ROCK OF AGES: JESUS IN POPULAR SONGS

Tonight's Unveiled evening at St Andrew's Wickford was on Jesus in popular songs. We listened to songs by Joan Osborne, Bob Dylan, Scott Stapp, Jackson Browne, Kendrick Lamar, and googly eyes, Joy Oladokun & Allison Ponthier:

Delvyn Case writes: 'From “Jesus, Take the Wheel” to “Jesus Walks” to “Dropkick Me, Jesus, Through the Goalposts of Life”, Jesus has appeared in hundreds of songs by popular musicians over the past 50 years. No longer just a subject for hymn writers and gospel composers, Jesus now shows up in secular music by rock stars, rappers, singer-songwriters, country stars, and hardcore punks. And that’s just for starters.

For over 50 years, pop musicians in all genres have explored the meaning and significance of Jesus in their music. The result is a rich collection of songs that consider important spiritual questions like faith, doubt, and prayer in unique and often provocative ways. This evening explores some of those songs and what they have to say about Jesus.'

‘What If God Was One of Us?’ by Joan Osborne

“One of Us” is a song recorded by Joan Osborne released on November 21, 1995. It was written by Eric Bazilian (of the Hooters), produced by Rick Chertoff, and released as the lead single of Joan Osborne’s Relish album. It peaked at number four on the US Billboard Hot 100 and earned three Grammy nominations. It became a top-20 hit in at least twelve other countries. The song addresses various aspects of belief in God by asking a series of questions.

Several times during “One of Us,” the listener hears the haunting refrain “What if God was one of us?” The good news is that God was one of us. He came to be one of us. In Jesus, he became flesh, becoming human while remaining God.

Fred Herron writes, in a reflection on Osborne’s song: “Christians believe that God took on flesh and blood, or became human, in the person of Jesus. John’s gospel contains a fascinating verse, “So the Word [John adapting/applying Greek ideas of logos to Jesus] became human and made his home among us. He was full of unfailing love and faithfulness” (John 1:14; NLT).

I have always been fascinated with this idea that God disguised himself in human form. He shows up in unexpected ways—born in a manger, born in transient housing, born to a poor Jewish Palestinian woman under the suspicion of illegitimacy. Then Jesus, in his ministry, upends religious purity culture by showing up and practicing radical love towards the sick, the poor, the outsider, the sinner, the prisoner, the prostitute, and the wayward—those whom religious people avoided for fear of contamination. Jesus showed up in unexpected ways with “unfailing love,” teaching that we encounter God “in the least of these” (Matthew 25:40).”

This is what we see in Osborne’s song:

What if God was one of us?
Just a slob like one of us
Just a stranger on the bus
Tryin’ to make his way home?

‘Sweetheart Like You’ by Bob Dylan

In ‘Sweetheart Like You’, from Bob Dylan’s 1983 album ‘Infidels’, we see a wonderfully contemporary depiction of Christ's incarnation. The song is written from the perspective of a misogynist male employee in an all-male workplace that is literally a hell of a place in which to work. To be in here requires the doing of some evil deed, having your own harem, playing till your lips bleed. There's only one step down from here and that's the ironically named 'land of permanent bliss.'

Into this perverted and prejudiced environment comes a woman, the sweetheart of the song's title. She is a Christ figure; a sinless figure entering into a world of sin and experiencing abuse and betrayal (is 'that first kiss' a Judas kiss?) from those she encounters and to whom she holds out the possibility of a different kind of existence. Dylan makes his equation of the woman with Christ explicit by quoting directly from Jesus: 'They say in your father's house, there's many mansions' (John 14: 2).

The song's narrator is confused and challenged by her appearance. He wants to dismiss her out of hand and back to his stereotypical role for her - 'You know, a woman like you should be at home / That's where you belong / Watching out for someone who loves you true / Who would never do you wrong' - but he can't simply dismiss her as she is really there in front of him and so he begins to wonder, 'What's a sweetheart like you doin' in a dump like this?' All the time he asks that question there is the possibility that he may respond to her presence without abuse or dismissal.

