track... I got my news from professional smiles...)*, he could cast something 'everyday' in an entirely different light (Bobby - quarter in the box... Buy another try to beat the clocks... Bobby - growing up scared... Wired to your own electric chair...)** and he could paint a vivid -- nay, full-on 3D -- picture with mere English (I quote here the entirety of the lyrics to Neon). The world always seems clearer to me when I'm listening to Prodigal's music, no matter which member wrote any given song (three of the four members of Prodigal wrote songs for the band). I am deeply grateful to Loyd for his part in it.

Perhaps the saddest thing about this is that hardly anybody knows he's gone. We have lost a great artist (I do not use the term lightly) -- and hardly anybody even knows that he's missing. This is perhaps the greatest tragedy.

But... Loyd's death is not a total tragedy. Loyd is now in the presence of God. His spirit is at home. Prodigal's final album, in 1985, was titled Just Like Real Life. The title cut was a somewhat sarcastic (though sobering) look at how we tend to watch TV and think that's how life really is: It's just like real life... just like real life... But I can't help but think that this life on earth in comparison with the presence of God is somewhat analogous to that song's point. Compared to the abundant life found in the presence of God, this life we live on earth is 'just like' real life... but not quite exactly.

But now Loyd is experiencing real life.

There's a freedom to me now has come
From giving myself away
And Jesus I know is the one who has changed it
And made it worthwhile some way...


(Song quotes (bookending): Prodigal and Prodigal (Part 2), both from the album Prodigal, 1982. * from Electric Eye, from the album of the same name, 1984. ** from Bobby, from Electric Eye, 1984.)

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.

I Have Seen The Future...

...And the future includes a rock star named Jacob.

Last week our church hosted their Vacation Bible School. I was working most of the week so couldn't volunteer, but I got to see the closing program on Friday, when the kids get to sing the songs they learnt for their parents/friends/family.

So there's fifty-some kids piled on the platform at the front of the church, singing and doing actions to a truly annoying and rather insipid song that's still in my head, and in the front row, there's a kid in a yellow shirt with dark hair named Jacob.

Seriously, this kid is Rick Florian all over again.

He's what, six? and he's running along the front of the platform in front of the group of kids, working the crowd. That was the moment I turned to my mother standing beside me and said, "He's going to grow up to be a rock star." I'd seen that move on YouTube from both John Schlitt (Petra) and Rick Florian and this kid pulled it off like a pro.

Then he took up residence in the centre front of the platform (downstage centre for those of you who know what I'm talking about) and did some fast footwork that brought me back to the official video for Independence Day. He joined what the others were doing for all of five seconds, then branched off into his own interpretation of the song again.

The thing was, he was not only completely in time with the music, he also managed (somehow) to make it work with the lyrical interpretation of the song (such as it was).

I have to admit, I was kind of in awe watching him. I work on a piece of choreography for months and it's only half as vibrant and well-done as what this six-year-old is making up off the top of his head in front of 200 people.

What got me the most, though, was his style. I'm telling you, it's Rick Florian. No back handspring (though I wouldn't bat an eye if I saw him do one next year), but that was the trademark Florian style.

So in twenty years when Jacob is headlining a rock tour, just remember you read it here first.

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.

Music Day

Hey, we all miss Rick Florian, right?

Ahem... Right?

Well, here's a little something to tide us over while we wait for the new album. (*cough*) (Come on, guys, you need to get started on that before my typing fingers get completely hoarse.)

Anyway... it was his birthday the other day (not that I'm obsessive or anything -- honest), so I was listening to White Heart (like I needed an excuse), and then I remembered seeing on the White Heart Facebook page something about 'Rick Florian/Neverlost.' So I Googled it. And after an hour or so of scouring iTunes and other various music sites, I found it:

Title: Simon Says
Artist: Billy Smiley
Album: Neverlost
Year: 2002
Label: Cul De Sac Records
iTunes here. Not on YouTube (of course). (I'm starting to think YouTube has a grudge or something... what thinkest thou?)

The whole album isn't Rick (actually, if I understand correctly it mostly showcases the talents of a certain Andy Joslin), but this song is. Definitely the voice we know and love. And I love the production on that vocal track -- the echo (reverb? I can't think of the technical term for this) throughout, and the heavy processing on the line Simon says is what Simon does. Sonically/production-wise, it's like the 21st century version of the song Inside (White Heart, 1995).

Man, I miss that voice.

