Following up comments from last entry:
I actually have another all time favorite moment from that Winds of Worship tape series – one of the versions of Show Your Power. In high school a friend had a tape and we listened to it all the time. Incredible energy. So we were totally excited about the CDs coming out, but they remixed it and stripped it of all its energy. I was so bummed about that, and I can’t find those tapes anymore.
That is pretty cool being at the recording of Light the Fire Again. Brian Doerksen talks about it on his site and mentions the drums kicking off something special also.
SN. According to his site, Doerksen’s next album features duets with Christine Dente. Intriguing.
I have a question about that recording session though. Were people into Supernatural Love? I mean, it’s just a bad idea jeans song. But if you listen to the recording, it seems like the live congregation is going crazy. Did they experience something we can’t hear? I’ve always wanted to know.
Speaking of Supernatural Love, here are some of my least favorite worship moments in recorded worship history. Leo used to think it was not right to criticize others’ worship efforts if it was sincere, and got bothered when I did that in college. But I think it’s legit; you can’t pursue excellence if there’s no room to criticize. And from what I hear, by the people who are most into it, like at Vineyard songwriting workshops, they’re pretty brutal in their honesty with each others’ songs. Anyway.
- The synths in Supernatural Love. It’s just so sad because it kills a great set. Although that Bono in Bullet The Blue Sky-esque stuff in Creation Calls is pretty weird also.
- The crazy neighing woman in His Love Endures Forever on one of the Winds of Worship albums. I’m not one to stifle the Spirit, but it’s just distracting, this loud whooping and neighing during the entire song. Can’t they just turn down the congregation in the mix?
- The weirdo ebow sounds on I think the 2nd Winds of Worship CD. While these odd ebows are going on, the leader says “each note represents the healing touch of God.” I’m sorry, but I just don’t get it. How exactly does each note represent His healing touch? Why does His healing touch sound like a 60s sci-fi movie?
- The “rap” in Get Up. Ted says it “works” in person. Hard to believe, but in any case, it does not work in the recording. You just don’t get that same sense of congregational togetherness when you’re scatting, and it’s such a white-bread rap. Bad idea jeans. And he added insult to injury by recording an acoustic version of this song. Few non-black people can really pull off rap in general; fewer still can pull off acoustic rap. Acoustic rap worship? Not possible.
- Kevin Prosch forgetting the words on Come To The Light on some random recording. As I’ve mentioned before, it’s caused a number of churches to sing wrong lyrics to this song that don’t even rhyme. Also the end where he says “Clap Your hands O God”. I have no idea what that means. Is that some Scriptural reference I’m missing?
- The horns in most fast Hillsongs songs from their first 10 albums. Hosanna killed horns in their recordings a long time ago, and for good reason, so why on earth Hillsongs thought horns would be a good idea again in the 90s I have no clue.
- “Like we’re dancing now” in I Could Sing of Your Love Forever. I’m bothered by songs where it’s impossible to say the lyrics honestly. And given the tempo of this song, it’s impossible to dance to it unless you’re some weirdo hippie. So on that future day we’ll dance like we’re dancing while singing this song? You mean, completely motionless from the neck down? At some point in your life you have to hear Dave’s analysis of the lyrics to this song. It’s hilarious. Anyway, I still sing the song, but I’m troubled by it.
- Phillips, Craig and Dean’s version of Let My Words Be Few. I’ve ranted about this before. But this was one of the first examples where a band rerecorded a song and completely missed the point. The original recording is completely simple, instrumentally. Perfectly matches the message. How do the lyrics match with megaproduced instruments and layered vocals? Are you even listening to what you’re singing? I just don’t get it. They opened the door, and several other groups have killed this song in the same way.
- Sonicflood’s version of In The Secret. Same theme as above, and again, I’ve ranted about this before also. But you can’t sing about listening in the secret, quiet place while distorted guitars are buzzing around you and you’re yelling “more and more!”. I just don’t think it makes sense to yell about listening. “I WANT TO HEAR YOU! HEAR YOUR VOICE!! YEEEARRRGGHHHH!!!”