‘Jesus Was A Rock Star’ by Scott Stapp

David Flowers writes that Scott Stapp “is best known for being founder and frontman of the rock band Creed”: “Creed’s lyrics in their albums My Own Prison (’97) and Human Clay (’99) were reflective of Stapp’s Christian upbringing, but he admits that he lived in rebellion against God for many years. He says he rebelled against a certain “brand” of Christianity that didn’t look much like Jesus. Religious fundamentalism drove him to the edge. Stapp became addicted to alcohol and prescription drugs, went through a divorce, and attempted suicide. It seemed he was on a course to join the 27 club. It was through the love and grace of his wife and mother-in-law that Stapp encountered a Christ that loves sinners. Scott Stapp repented of his sins and chose to walk the Jesus path.”

Stapp says of ‘Jesus Was A Rock Star’: “I think that song, again, has two different lines of thought with it. Number one, I'm not the rockstar, man. If you want to talk about who the rockstar is, it's Jesus. So, it's not about me, it's about Him. I wanted to just lay the case out there and be like, "Hey, let me tell you what a rockstar is." I just went right into it with laying the case for how that's who we should glorify. Not me. Then another line of thought in that song was that, [throughout] my whole life, I was told that the electric guitar was an instrument of the devil. And that, in being involved in rock'n'roll music, you couldn't be a Christian. You couldn't bring glory and honor to Christ and to God. So I had a conflict because of that spiritual abuse. I had a conflict that I really wrestled with my whole life because I had this hole in my soul that pulled me closer to God whenever I would play music-- and rock'n'roll music and electric guitar--but then I would feel this guilt and this shame and this condemnation because of how I was lied to and told that it was of the devil. I had this conflict, so I think in writing this song, too, it was to erase that conflict. That I CAN glorify Christ through a rock'n'roll song. I CAN be a Christian and a rock'n'roll singer. I CAN spread the message of Christ through rock'n'roll music. It was resolving that conflict within me. It was basically those two issues that inspired that song.”

‘The Rebel Jesus’ by Jackson Browne

Steve Stockman writes: “Rebel Jesus is a rarity in the Jackson Browne catalogue, hidden away on a The Chieftains' album ‘Bells Of Dublin’ and then as one of the … extra tracks on Browne's compilation album ‘The Next Voice You Hear’. It is however, as potent a Christmas song as you'll ever hear …

It indicts the dubious practices of those who claim to follow Jesus while seemingly contradicting his revolution. Browne uses the story of Christ over turning the tables in the temple to indict those who would abuse God’s Creation for selfish materialist wealth and throws in the “pride and gold” of Churches in the same verse!

In another verse the poor are ignored but might be thrown a token gesture in our Christmas generosity. The irony of the poor being ignored on Christmas Day when the baby celebrated was without a bed or food is the crux of the hypocrisy. How have we shut the door to the marginalised for a warm romanticised day of decadence is the question posed?

Browne then paraphrases Helder Camara’s quote, “If I feed the poor they call me a saint but if I ask why the poor are poor they call me a communist,” to powerful effect. If we decided to turn the world on its head by seeking social and economic justice for the oppressed we would get the same as The Rebel Jesus.”

‘How Much A Dollar Cost’ by Kendrick Lamarr

“How much a dollar really cost?” This question is the focal point of Kendrick Lamar’s song of the same name (give or take a word), “How Much a Dollar Cost” from his third studio album, ‘To Pimp a Butterfly’.

