Various Artists

Item: one way: the songs
Author: Beth Blinn

one way: the songs

(1995)

Reviewed by Beth Blinn

Discogs YouTube

Label ForeFront RecordsThe LighthouseSeptember 1995

ccm pop rock rock

Larry Norman has always had a special place in my musical collection. Besides being a great artist, his song "I Wish We'd All Been Ready" had a profound effect on me at the age of nine. The haunting words caused me to seriously contemplate, at that young age, the possibility of an eternity without God. As a result, I eventually made the choice to turn my life over to Him-God, not Norman.

The vast majority of his work was recorded more than two decades ago-longer than many of the ForeFront artists on this tribute have been listening to the radio or-in the case of Rebecca St. James or the members of Serene & Pearl-before they were born.

It doesn't really matter. While some of Norman's songs had definite references to events and people of a particular time ("Six O'Clock News," "Reader's Digest"), the message that was conveyed is still relevant today. And ForeFront's stable of artists does a credible job of paying homage to a man that many call the father of Christian rock'n'roll.

Consisting of 14 covers, the disc is a good introduction to the musician who helped create this whole genre. Actually, I guess it has really happened throughout church history-times when different individuals had the courage to take the musical genre of their time, and apply spiritual truth to it. Norman was just the guy for our generation.

The disc kicks off with Geoff Moore and The Distance doing "U.F.O." A mid-tempo acoustic pop/rocker, it's more fleshed out than the original. Moore has stated in the past that Norman was an influence on him during college, and he started on this project about ten years ago-I saw him in concert in 1985, and he did a cover of Norman's "Why Should The Devil Have All Of The Good Music," a live version of which appeared on his last album and is on this one also.

Next up is 18-year-old St. James, who does a toe-tapping rendition of "Sweet Song Of Salvation." She is followed by Big Tent Revival's "The Great American Novel." This song was covered by Steve Camp a few years back, but I prefer BTR's Memphis-influenced cut.

"Why Don't You Look Into Jesus" has been updated somewhat by Holy Soldier, both musically and lyrically. A reference to gonorrhea has been changed to HIV, and the sound is acoustic rock touched with a little grunge. I like the arrangement that Holy Soldier (who are due to have an album out on ForeFront soon) came up with-it makes effective use of lead singer Eric Wayne's abilities.

Michael Anderson probably does one of the covers that sounds most dissimilar to Norman's original, but it is a pleasing cut. Ironically, while the arrangement of "Here I Am Talking About Jesus" is unlike Norman's-having a more ringing, acoustic quality-Anderson's vocal styling has some similarities.

Audio Adrenaline rocks it out, appropriately, with "Righteous Rocker #3." Harder-edged than most of the stuff off of their last album, this cut really wakes you up. The tempo then changes abruptly with sister duo of Serene & Pearl's version of the title track, "One Way." A pop/country-tinged tune, the two display some great vocal blending. Dana Key follows with his version of "The Outlaw," an acoustic cut with a slight country flavor that appeared a few years ago on his first solo album. An abrupt change in style occurs again, this time to Code Of Ethics and the song "Nothing Really Changes." Kind of an ironic title for a tune that sounds nothing like Norman. Digital dance is what this is all about, but then, these artists are supposed to be interpreting his music in their style.

"Six O'Clock News" by Grammatrain is next, and it retains the spirit and feel of the original, and at the same time, sounds different. Both versions start out with the sound of a jet landing, but Grammatrain's version is more bass-heavy and rocks harder. Lead singer Pete Stewart wins the award for sounding the most like Norman.

Bluesman Larry Howard cruises along on "The Rock That Doesn't Roll," full of organ and horn and some great guitar playing. The music shifts gears once again, with E.T.W. rapping out "If God Is My Father." This is more hip-hop than hardcore, with some smooth vocals on the chorus.

The album ends with "I Wish We'd All Been Ready," by DC Talk. Yes, it's probably one of my favorite cuts, and not just because of the sentimental value it has for me. I loved it when I saw them do it on tour last year, and this live version captures the mood and feel perfectly. Kevin Smith and Michael Tait's solo vocal spots provide a listen to two of the best voices in modern Christian rock, and the harmony that all three members achieve, coupled with the spare arrangement, make the tune both haunting and hopeful.

If you aren't familiar with the work of Larry Norman, this is a good introduction to his songwriting. Any comparison, musically, would not really be comparative, since the studio quality of these cuts is far superior. Still, no matter how good a cover is, there's nothing quite like the original.