Apollo space program as distractions from the core Christian missions of proclaiming the gospel and helping the helpless .
The emerging Christian music industry , which largely adopted the same “ star-maker machinery ” as its mainstream counterpart , never warmed to the prickly , iconoclastic Norman ; the skepticism was mutual . Yet “ Planet ” consistently shows up near the top of critic ’ s lists of the most important Christian albums , decade after decade . His rapture song “ I Wish We ’ d All Been Ready ” became the unofficial anthem of 1970s “ Jesus freaks ” and was performed by dc Talk at the 1st Annual “ American Christian Music Awards ” show in 1994 . The following year , Forefront Records released the tribute album “ One Way ” with their artists like Big Tent Revival and Audio Adrenaline .
Kevin Max spoke regularly about Norman ’ s impact on his life and included Norman ’ s “ Righteous Rocker # 1 ” on his 2017 album “ Serve Somebody ,” comprising covers of Christ-oriented songs from the likes of U2 , The Call , and Rich Mullins . Their long-time friendship finds new expression with Max ’ s “ Revisiting This Planet ”; as the name implies , it ’ s a full-length cover of Norman ’ s 1972 album . Where Norman wore his influences on his sleeve ( Dylan , McCartney , Jagger , Young ), Max brings his own musical background into the mix : Morrissey , Bono , Bowie , Lou Reed . Max ’ s golden throat shows no signs of tarnish , his famed baritone vibrato soaring into high tenor whenever the need strikes him . It ’ s all clearly a labor of love rather than lucre for Max and his co-producer John Mark Painter , another lifelong Normaniac .
All cover songs strike a balance between fidelity and creativity . Norman ’ s plea to Janis Joplin “ Why Don ’ t You Look into Jesus ?” starts in Lou Reed mode before venturing into gospel rock , not far from Norman ’ s version in Max ’ s hands , with Kelle Cates ’ backing vocals to pump the energy . On the more contemplative side , “ The Outlaw ” retains its powerful , timeless exploration of the distortions Jesus suffers when co-opted for myriad modern philosophies . Its original sparse nylon string guitar benefits from a more expansive arrangement of bold piano bass stabs and Queen-like dueling electrics here . Torch song “ I ’ ve Got to Learn to Live Without You ” surprises once by recreating the “ Hey Jude ” vibe of the original version closely , and then surprises a second time by winding down before the first chorus is over . I guess we ’ ll learn to live without the rest of the song . Next up , the 2017 version of “ Righteous Rocker # 1 ” returns in all its shuffling glory . Vietnam story-song “ I Am the Six O ’ clock News ” retains the grit of the acid rock original , expanding on Norman ’ s shorter list of media channels which shape the news rather than simply reporting it . Painter ’ s wife , the always-welcome Fleming McWilliams , adds her trademark vocal spice . Stark jeremiad “ The Great American Novel ” sheds its 1972 “ Desolation Row ” arrangement for a stirring string ensemble , piano , and guitar orchestration by Painter , who makes any song better by his presence . Painter ’ s love of jazz comes through clearly on the pro-purity “ Pardon Me ,” replacing Norman ’ s “ Eleanor Rigby ” string quartet with a mournful wind ensemble which transplants the drama to some seedy noir cabaret . ( Like “ my own funeral procession in New Orleans ,” says Max online .)
Rock music apologia “ Why Should the Devil Have All the Good Music ?” keeps the raucous Jerry Lee Lewis fun rolling along , with guest screaming from Daniel Smith . “ Reader ’ s Digest ” sounds less like “ Subterranean Homesick Blues ” than ever in a new heavy rock version . Max keeps the updated dead celebrities ( Cobain and Phoenix ) from Johnny Q . Public ’ s 1995 cover version , replacing Norman ’ s references to Hendrix and Joplin . Attentive Norman fans will notice the conspicuous absence of “ I Wish We ’ d All Been Ready ,” the most famous song on Norman ’ s Planet . Max omitted it as not fitting his convictions about the End Times , but if you ’ d like to hear him sing it , the 1994 dc Talk version is still out there .
Album closer “ God Part IV ,” a Kevin Max original , deserves separate discussion . To catch up with a story long-in-progress : John Lennon ’ s 1970 song “ God ” included both God and the Beatles among a long list of idols to be avoided , concluding “ I just believe in me , Yoko and me , and that ’ s reality .” U2 ’ s 1988 track “ God Part II ” agreed with Lennon that the pop idols of the 1960s made poor deities (“ You glorify the past when the future dries up .”) but affirmed the reality of God , “ a presence I can feel .” Larry Norman dipped his toe into the conversation with “ God Part III ” in 1991 , a sequel of sorts to “ The Great American Novel ” that affirmed God while condemning Christians who neglect the suffering poor . Max follows the same ethos with “ God Part IV ,” a manifesto of his own left-of-center perspective on the Christian ’ s role in modern society . He and Norman might not agree on all the particulars , but they would surely appreciate the value of speaking boldly and plainly when following the rebel Jesus . So now we have two “ Planets ” worth revisiting .
Robert Berman Robert is a Sunday School teacher , music nerd , and acoustic guitar enthusiast . He lives in rural Tennessee with his wife and three boys .