Manny Adewale writes: “this song is based on a true story from Kendrick’s travels to South Africa during his time working on To Pimp a Butterfly, where he interacted with a homeless man after being reluctant to. In each verse, Kendrick narrates a different part of this story, exploring the thoughts and feelings that come with the pursuit of money, as well as cost of desiring to hang on to it …

Kendrick thinks that he’s seen through this man’s request for help; he sees this man as nothing more than a junkie or an alcoholic who’s pretending to be wise. Kendrick admits to his lack of empathy and his insensitivity towards this man. The homeless man then tells Kendrick, “Your potential is bittersweet.” Earlier, this man told Kendrick that he had the chance to be a leader and help those around him, but he now sees that Kendrick’s potential is bittersweet because he’s refusing to let go of his selfishness, stubbornness, and pride. Kendrick refuses to listen again, and as the instrumentation and the production swells, we reach the climax of the song, where the homeless beggar reveals his identity:

He looked at me and said, “Know the truth, it’ll set you free
You’re lookin’ at the Messiah, the son of Jehovah, the higher power
The choir that spoke the word, the Holy Spirit
The nerve of Nazareth, and I’ll tell you just how much a dollar cost
The price of having a spot in Heaven, embrace your loss — I am God”

This part of the song is personally my favorite because this is the moment where everything comes to a point, and Kendrick has an epiphany. Again, as a kid who grew up in a Christian home, I always learned that it was good to treat everyone with kindness because you’d never know if you’d just come across an angel:

“Don’t forget to show hospitality to strangers, for some who have done this have entertained angels without realizing it!” — Hebrews 13:2

I also learned about how Jesus said that showing kindness to those in need was to do so to Him:

“‘Truly I tell you, whatever you did for one of the least of these brothers of Mine, you did for Me.’” — Matthew 25:40

For me, this is always a reminder that our choice to be kind and generous to others is an important demonstration of what we believe, and it’s our chance to recognize God in every person we cross paths with.

The line “The price of having a spot in Heaven, embrace your loss” is also very striking here. In that same chapter where Jesus thanks those who took care of those in need and rewards them, he turns away those who didn’t. My siblings and I always learned that our generosity and kindness towards other people would be part of how God prepared us to experience the good things He has in store for us, especially Heaven itself.”

‘Jesus and John Wayne’ by googly eyes, Joy Oladokun and Allison Ponthier

A review at Unheard Gems says: “Some songs arrive like lifelines—gently, honestly, and right when you need them. “Jesus and John Wayne” is one of those rare tracks. Born from the pages of Kristin Kobes Du Mez’s explosive book of the same name, the song unpacks the painful intersection of faith, identity, and politics with striking vulnerability and nuance. googly eyes, Joy Oladokun, and Allison Ponthier bring their voices together to create something that feels at once intimate and monumental …

This song is more than just a collaboration—it’s an act of reclamation. It redefines what faith can sound like: inclusive, expansive, and rooted in love rather than exclusion …. It’s not afraid to confront the damage done by institutional religion, but it also holds space for healing, for community, and for the radical belief that love—true love—belongs to everyone.

For anyone navigating the complex layers of queerness, spirituality, and self-worth, this track offers comfort without compromise. It’s a hymn for the misfits, the doubters, and the believers still learning to believe in themselves again.”

The song begins:

I liked the teachings of Jesus so much that I followed him right out the door
When steeples kept preaching with hate on their tongues
And distaste for the meek, mild and poor

and concludes with this critique of those who preach hate:

Blessed are the war makers
Blessed are the black in heart
Blessed are the politicians
Blessed are the patriarchs
Blessed are the gold takers
Blessed skin like porcelain
Blessed is America, but only for Americans

And if I had to admit
Jesus wouldn't really fit
With everything you're trying to do with him

Delvyn Case writes that, intended for their fans rather than worshipers, these songs often present Jesus in unique and unorthodox ways, many of which challenge the ways we traditionally think about him. Whether written by believers or atheists, all of these songs seek – in their own unique ways - to answer the oldest questions in Christianity: who was Jesus, what did he mean, and why is he important?

Delvyn has a website called Rock of Ages which is a collection of songs about Jesus. He suggests that some songs treat Jesus exclusively as a human figure, shorn of any theological characteristics. Some depict him as a character in the narrative world of the song. In so doing they provide fascinating explorations of the distinctly human side of Jesus’s existence. These songs focus on Jesus as a Person.

In other songs, Jesus appears not as a human or a theological figure, but rather as a symbol - usually of an abstract idea or character trait. He is usually invoked as the ultimate signifier of whatever is being signified. Though the variety of attributes is quite broad, it is the view of Jesus as the ultimate symbol of power that is most common. These songs focus on Jesus as a Paragon.

