|
Capitol P-2429, 7" promotional single, 1969, by The Flies
Kode: 7Blow-US1 |
|
|
Matrix, etched, side one: '45-71735-F-1.'
Matrix, etched, side two: '45-71736-F-1.' Both sides also have a stamped '1' on its side, and the Los Angeles pressing plant symbol
Matrix, etched, side two: '45-71736-F-1.' Both sides also have a stamped '1' on its side, and the Los Angeles pressing plant symbol
|
Capitol 2429, 7" single, 1969, by The Flies
Kode: 7Blow-US2 
|
Dead wax side 1: Etched 45-71735-F-1.
Dead wax side 2: Etched 45-71736-F-1. Both sides also have a stamped '1' on its side, and the Los Angeles pressing plant symbol
Dead wax side 2: Etched 45-71736-F-1. Both sides also have a stamped '1' on its side, and the Los Angeles pressing plant symbol
|
Capitol P-2766, 7" promotional single, March 1970, US
Kode: 7SS-US1 |
|
|
Dead wax side 1: Etched S-45-73651-H-1.
Dead wax side 2: Etched S-45-73776-H-1.
Side 2 also has a stamped '1' on its side, and both sides have the Los Angeles pressing plant symbol
Dead wax side 2: Etched S-45-73776-H-1.
Side 2 also has a stamped '1' on its side, and both sides have the Los Angeles pressing plant symbol
|
Capitol 2766, 7" single, March 1970, US
Kode: 7SS-US2 |
|
|
Dead wax side 1: Etched S-45-73651-H-1.
Dead wax side 2: Etched S-45-73776-H-1. Both sides also have a stamped '1' on its side, and the Los Angeles pressing plant symbol
Dead wax side 2: Etched S-45-73776-H-1. Both sides also have a stamped '1' on its side, and the Los Angeles pressing plant symbol
|
MGM K14351, 7" promotional single, 1972, US
Kode: 7RR-US1 
|
Note that these songs were recorded in 1971, but it is believed the single was not released until 1972. Either way, it pre-dates the album Only Visiting This Planet
Dead wax side 1: Etched 'K14351-71L3022', 'L-2', [Illegible initials], '>1'
Dead wax side 2: Etched 'K14351-71L3023', 'L2', [Illegible initials], '>1'
Dead wax side 1: Etched 'K14351-71L3022', 'L-2', [Illegible initials], '>1'
Dead wax side 2: Etched 'K14351-71L3023', 'L2', [Illegible initials], '>1'
|
MGM K-14351, 7" single, 1972, US
Kode: 7RR-US2 |
|
|
This is a different mix than was used on the promotional single, and is some four seconds longer. Righteous Rocker was retitled as Without Love, but this was soon changed back
Dead wax side 1: Etched 'K14351', '71L 3022 REV', '- Δ87284'
Dead wax side 2: Etched 'K14351- 71L3023', 'L-1', [Monarch Records symbol] '- Δ87284-X', [Illegible initials]
Dead wax side 1: Etched 'K14351', '71L 3022 REV', '- Δ87284'
Dead wax side 2: Etched 'K14351- 71L3023', 'L-1', [Monarch Records symbol] '- Δ87284-X', [Illegible initials]
|
MGM K-14351, 7" single, 1972, US [Title reverted]
Kode: 7RR-US3 |
|
|
This release reverts to using the Righteous Rocker song title, but still uses the "Joe Reed mix"
Dead wax side 1: Etched 'K14351', '71L 3022 REV', 'REV 1'
Dead wax side 2: Etched 'K14351-71L3023', 'L2', [Illegible initials]
Dead wax side 1: Etched 'K14351', '71L 3022 REV', 'REV 1'
Dead wax side 2: Etched 'K14351-71L3023', 'L2', [Illegible initials]
|
MGM 14351X, 7" single, 1972, Canada
Kode: 7RR-CA1 
|
|
Dead wax side 1: Etched '14351- S1'
Dead wax side 2: Etched '14351- S2' |
Note: Company sleeve only shown because it's a rarely seen design
|
|
MGM 2006-105, 7" promotional single, 1972, UK
|
|
|
The UK single is mixed differently again. It has a reversed stereo image on both sides. Righteous Rocker fades out at the same point as the US promotional single, and Peace, Pollution, Revolution fades out slightly later than the other releases
