Steven Curtis Chapman

Item: Signs of Life
Author: Vanessa Crooks

Signs of Life

(1996)

Reviewed by Vanessa Crooks

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Label Sparrow RecordsThe LighthouseDecember 1996

adult contemporary ccm pop rock

Signs Of Life, the latest release from Steven Curtis Chapman, brandishes enough blazing guitars and smoking riffs to warrant the query: "Are you sure we have the right Chapman?" It would be easier to associate a project with this album's rough edge and stylistic diversity with Gary Chapman (who coined the above question) than with Steven Curtis Chapman. As a rule, pop artists of Steven Curtis Chapman's established popularity don't deviate from their approach this dramatically. Most choose to follow the "if it ain't broke, don't fix it" method of creativity. With Signs Of Life, Chapman shows that he is more than just an accomplished tunesmith who knows how to capitalize on current musical trends-he is an artist who is willing to stretch and explore his boundaries.

Chapman has never really been considered a serious guitarist. Signs Of Life may well change that. He plays extensively throughout the project (acoustic, dobro, slide acoustic, "bongo" dobro, 12-string, VG-8, electric, and Telecaster), with a fluid touch that can turn forceful when necessary. He even tries his hand at mandolin, and proves to be more than adequate (this boy is looking to rival Vince Gill and Randy Stonehill)! Furthermore, Chapman holds his own against world-class axes-Gordon Kennedy and Kenny Greenberg-by showing his own dexterity and versatility on the fretboard. Together with a vast array of noted musicians, including Leland Sklar, Jerry Douglas, and Chris McHugh, Chapman skits across musical boundaries as varied as jazz (the intro to "Free" takes its cue from Sting), country ("The Walk"), blues ("Rubber Meets The Road"), and pop-rock ("Let Us Pray") with ease and conviction. On the opening romp "Lord Of The Dance," Chapman offers some delectable riffs against adventurous fiddle, organ, and guitar support-work. On the subtle closer, "Hold On To Jesus," he adds a delicate dobro strum to the predominantly piano and keyboard frame. With Signs Of Life, it has become evident that Chapman has a devotion to songcraft and musicianship, as well as a winning charm which is missing in so much of today's formulaic pop.

Lyrically, Signs Of Life shows equal daring and passion. Much of the material is introspective-it seems as if Chapman intentionally eschews his typical tidy and polished songs of encouragement, and the results are powerful. "Free" describes an encounter Chapman had with a Christian he visited in prison. He narrates the experience from his initial survey of the surroundings:

As we drew nearer the place Where they say death is waiting in the dark The slamming doors of iron echoed through the halls

to his surprising discovery upon meeting the man inside:

But then I met a man whose face Seemed so strangely out of place A blinding light of hope was shining in his eyes

What a moving testimony to the truth that "if the Son has set you free, then you are free indeed." One of the most poignant songs of forgiveness I've heard is the intensely personal, "What I Would Say," in which Chapman relates the things he wishes he could convey to a grandfather that he never met. He relates feelings of disappointment ("I wish you would have stayed"), and anger ("I know we all could say how you should have done better"), and more importantly healing ("Most of all I would say 'I forgive you'"). Indeed, this album's lyrics reveal the harshness and fallenness of our humanity and the even greater grace and mercy of our loving God.

As an album, Signs Of Life is an unconfined, confident, top-flight effort. It should also be the project that distinguishes Steven Curtis Chapman as an artist of unparalleled talent, adventure, and heart.