His final category is Jesus as Presence in songs that reveal a complex or compelling engagement with the questions of Jesus’s meaning and/or significance.

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Scott Stapp - Jesus Was A Rock Star.

Top Ten 2020

This is the music, in no particular order, that I've most enjoyed listening to in 2020:

Bruce Springsteen - Letter To You: '... you just need to turn it up really loud on a long, fast drive through a heartbroken summer night to hear Springsteen for the damaged hero he is. But that ensemble euphoria does work best live, when the bass is rattling through the blood and bones of hundreds of collected humans. The live recording of this record really helps deliver that communal feeling. They feel so present and close that listeners might feel they’re violating the pandemic rules. They rollick through the “Janey Needs a Shooter” and the Dylanesque “Song for Orphans”, both of which Springsteen wrote back in 1973. But it’s the new material that really catches fire. The band blaze through “Ghosts” and “Last Man Standing”, with “House of a Thousand Guitars” soaring above the lot. Driven by the supple rise and fall of a hymnal piano melody, the song is a commentary on songwriting. Springsteen, who’s been wonderfully frank about his lifelong struggle with depression, expresses solidarity with other writers “bitter and bored” who “wake in search of the lost chord”. As the champion of the working Americans who’ve been sold out by the Trump presidency, he delivers a verse on “the criminal clown” who has “stolen the throne”. But he offers the communion of music as a way to rise above and beyond material misery.'

Bob Dylan - Rough and Rowdy Ways: '“I sing the songs of experience like William Blake,” Bob Dylan growls, introducing his 39th epistle on the follies, frustrations and secret strengths of a species at war with itself, “I’ve got no apologies to make.” He’s the rebel poet, approaching twilight, laying out generations of hard-earned wisdoms with no punches pulled and no regrets. At 79, following a trio of covers albums of American standards largely associated with Sinatra, you might expect Dylan to make a world-worn and contemplative sort of record, but one that had little left to say. Instead, with ‘Rough And Rowdy Ways’, he’s produced arguably his grandest poetic statement yet, a sweeping panorama of culture, history and philosophy peering back through assassinations, world wars, the births of nations, crusades and Biblical myths in order to plot his place in the great eternal scheme. Rough? Perhaps, but it certainly has the warmth and lustre of the intimate and home-made. And rowdy? Dylan’s sure been rowdier ... Instead he requires of his band just a series of soft and simple canvasses, woven largely from gentle spiritual, lustrous country, Southern blues or gothic Americana – often resembling enclosed, traditionally structured atmospheres rather than songs – onto which he can project his sprawling literary visions of death, degradation and the horrors of history.'

Deacon Blue - City Of Love: 'They continue to conjure anthems that celebrate love, work, faith, hope, going out, and coming home ... we find Ricky Ross writing from a more personal – and maybe more vulnerable – viewpoint than before. City of Love seeks out the quiet moments, far from the bombast. From the solace of shared candle-light (the glorious, Fleetwood Mac-invoking 'In Our Room') to the solitude of nature (the gospel-rock of 'A Walk In The Woods'), it is poignant, pensive, yet never maudlin. If 'Intervals' stunning, astral pop reminds us of the ticking clock ('so little time'), then the swoon-inducing soul of 'Come On In' urges us to make the most of our days, and nights.'

Sufjan Stevens - The Ascension: Stevens 'felt inspired to create a whole record that examined the world he was living in, questioning it when it felt wrong and “exterminating all bullshit“. The sprawling results of this personal interrogation, which play out over a glitchy 80 minutes, serve as a powerful dissection of modern humanity. Filled with universal anguish and anxieties, ‘The Ascension’ ... takes a weary look at the outside world and out comes a deep sigh ... anxious instrumentals echo the album’s uneasy outlook and fear of the future, and when they combine forces it often makes for an astonishing listen. The world is pretty shitty at the moment and it’s easy to feel helpless, but as the horror show that is 2020 continues to rumble on, ‘The Ascension’ is yet another ample soundtrack to rage-dance to.'