|
Kode: 7RR-UK1
Kode: 7RR-UK3 |
Dead wax, stamped: Side 1: '2006105', 'A//1▽420', '11', '2', '04' / Side 2: '2006105', 'B//1▽420', '11', '3', '04'
Dead wax, stamped: Side 1: '2006105', 'A//1▽420', '11', '3', '04' / Side 2: '2006105', 'B//1▽420', '11', '1', '04' Thanks to Robert Termorshuizen for advising the existence of 7RR-UK3 |
|
MGM 2006-105, 7" single, April 7th 1972, UK
7RR-UK2 
|
|
Kode: 7RR-UK2
Kode: 7RR-UK5 |
Dead wax, stamped: Side 1: '2006105', 'A//1▽420', '11', '2', '04' / Side 2: '2006105', 'B//1▽420', '11', '2', '04'
Dead wax, stamped: Side 1: '2006105', 'A//1▽420', '11', '2', '04' / Side 2: '2006105', 'B//1▽420', '11', '3', '04' |
Note that the 'Sample Record' sticker can easily fall off, so it is difficult to be sure that a copy without one never had it originally. As a prime example, the A-side image (of my copy of variant -UK2 specifically) above shows an area of sticker residue of about the same size. This particular copy is thus quite possibly a sample one too
|
MGM 2006-105, 7" single, 1972, UK
7RR-UK4 
|
Dead wax side 1: Stamped '2006105', 'A//1▽420', '11', '5', '04'. Note that there is also a full stop or dot over the //
Dead wax side 2: Stamped '2006105', 'B//1▽420', '11', '4', '04'. Note that there is also a full stop or dot over the //
Dead wax side 2: Stamped '2006105', 'B//1▽420', '11', '4', '04'. Note that there is also a full stop or dot over the //
|
Verve VK 10718, 7" single, test pressing, March 1973, US
Kode: 7RD-US1 
|
Matrix side 1: Etched 'VK10718', '72L4276-S', 'K-5219'
Matrix side 2: Etched 'VK10718', '72L4279-S', 'K-5220'
Matrix side 2: Etched 'VK10718', '72L4279-S', 'K-5220'
|
Verve VK 10718, 7" promotional single, April 1973, US
Kode: 7RD-US2 
|
Matrix: Same as 7RD-US1
Note: On both sides, "Ron Edwards" has been typed on the labels, but manually corrected to "Rod Edwards"
Note: On both sides, "Ron Edwards" has been typed on the labels, but manually corrected to "Rod Edwards"
|
Verve VK 10718, 7" single, April 1973, US
|
|
Kode: 7RD-US3
Kode: 7RD-US4 |
Matrix etched: Side 1: 'VK10718', '72L4276-S', 'K-5219'. Side 2: 'VK 10718', '72L 4279-S', 'K-5220'. (Same text as 7RD-US1, but differently etched)
Matrix: Same as 7RD-US1. Thanks to Robert Termorshuizen for advising the existence of this variant Note that the "Ron Edwards" error has not been manually corrected on the stock copies |
|
Verve VK 10720, 7" promotional single, 1973, US
Kode: 7LTL-US1 |
|
|
Matrix side 1: Etched 'VK1072', 'VK 10720' '72L 42789M', 'K-6115'
Matrix side 2: Etched 'VK 10720', '72L 46 4279 S', 'K-6116'
The text in red is scored out. The 'VK1072' on side 1 looks like the top half of an 8 was etched then an attempt made to change it to a 2 before abandoning and starting again
Matrix side 2: Etched 'VK 10720', '72L 46 4279 S', 'K-6116'
The text in red is scored out. The 'VK1072' on side 1 looks like the top half of an 8 was etched then an attempt made to change it to a 2 before abandoning and starting again
|
MGM / Polydor 2006-143, 7" promotional single, 1973, UK
Kode: 7LTL-UK1 
|
Matrix side 1: Stamped '2006143', 'A//1▽420', '11', '2', '04'
Matrix side 2: Stamped '2006143', 'B//1▽420', '11', '2', '04'
Matrix side 2: Stamped '2006143', 'B//1▽420', '11', '2', '04'
|
MGM / Polydor 2006-143, 7" single, January 5th 1973, UK
|
|
|
|
Kode: 7LTL-UK2
Kode: 7LTL-UK3 Kode: 7LTL-UK5 |
Matrix, stamped: Side 1: '2006143', 'A//1▽420', '11', '1', '04' / Side 2: '2006143', 'B//1▽420', '11', '1', '04'