A Few YouTube Gems

I've spent the last two weeks or so on YouTube. Amazing how as soon as you click one White Heart song, there appear twenty other White Heart songs in the sidebar. Not that I'm complaining, mind you. What I will complain about is the fact that EMI blocks 65% of the White Heart from Canadian viewers on 'copyright grounds.' Do you people want to sell your product or not...? It's worth noting that nobody -- nobody -- else blocks their content from Canada on 'copyright grounds.' White Heart is the only artist I have ever been blocked from seeing on YouTube.

Anyway, here are some gems I've found in my YouTube travels... they're not all White Heart, I promise... (and also, most of them are not on the Canadian iTunes Store, or I would have featured them on Music Day. Methinks iTunes needs a little competition... they've got too much of a corner on the market).

White Heart -- Powerhouse live
Rick's coat. Dude. That is an awesome coat. It looks kind of odd at first (or maybe it was just me because I'd spent the previous hour watching videos of him in blue jeans with the knees blown out), but it's seriously an amazing coat. He must be absolutely dying of heat stroke in that thing though -- it looks heavy.

White Heart -- Powerhouse live (again)
THERE IT IS! Did you see it? Did you see it? Don't blink or you'll miss it -- right at the beginning of the video (15-second mark), you see the legendary back handspring. I had heard SO MUCH about this and thought I would never get to see it... but there it is!
Also, his dancing is amazing. Not that I'm biased or anything. (Man, what I wouldn't give to see that in concert for myself...)

Crumbächer -- Track You Down live at Cornerstone 1985
This song is catchy as heck. And... not on iTunes. Literally every other Crumbächer album is on iTunes -- not this one. Sigh. But this performance is pretty great (as is the song itself... two, count them, two keyboards!) The vocal blend on this song is so, so pretty. Also, am I the only one reminded of Mark Gersmehl circa 1986? (Who in turn, now that I think about it, reminds me of Steve Green. I think it's the hair.)

White Heart -- My Eyes Have Seen (1994)
Beautiful. Just... gorgeous. This takes everything that was great about the Highlands album (from 1993), sonically speaking, and compressed it all into four minutes.

White Heart -- A Love Calling live
Actually, this appears to be just Gersh and Rick -- I looked and looked, but didn't see any evidence of any of the others. But holy smokes, this is beautiful. There's such joy on both their faces.

Isaac Air Freight -- Final Minutes
How familiar does this sound (churchgoers)? Perhaps a little too familiar... Is this my home? Is it yours? And doesn't it sound eerily like the Pharisees as we imagine them -- the ones Jesus condemned at nearly every turn?
We wonder why people look sideways at anyone who identifies themselves as a Christian. I think this pretty much sums up the answer to that question.
(For those listening and going 'What's the deal with the logs in their eyes?' it's a reference to the book of Matthew chapter seven in the Bible.)

Lifesavers Underground -- Shaded Pain (1987)
Straight to the soul. Just trust me on this one. It's not rock, but to make it rock would be to kill such lyrical perfection. Simply beautiful.
We put on all the masks
And then we play the game...
Cut by the Body
Forced to run and hide...

Daniel Amos Concert (probably 1981 or '82)
Exactly what it says... a full DA concert. I wasn't too sure how much I'd like this, since it predates Doppelgänger and if I've got it right this was just coming out of their transition period from country to awesomeness, but this is a good concert. They rocked up some up the songs rather more than on the records from which said songs came. You can pick out some of what was to come with Doppelgänger (and, on a side note, if anyone has footage from the Doppelgänger shows, I will seriously love you forever for posting it).
Anyway, this is a good show. That story he shares about playing at this high school and then an older man comes up to them and says... well, you'll have to watch the video to find out what the man says, but that story really hit me, in pretty much the same way it sounds like it hit the band. Many times I've passed the same judgement about older people in our church, but as he told that story I found the finger I've been pointing was suddenly pointing back at me.