Gregory Porter - All Rise: 'It’s not all just about that great voice. Gregory Porter also has a mighty generosity of spirit, plus empathy, warmth and optimism. And he has gathered a superb team around him to make a strong album with plenty of scale and depth ... All these contributions weave around Porter himself and strengthen what he does. The singer has written of “Revival Song”, written in memory of Freddie Gray, the 25-year old who died in police custody in Baliimore in 2015: “It’s about finding your source of strength to bring you back to seeing who you truly are so that you can be restored to the giant that you are.” That is what Gregory Porter, with help from some fine musicians has achieved with All Rise in 2020.'

Michael McDermott - What In The World: 'Chicago born McDermott’s poetic reflections on the parlous predicament of American politics and humanity in general always repay closer investigation, and “What in the World..” must rank as his most compelling offering to date. The Dylanesque title track points an accusing finger at the inhumanities perpetrated by the Trump regime via a tumbling flood of memorable lyrical images, contrasting beautifully with the much more low key charms of “Positively Central Park” and “New York,Texas,” a subdued gem strongly reminiscent of “Nebraska” era Springsteen at his brilliant best.'

Scott Stapp - The Space Between the Shadows: 'This album is powerful, it is beautiful and I can guarantee that every person reading this will be able to relate to the lyrical content throughout…we have all fought our demons to one extent or another but Scott has laid his soul bare and I am sure he is a very different man from the one prior to writing and recording The Space Between the Shadows. The album title tells a story of its own and although this is as dark as hell it is also full of light, hope and redemption. Scott Stapp is back and I lay odds he is better, stronger and much wiser than before.'

Bill Fay - Countless Branches - 'Countless Branches is the third of Fay's later-period albums, following Life Is People (2012) and Who Is the Sender? (2015). It might just be the best, too. It's palatable and concise, comprising ten tracks with bonuses pushing the total to 17. An incorrigible grouch might bridle at these guileless, gently philosophical songs, but they're delivered with such obvious sincerity that the rest of us will be charmed. As ever, Fay focuses on the search for meaning and substance in everyday life.'

Buddy & Judy Miller - 'Breakdown on 20th Avenue South': '... out of the ashes of loss, abandonment and melancholy, the songwriter has emerged like a phoenix for the sizzling Breakdown on 20th Ave. South (New West Records), the couple’s first duet record since 2009’s Written in Chalk. As much a testament to faith and forgiveness as it is a pulsating chronicle of a marriage beset by physical and emotional challenges, the album, which takes its name from the Music Row-adjacent street on which the couple resides in Nashville, ranks among the year’s finest.' 

The Innocence Misson - 'See You Tomorrow': Don Peris says, “There is a longing there to be transformed and a hopeful expectation that it is possible,” he explains. “I find joy, or a similar type of joy, in all of the songs,” he concludes. “A humble recognition of challenges and hardships, the acknowledgment and comfort in knowing that they are both personal and universal, and the expression of light and hope.” 'Focusing on the world that exists within our own heartbeats, The Innocence Mission has created a disc that finds truth in the connections binding us to each other. See You Tomorrow radiates a sense of love and warmth to help us through moments when those same commodities may be in short supply.'

My previous Top Ten's can be found here - 2019, 2018, 2017, 2016, 2015, 2014, 2013 and 2012.

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Bill Fay - Filled With Wonder Once Again.

The 10 albums that I enjoyed most in 2014

Here are the 10 albums (in no particular order) that I've got hold of and enjoyed the most in 2014:

Popular Problems by Leonard Cohen is his best since The Future and, as with that album, deals both explicitly and ambiguously with religious imagery and spiritual reflection: 'Word of Words / And Measure of all Measures / Blessed is the Name / The Name be blessed / Written on my heart / In burning Letters / That's all I know / I cannot read the rest.' ('Born in Chains')

Ricky Ross is in a rich vein of inspiration with The Hipsters in 2012 quickly followed by solo album Trouble Came Looking in 2013 and now A New House. Deacon Blue's best album since under-appreciated classic Whatever You Say, Say Nothing, both albums featuring songs centred on Bethlehem: 'I long to be there / As bright as the sky / At Bethlehem's gate' ('Bethlehem's Gate') and 'You got to go back, gotta go back, gotta go back in time / To Bethlehem / To begin again.' ('Bethlehem begins').