Matrix, same as 7LTL-UK1 Matrix, stamped: Side 1: '2006143', 'A//1▽420', '11', '04' / Side 2: '2006143', 'B//1▽420', '11', '4', '04' |
|
MGM / Polydor 2006-143, 7" single, 1973, UK, double pressing rings
Kode: 7LTL-UK6 |
|
|
Matrix, stamped: Side 1: '2006143', 'A//1▽420', '11', '4', '04'
Matrix, stamped: Side 2: '2006143', 'B//1▽420', '11', '3', '04'
Matrix, stamped: Side 2: '2006143', 'B//1▽420', '11', '3', '04'
|
MGM / Polydor 2006-143, 7" single, January 5th 1973, UK
Mispress - same label on both sides. (Content is correct) Kode: 7LTL-UK4 
|
Matrix side 1: Stamped '2006143', 'A//1▽420', '11', '4', '04'
Matrix side 2: Stamped '2006143', 'B//1▽420', '11', '3', '04'
Matrix side 2: Stamped '2006143', 'B//1▽420', '11', '3', '04'
|
MGM 2006-277, 7" single, May 25th 1973, UK
Kode: 7RD-UK1 
|
|
Kode: 7RD-UK1
Kode: 7RD-UK2 |
Matrix side 1: Stamped '2006277', 'A//1▽420', '1', '1', '1', '04'
Matrix wax side 2: Stamped '2006143', 'B//1▽420', '11', '2', '04' Matrix side 1: Stamped '2006277', 'A//1▽420', '1', '1', '3', '04' Matrix wax side 2: Stamped '2006143', 'B//1▽420', '11', '3', '04' |
|
MGM K 14676, 7" promotional single, November 1973
Kode: 7SOS-US1 |
|
|
Matrix, etched, side one: 'K14676', '73L5617', 'S', 'Re.1', 'K-6879'. Note, the 'S' is inside a circle
Matrix, etched, side two: 'K14676', '73L5621', 'S', 'Re.1', 'K-6880'. Note, the 'S' is inside a circle
Matrix, etched, side two: 'K14676', '73L5621', 'S', 'Re.1', 'K-6880'. Note, the 'S' is inside a circle
|
MGM K 14676
7" single, November 1973 |
|
|
|
MGM 14702/3
7" single, test pressing, 1973/1974 
|
|
MGM M14703
7" single, test pressing, 1973/1974 
|
|
Baroquen Spirits (Stereo)
Baroquen Spirits (Mono) |
MGM M14703
7" promotional single, February 1974 |
|
|
|
MGM 2006 385
7" single, 1974, French release, distributed by Polydor |
|
|
|
Solid Rock SRS-200, 7" promotional single, 1976
Kode:7RTDR-US1 
|
Matrix, etched, side one: ‘SRS-200-A Ⓘ>’, [Open mouth drawing], ‘SOLID ROCK - IN ANOTHER LAND - SEPT. 1975’, ‘AB’, ‘#64’
Matrix, etched, side two: ‘SRS-200-B Ⓘ >’, ‘AB’, ‘DEATH IS CONQUERED THOUGH YOU SLUMBER - SEVEN IS THE PERFECT NUMBER’, ‘#63’
Note that the ‘#’ numbers are etched in reverse
Matrix, etched, side two: ‘SRS-200-B Ⓘ >’, ‘AB’, ‘DEATH IS CONQUERED THOUGH YOU SLUMBER - SEVEN IS THE PERFECT NUMBER’, ‘#63’
Note that the ‘#’ numbers are etched in reverse
|
Christmas Song For All Year 'Round - by Randy Stonehill
Christmas Time 
|
Solid Rock SRS-202, 7" single, test pressing, 1976
Kode: 7CT-US1 
|
Matrix, etched, side one: 'SRS-202-AS', 'Ⓘ >'. Side two: 'SRS-202-BS', 'Ⓘ >'
|
Solid Rock SRS-202, 7" promotional single, 1976
Kode: 7CT-US2 
|
Same matrix as 7CT-US1
|
Solid Rock SRS-202, 7" promotional single, 1976
Kode: 7CT-US3 |
|
|
Same matrix as 7CT-US1
|
Solid Rock SRS-202, 7" single, 1976
Kode: 7CT-US4 
|
Same matrix as 7CT-US1
|
Solid Rock SRS-204
7" single, test pressing, 1977 
|
|
Solid Rock SRS-204
7" single, 1977 
|
|
Rhema Records RHS-001
7" single, 1977 
|
|
I Feel Like Dying
Hold On (by Alwyn Wall) |
Solid Rock / Chapel Lane CS 103, 7" single, 1981, UK
Kode: 7IFLD-UK1 |
|
|
Matrix side one, etched: 'MPO', 'CS', '103', 'B1', 'A1', 'MPO', 'CPL', 'CS', '003', 'B1'. Text in red is crossed out
Matrix side two, etched: 'MPO', 'CS 103', 'A1', 'B1', 'MPO', 'CPL', 'CS', '003', 'A1'. Text in red is crossed out
Matrix side two, etched: 'MPO', 'CS 103', 'A1', 'B1', 'MPO', 'CPL', 'CS', '003', 'A1'. Text in red is crossed out
|
Phydeaux / Solid Rock Productions BONE 111
7" EP, test pressing, 1981 