Crumbächer -- Jamie (official video) (Trigger warning on the video: relatively explicit allusions to suicide attempts and some reference to prostitution.)
This is SO moving. In fact, it is so powerful that I actually didn't hear the song beyond the first verse -- I got so wrapped up in the story that I tuned out the song. It might be because I'm a dancer... the story is that Jamie is a ballerina, and, with dreams of stardom and dancing in her head, she auditions for something, but is turned down. Deeply hurt and in need of money, she turns to the dark side of dance -- prostitution. Deeper and deeper into this dark world she gets until finally she hits bottom, in some nameless back alley, with a gun in her hand. And then she sees a Bible in the gutter. The part that hit me the hardest (spoiler alert... as far as those go in a music video) is at the very end, when she goes up to... it's Stephen Crumbächer, and I'm not sure if he's playing the part of a pastor or a Christian friend of Jamie's. She has a Bible in her hand. The pastor/friend figure gives her a pair of ballet slippers. They embrace, and the camera focuses on the man's back, Jamie's arms around him -- the Bible in one hand, the ballet slippers in the other.
And she lets go of the slippers... just lets them fall to the ground.
As a dancer myself, that was gut-wrenching. Once a dancer, always a dancer... to give up dance is akin to, say, severing a major limb. On one hand, I literally gasped in pain as the slippers fell, but on the other hand, it convicted me -- given the choice between a Bible and dancing shoes, what would I honestly pick? The message was so clear -- Christ is so lovely, so wonderful, so worth-it, that even dancing shoes are counted as loss against the glory of the risen Christ.
And watching this now, as I stand at a crossroads, where one way I stay here, guaranteed to get a few more years of ballet, and the other way I go where it seems God is leading me... but it may be the end of ballet for at least two years (an eternity in dance-time), that was... that hit home. Hard. Jamie stood at the crossroads and made her choice. And now I stand at the same crossroad. What decision will I make?

National Choreography Month - Day 2/3

Worked on Climb The Hill pretty much all day (I'm over half done now!). After midnight I decided to take a break and listen to the new Flyleaf album (which is really quite good for the most part). I just started back on more choreography.

So now I have Lacey in my head going 'Fire from the tongues of liars' and then Rick going 'Oh climb, climb the hill...'

And my brain is going, The heck...?

Music Day

Ladies and gentlemen, I am about to present to you a rare gem. It's an unlikely setting, but it's breathtaking in its ability to push the boundaries of tradition without going completely overboard trying to make it sound cool (*cough* Relient K *cough*). Gentle and delicate in some places, yet powerful and soaring in others.

And it features Rick Florian. What else is there to say?

Yes, ladies and gentlemen, I present to you the only Christmas song White Heart has released to date:

Title: Little Drummer Boy
Artist: White Heart
Album: Christmas
Year: 1988
Label: Sparrow Records
iTunes here; YouTube here.

NaNoWriMo, Day 24/25

Things learned during today's (well, yesterday's now) noveling session:

If you watch VeggieTales' Josh And The Big Wall, then go write a novel involving a high-powered army commander and two alien shovels, the scene will be eerily reminiscent of the Keep Walking scene in the film -- only without the clever song.

Also, when you spend most of the day listening to White Heart (*cough* Rick Florian), then start writing, you will describe every single character's voice and vocal inflections in great detail. (Especially if the White Heart in question was the Highlands album -- the one with the tricky harmonies in it.)

Also, making a really really disorganised hospital receptionist lazily try to find a file for a man who believes his wife may or may not have been kidnapped actually eats up a lot more words than you'd think.

I now know why I never hear any White Heart on classicchristian247.com when I'm writing (between the hours of 11 pm and 2.30 am) -- they play it at 10 pm. (Learned this when I started my writing sessions earlier than usual tonight. Now that November is almost over...)

And... I just broke 90k! (Total of both novels.) Finally on par with Novel Two for the first time since I started writing the stupid thing -- currently at 34,218. Day 24 (yesterday's) quota was 33,333. Day 25 (are we really that far already?) is about 36,666, but I may try to hit 40k.

Snippets

My thoughts aren't currently coherent enough for me to make a full post on one topic, so I'm going to throw down some sound bites because I miss posting.

So I've been working on a ballet for twelve. I was trying to do it start-to-finish in the month of September... didn't quite work out that way. At this rate I'll be lucky to finish it by the end of October.

Oh, but it is gorgeous. It's turning out even better than I'd hoped. The best I can say is that it's a bit like a symphony. A symphony of dance.

In case it's not obvious from recent Music Day posts, I've been on a HUGE White Heart kick. I have Servant's The Dance (I love this song), Michael Card's The Promise, and David Meece's Early In The Morning all lined up to be choreographed next and all my creative brain wants to do is White Heart, White Heart, and more White Heart. I may just have to knock out that Say The Word duo that's been simmering in my head just to shut it up. (And Early In The Morning has a deadline on it too...)

Okay, I know I've gushed about Rick Florian's singing before, but seriously, anyone who can sing Silhouette without bursting a lung is a truly amazing human being. I tried to sing it the other day and almost passed out (the fact that I had a cold and don't yet have the lyrics memorised is a mere trifle. That song is darn difficult).