Robert Plant's Lullaby ... and the Ceaseless Roar is a wonderfully original melting pot of blues, country, indie and world influences. Somebody There explores a sense of the sublime: 'When I was a young boy / And time was passing by / Real slow / And all around was wonder / And all around the great unknown / With eyes that slowly opened / I set about the wisdom to know / And living out of language / Before one word I spoke / I heard the call / There is somebody there I know.'

Neil McCormick's initial reaction to U2's Songs of Innocence to me seems fairly accurate: 'I wouldn’t put it on a par with their greatest work - Boy, Joshua Tree, Achtung Baby or even the seamless songs of All That You Can’t Leave Behind ... But ... it certainly does the job it apparently sets out to do, delivering addictive pop rock with hooks, energy, substance and ideas that linger in the mind after you’ve heard them.' 'It is, at heart, a highly personal set of songs' with 'no flag waving anthems, no big social causes.' If there is a moral, he suggests, 'it appears in the coda of Cedarwood Road: “a heart that is broken / is a heart that is open.”'

Dry The River have been described as 'folky gospel music played by a post-punk band' (BBC). Their second album, Alarms in the Heart: 'is bold, expansive, confident and cohesive - an undeniable step up in both diversity and volume from their critically acclaimed debut, Shallow Bed (March 2012). Gethsemane, uncovers the spiritual heart of the record, delivering a Buckley-esque narrative: "Excavating down you'd find the drowning and the drowned /And then there's us, babe."' (Rough Trade)

The first Shovels & Rope album, O’ Be Joyful, is 'a delightful combination of knee-slapping, bordering-on-gospel folk tracks and bluesy guitar-driven rock' (Filter). Husband and wife team, Michael Trent and Cary Ann Hearst, both have solo careers, while Trent is also lead singer of The Films. Together they make: 'Thrilling music rooted in old country with touches of blues and gospel, that can’t help but remind you of Jack and Meg and Johnny and June.' (The Pabst)

The Guardian had an excellent article about the wonderful reissued album Dylan's Gospel: "Conceived by record producer Lou Adler, who admired backing singers so much that he sometimes paid them triple scale, it features 27 vocalists, including [Merry] Clayton, Clydie King, Patrice Holloway, Gloria Jones and Edna Wright, injecting the likes of Chimes of Freedom and Lay Lady Lay with Baptist gusto. It's a righteous, inspiring, beautiful piece of work."

'There are many factors contributing to the uplifting feel of “The Flood and the Mercy,” the second solo effort from ex-Live frontman Ed Kowalczyk. There’s the gently jangling production of Jamie Candiloro; the singer’s spiritual lyrics, rooted in his Christian faith and a synthesis of other beliefs; and the appearance of vocalist Rachael Yamagata and R.E.M. guitarist Peter Buck on three tracks: “Supernatural Fire,” “All That I Wanted” and “Holy Water Tears.” (SF Examiner)

'Scott Stapp’s Proof of Life is a poignant snapshot of the artist, showcasing his journey over the past several years. It doesn’t shy away from encountering the dark places that he’s wandered into, acknowledging those missteps nor does it neglect highlighting the faith-filled elements that have helped to draw the artist back into the light. Proof of Life is an insightful and honest record, capturing Stapp at his best lyrically and musically, proving to be a great listen.' (soul-audio)

Linda Perhacs, says Sufjan Stevens, who released The Soul Of All Natural Things on his Asthmatic Kitty label, “has a prophetic voice that speaks beauty and truth with the kind of confidence and hope that has been lost for decades. There is nothing more real in music today.”

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The Brothers & Sisters - I Shall Be Released.