|
|
Phydeaux / Solid Rock Productions BONE 111
7" EP, 1981 Kode: 7Ants-US2 |
|
|
Matrix, etched, side one: etched 'Bone - 1111 -A’. Side two: etched 'Bone 1111 - B’
Note that the sleeve image is the same photo as was later used on the "Australian" version of In Another Land
Note that the sleeve image is the same photo as was later used on the "Australian" version of In Another Land
|
Strong Love
Strong Love |
Stress Records VC-5782
7" single, 1984 |
From the album Quiet Night. This is Larry Norman covering a Tom Howard song
|
|
|
Solid Rock EO 43513, 12" single, 1985
Kode: 12STF-US1 |
|
|
Matrix, etched, side one: 'EO-43513-A'. Side two: 'EO-43513-B'. Both sides also have what looks like two overlapping 'S' together with an 'A'
Came in a plain light blue sleeve with centre cut out. Both songs are of the same performances which appeared on the Face To Face video. The soundtrack of this video was eventually released as a CD with the same title, in 2007. No album titled 'Face To Face Volume II' has ever been released, so it is not clear whether this was to be simply an album containing the video soundtrack or if it was to contain additional or different recordings
Came in a plain light blue sleeve with centre cut out. Both songs are of the same performances which appeared on the Face To Face video. The soundtrack of this video was eventually released as a CD with the same title, in 2007. No album titled 'Face To Face Volume II' has ever been released, so it is not clear whether this was to be simply an album containing the video soundtrack or if it was to contain additional or different recordings
LARRY NORMAN RELATED SINGLES
The following are singles Larry was involved in, but which are not Larry Norman or People! releases
The following are singles Larry was involved in, but which are not Larry Norman or People! releases
|
Gene Mason - Beechwood Park / With Pen In Hand
|
Sierra Records PT-697 / 698
7" promotional single, 1969 |
Larry assisted with the song Beechwood Park in some way - "So I worked on his recording of "Beechwood Park" and a couple of others until he quit the band and we started a new People! in 1974"
|
|
|
Randy Stonehill - Puppet Strings / I've Got News For You
|
Solid Rock SRS-201
7" promotional single, 1976 
|
|
Tom Howard - One More Reason / All Through The Day
|
Solid Rock SRS-203
7" single, 1977 
|
|
Pantano Salsbury - Lover Of My Soul / I Don't Wanna Wander
|
Solid Rock SRS-205-DJ
7" promotional single, 1977 
|
|
Mark Heard - Here I Am (Once Again) / Castaway
|
Solid Rock SRS-206-DJ
7" promotional single, 1979 
|
Stranded In Belfast [2000]
|
This pre-release sampler of Rough Diamonds, Precious Jewels was given to people who had ordered ten or more tickets to Larry's March 2000 concert in Belfast
Note that this version of Moses was not used on the final release |
Rough Diamonds, Precious Jewels Vignette Sampler, Second Version [2001]
Whilst much of the content was identical, a second sampler was released with some significant differences
|
|
Rough Diamonds, Precious Jewels Vignette Sampler, Third Version [2001]
The third and final variant of the vignette sampler, again with a few significant differences
|
|
Essential Test Disc [2001/2 - TBC]
Larry became extremely ill upon returning home from the UK tour in 2001. His son Michael sent this vignette sampler CD out as a survey to find which songs would be most desired on a future release. It included songs by several Solid Rock artists as well as by Larry himself