NaNoWriMo is coming! I actually have a solid plot idea too -- a tap dancer, an ex-rocker, music, someone recovering from depression, road trip, concerts, touring... it is going to be SO. MUCH. FUN.

And in case I finish that one early (which I think is likely), I also have a second very good idea that'll easily make 50k (famous last words...).

Tap classes -- on Monday my teacher asked if I play an instrument. I said no. She seemed quite surprised and asked if I sing. I said, "A little."

Apparently, according to her, my musicality is very, very good. Earlier in the class, she had said I was a natural. And then she taught me this step -- I think she called it a pullback -- where you jump and while in the air, you tap your toes on the ground. I (mostly) got the hang of it in two minutes (according to the clock in the studio). She was clearly amazed and told me it takes most people weeks to figure it out.

Also, I loathe YouTube right now. Loathe. Excuse me for being in Canada.

Music Day

This song is darn near legendary here at the asylum.

This was the first song I ever completed a dance for. That was back in April (I think 10 April 2012 will live forever in my memory), but it kick-started my choreography in general. It was during this song that I realised, yes, I can do this. And I'm not even all that bad at it.

As for the song, this captures the band at its finest. There are so many little things that make this song amazing. (And I listened to this almost non-stop for ten weeks, dissecting the timing and listening for cues for the dancers and deciding what step would best fit this bit of music, so I think I've picked up a few things.)

There's the bass, toward the end -- it starts as a short solo, then the guitar joins it with a really fast, very quick rhythm (the part that was a nightmare to count).

There's that whistle at the beginning.

There's that drum kick in the middle of the first verse (after the cold winter streets of your life...).

There's the part in the chorus where the guitar deviates from the steady 1 2 3 4, 1 2 3 4, 1 2 3 4, for like a measure before returning to the beat.

Then, of course, there's the singing ability of the one and only Rick Florian.

But above everything else, the proof that this is a fantastic song... is that you can listen to it almost non-stop for ten weeks and still love it. Seriously. It is impossible to overplay this.

I give you...

Title: Sing Your Freedom
Artist: White Heart
Album: Freedom
Year: 1989
Label: Sparrow Records
iTunes here; YouTube here.

Can't drown out the truth
Or chain our beliefs
Can't drown out the song
Of those who are free...

Music Day

I hadn't actually paid much attention to this song -- after all, on the album it's preceded by Bye Bye Babylon, Sing Your Freedom, and Let The Kingdom Come; three of the best White Heart songs ever, one right after another. By the time you've listened to all that you're reeling from the sheer epicness of it all and your brain takes some time off to process it, thus mostly missing the next couple of songs.

But the other day I really heard this song for the first time.

And my reaction was... wow. Just wow.

Such emotion. Such honesty. Such raw vulnerability.

You can almost see Rick looking in the mirror as he sings that line... I look into the mirror; Have a silent fear; There is no-one really there... He nailed this song. Absolutely nailed it. He captures the apprehensiveness so perfectly.

Title: Eighth Wonder
Artist: White Heart
Album: Freedom
Year: 1989
Label: Sparrow Records
iTunes here; YouTube here.

I've been thinking about me
Wondering who I am
Trying to be somebody
Wondering if I can...

Music Day

This month I'm going to feature only White Heart songs. Because White Heart is my favourite band and August is my birth month and since it's the crappiest birth month of the year I need something to cheer me up... right?

Anyway.

This comes mainly because I NOW OWN ALL THE WHITE HEART ALBUMS!

Possibly sometime this month I'll make a list of the albums in order of fantasticness, but for now I'm just going to feature one song.

I think this is my favourite from this album. I love the melody in the chorus (It's a mask you wear to hide...) This also would have been one of the very first times White Heart fans of the day heard just what Rick Florian was capable of as a vocalist. (This was his first album.) And seriously, is that keyboard bit between the first chorus and the second verse not the most awesomely retro thing ever? (Okay okay, maybe not the most, but it's up there.)

Think of this as the White Heart version of Petra's Altar Ego (from Back To The Street, same year. And now that I think about it, that was also John Schlitt's first album with the band. But I digress).

Title: Dr. Jekyll And Mr. Christian

Artist: White Heart

Album: Don't Wait For The Movie

Year: 1986

Label: Sparrow Records

iTunes here; live version (complete with drum solo and bass solo) on YouTube here.

(In case you were wondering -- I seriously did not see that there were five Fridays this month until after I decided to make it White Heart month. Honest. And anyway, I missed one, so there's only four now.)