David Ritz: Divided Souls and Messengers

I've just finished Sinner's Creed, the excellent collaborative biography of Scott Stapp written by David Ritz. In 1986 I reviewed Ritz's biography of Marvin Gaye, Divided Soul, for Strait, the Greenbelt newspaper, noting that 'While Ritz sticks with his original premise or image the sheer volume of contrasts which he draws out of Gaye's personality reveal someone rather more complex than a simple black/white division of personality would suggest.' Something similar could be said of Sinner's Creed which also revolves around the conceit of a divided soul.

Interestingly, between the writing of the two books Ritz himself became a Christian:

'David Ritz recently embraced Christianity, and Messengers is a tribute to the people who awakened his personal faith and to others, both famous and unknown, whose words—sometimes set to music—have inspired millions of believers. The gifted photographer Nicola Goode contributes glowing portraits of each of them.

There are stories and reflections from Bishop Noel Jones (brother of Grace); Harlem’s own Rev. Dr. Calvin Butts; Rev. Peter J. Gomes of Harvard; gospel mega-stars Donnie McClurkin, Kirk Franklin, Marvin Winans, Smokey Norful, and Candi Staton; Christian life coach Dr. Arlene Churn; Dr. Mable John, a Los Angeles evangelist and former backup vocalist for Ray Charles; Chris Burge, a former Wall Street executive salesman who is saving souls in New York City and is also now a well known author; and a Washington, D.C., pastor who also runs a window-washing business. In voices joyful, clear, and strong, these mighty men and women of God convey messages of faith, love, and hope addressed directly to the heart.'

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Candi Staton - His Hands.

The wonder in a child's eyes

I recently published a post on Ed Kowalczyk and Scott Stapp. Having listened to more of their music since that point, I've been impressed with the extent to which their songs celebrate parenthood in a genre not known for that particular focus. Creed's 'With Arms Wide Open' is a reflection on the imminent prospect of parenthood. On Live's 'Heaven,' Kowalczyk sings 'I don't need no one to tell me about heaven / I look at my daughter and I believe,' while in 'In Your Light' he reflects that he can't dream of being good enough to deserve even half of the gifts some magnificent power gave him in the form of his two kids. Finally, Scott Stapp, in 'Dying To Live' from the wonderful Proof of Life, lists the wonder in his child's eyes as one of the songs the world forever sings which are the things always right in front of us.

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Scott Stapp - Dying To Live.

Ed Kowalczyk and Scott Stapp: Angels on a razor

'Along with Bush, Live was among the earliest adopters of post-Nirvana “bubblegrunge,” which infiltrated rock radio in the mid-’90s and paved the way for the eventual dominance of Creed and Nickelback.' (Grantland)

'Together for more than 15 years, Live's quest for faith and truth is fascinating. Though lead singer and lyricist Ed Kowalczyk apparently grew up in a Christian home, he came to resent the religion in the years leading to the formation of Live. With the band's 1991 debut Mental Jewelry, based on the writings of Indian philosopher Jiddu Krishnamurti, Kowalczyk – who had apparently embraced Eastern religion – blasted Christianity in the song, "Operation Spirit (The Tyranny of Tradition)."

Rejecting Christianity would not prove permanent, however. The band's 1994 breakthrough sophomore effort, Throwing Copper, marked a seemingly reluctant return to Christian imagery, though offering a few mixed messages in the process–the cover art is an indictment of Christians too pious to show love and compassion. Not until Live's fourth album, 1999's The Distance to Here, was there a seemingly dramatic turnaround in Kowalczyk's beliefs. "Where Fishes Go" is a solid illustration of evangelism, "Run to the Water" a powerful testament of grace and renewal, and "Dance with You" is virtually a prayer of thanks and surrender. Such themes continued to a lesser extent into Live's fifth effort, 2001's V, with such faith–based songs as "Hero of Love" and "Call Me a Fool."' (Christianity Today)

'Kowalczyk's first solo album, Alive, ... is as equally dramatic and anthemic as Live but with more of an intimate singer-songwriter feel to it ...

perhaps the biggest change is with the singer's Christian faith coming to the fore. There are songs like Soul Whispers, with the line "My stained-glass heart lay shattered on the floor of the church"; first single Grace is about repentance and moving on ("every saint used to be a sinner ..."); and for Kowalczyk, a song like Rome is not only his tribute to the city's beauty but a homecoming of sorts.