The first six songs are all faded out early, ranging from roughly ninety seconds to two and three quarter minutes in length The remainder are all short snippets and almost all less than thirty seconds in length Introduction by michael norman
Hi, this is Mike. You are listening to the Essential survey disc. In section one please select the two songs you like the most from these next six selections [Spoken by Larry's son Michael] introduction 2 by michael norman
In section two of the survey, which is probably going to be difficult for many people, please choose the songs you think you might be interested in hearing the rest of. The easiest way to fill out this part of the survey is by not listening too closely, but just writing down your first impressions [Spoken by Larry's son Michael] outroduction by michael norman
Thank you for being a part of this music survey. I hope you'll enjoy hearing all of the songs we will be putting out which have never been heard before. God bless you [Spoken by Larry's son Michael] |
|
|
|
Published on Bandcamp on September 4, 2024
Includes all three versions of the song that have been released |
You Gotta Have Jesus [2003]
|
This song was written by Washington Phillips (titled Denomination Blues) and first recorded by him in 1927. Larry released it as a single track CD which was originally only available to attendees of what was at the time expected to be his last ever concert, in Beaverton, Portland, in 2003. Most if not all copies were autographed. The artwork denoted it as an 'edited single version', even though it would be some time before any other version was released
Larry Norman - vocals, guitar
Charles Norman - guitars Jon Tanis - guitar Jason Carter - drums Tom Nunes - bass |
The Tune [2003]
The photograph of Larry used on the cover was taken by Norman Nabney, during a concert in Newcastle, County Down, Ireland, in July 1973. Norman had never heard the song before, but remembers that his taking of the picture coincided with the philosophers saying 'how did he do that?'
|
As described on the Larry Norman website upon release:
"The Tune" was written by Larry in 1971. During the next two years an author, from the town where Larry first performed this, wrote a book called "The Singer" and another book called "The Song." The books were gigantic sellers. And the biggest gospel artist from the Southern gospel end of Christian show biz (who shall remain nameless) took "The Tune", kept the tempo and the flavor and re-titled it "God Gave The Song." It was one of the biggest hits the artist had up until that point. We thought it was time Christian radio stations heard the original. This is "The Tune" with a 45 piece orchestra. It has been available off and on in very limited quantities for years, but never presented officially to the gospel community. So, here it is. "The Tune" |
The First Noel [2003]
|
As described on the Larry Norman website upon release:
From The Album Christmastime This is the radio single which is being sent out to stations around the country. We had some extras printed up in case some of you wanted a copy. This is Larry's first radio single in years. These three songs are from the Christmastime album, but they have all been edited for the radio. Larry has cut sections out of the middle, cut off segments in the front, changed the fade-out timing and other things he used to do at Capitol and MGM. |
Ya Gotta Be Saved [2010]
|
Note that this is not a Larry Norman or Solid Rock release.