"I have ventured back into the Christian faith of my youth, and I was brought up in a Roman Catholic Christian background, so going to the Vatican and St Peters, the depth of that heritage was really in a way coming home for me because I grew up with it in a such a strong way. It's a very full circle spiritual moment, and very powerful."' (The New Zealand Herald)

'There are many factors contributing to the uplifting feel of “The Flood and the Mercy,” the second solo effort from ex-Live frontman Ed Kowalczyk.


There’s the gently jangling production of Jamie Candiloro; the singer’s spiritual lyrics, rooted in his Christian faith and a synthesis of other beliefs; and the appearance of vocalist Rachael Yamagata and R.E.M. guitarist Peter Buck on three tracks: “Supernatural Fire,” “All That I Wanted” and “Holy Water Tears.”
But there are bigger, albeit unseen, influences at work here, says Kowalczyk, 42 — his three daughters and baby Paul, born in August.

“With every kid, there has just been a deepening of my humanity, because there’s no more of a feet-on-the-ground moment than having a child,”

Fatherhood has forever changed him as a writer. “There’s the beauty of it, the extraordinary depth of it, and all the challenges of it,” he says. “The fact that you’re taking care of these vulnerable creatures, these new people, is amazing. And when I listen to the music, particularly in my solo career, I can feel that change.”' (SF Examiner)

Scott Stapp, lead singer of Creed, has been on a similar journey. Mark Joseph writes that:

'In Sinner's Creed, Stapp's finally comes clean, offering explanations for his zig-zaggy behavior, revealing himself to be the type of follower whom the good Lord might have had in mind when he remarked of the prostitute who washed his feet with her tears that she loved Him much because she'd been forgiven much.
Even for people like me who call Scott a friend, the book is full of surprises and stunners. Who knew that the lead singer of one of the biggest-selling rock bands in the world grew up listening to Take 6 because his Dad wouldn't allow for non-black forms of Christian rock? Or that as a young boy he was taken to a Benny Hinn crusade whereupon the faith healer prophecied that Stapp's voice would be heard by millions and then lightly touched his head, causing him to fall backwards, slain in the spirit. Or that his stepfather was a twisted fundamentalist who once humiliated Stapp by pulling down his pants and spanking him in front of his siblings and on another occasion spanked his own wife in front of her children.

Stapp's book is brutally honest and pulls no punches. He's no Bono, but he may just be the Johnny Cash of our era, a restless soul who loves both God and rock and roll, but battles his demons in a manner that brings to mind Al Green's admonition to his girl "Belle:" "It's you that I want but it's Him that I need."

And just like Johnny, Stapp has his June, a marketing executive named Jaclyn, a devout Christian woman who has worked hard to keep her husband on the straight and narrow. Stapp recounts their chance meeting with obvious joy, but readily admits that even with her at his side, the road hasn't been easy, and has included a few run-ins with the law.

Sinner's Creed is about many things: the excesses of fundamentalism and the victims that are sometime left in its wake, the nature of sin, the ups and downs of a rock and roll lifestyle and the value of faith in God to keep a person in the spotlight grounded in reality. But at its core it's about one man coming to terms with the incongruity of the vocation he's chosen and the faith he refuses to give up.'

'Scott Stapp’s Proof of Life is a poignant snapshot of the artist, showcasing his journey over the past several years. It doesn’t shy away from encountering the dark places that he’s wandered into, acknowledging those missteps nor does it neglect highlighting the faith-filled elements that have helped to draw the artist back into the light. Proof of Life is an insightful and honest record, capturing Stapp at his best lyrically and musically, proving to be a great listen.' (soul-audio)

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Ed Kowalczyk - Angels On A Razor.