Ya Gotta Be Saved was recorded by the Crosstones and Larry Norman just six months before Larry's death. The song was written by Bobby Emmons and Tim Marazita. Bobby sang lead on the verses while Larry sang lead on the bridge and harmonies on the 2nd and 3rd verse. This is available via download only, and was released in January 2010 on all major music download sites. |
In 2004, Larry started a new fan club, called The Solid Rock Army (SRA). With the exception of 2008, which became a "free" year, members were sent packages every year, containing a variety of items. Most packages included a CD single, or if not, a DVD. These CD singles generally contained unreleased and unheard songs, or at least unheard versions of songs, and are detailed in this section
Although the Solid Rock Army officially ceased after 2013, the members only forum continues to this day
Although the Solid Rock Army officially ceased after 2013, the members only forum continues to this day
The Six O'Clock News [2004]
|
The Six O'Clock news (FINAL VERSION, EDITED)
[Go to Song Page] I got a ticket for southeast Asia I packed my camera and press card badge They only paid me to stay the weekend What if I never come back The flight was pretty rough I got a room, took a sauna The bellboy gook put my bags on the bed He left without his tip Then I loaded up my Hasselblad full of film And I stepped outside, I stepped outside I'm taking pictures of burning houses Color movies of misery I see the flash of guns, how red the mud becomes I've got a close-up view I'm the six o'clock news What can I do All those kids without shoes What can I do Military coups What can I do I'm just the six o'clock news I got a suite at the Saigon Hilton Cocktail parties with Premiere Ky We talk about how the war is going And watch his color TV I'm the six o'clock news But what can I do Drinking black market booze What can I do I'm red and white and true blue What can I do I am, I am, I am, I am, I am The six o'clock news Catch my plane flight back to the mainland I fall asleep to the engine's drone I see the flash of guns, how red the mud becomes I've got a close-up view I am, I am, I am, I am, I am The six o'clock news What can I do Guerilla rendezvous And what can I do All those kids without shoes What can I do Napalm tattoos What can I do What can I do What can I do I'm just the six o'clock news, oo-ugh What can I do I am, I am, I am, I am, I am The six o'clock CBS, ABC, NBC CBS, ABC, NBC CBS, ABC, NBC [x4] CBS, ABC, NBC CBS, ABC, NBC CBS, ABC the six o'clock news (PRE-PRODUCTION SCRATCH VOCAL)
[Go to Song Page] One, two, one, two, three [Spoken] I've got a ticket for southeast Asia I packed my camera and press card badge They only pay me to stay the weekend What if I never come back The flight was pretty rough I got a room, took a sauna The bellboy gook put my bags on the bed He left without his tip Then I loaded up my Hasselblad full of film And I stepped outside, I stepped outside I'm taking pictures of burning houses Color movies of misery I see the flash of guns, how red the mud becomes I've got a close-up view I'm the six o'clock news What can I do Military coups What can I do All those kids without shoes What can I do I'm the six o'clock new na na na na ah ah ah ah ah ah ah ah One, two, three, four One, two, three, four [Spoken] I’ve got a suite at the Saigon Hilton Cocktail parties with Premiere Ky We talk about how the war is going And watch his color TV I'm the six o'clock news What can I do Drinking black market booze What can I do Red and white and true blue What can I do I am, I am, I am, I am, I am, boomf The six o'clock news Shhh sha Catch my plane flight back to the mainland Fall asleep to the engine's drone I see the flash of guns, how red the mud becomes I've got a close-up view I am, I am, I am, I am, I am, boomf The six o'clock news What can I do Guerilla rendezvous What can I do All those kids without shoes What can I do Napalm tattoos What can I do What can I do What can I do Me, I’m the six o'clock news Ready, what can I do Ah I am, I am, I am, I am, I am, boomf The six o'clock news Ugh Huh ugh Unh Hey Oi Uh why me lord
[Go to Song Page] Why me Lord, what have I ever done To deserve even one Of the pleasures I've known Tell me Lord, what did I ever do That was worthy of you Or the kindness you've shown Lord help me Jesus, I've wasted it so Help me Jesus, I know what I am Now that I know that I needed you so Help me Jesus, my soul's in your hand Tell me Lord, if you think there's a way I can try to repay All I've taken from you Maybe Lord, I could show someone else What I've been through myself On my way back to you Lord help me Jesus, I've wasted it so Help me Jesus, I know what I am Now that I know that I've needed you so Help me Jesus, my soul's in your hand Why me Lord, what have I ever done To deserve even one Of the pleasures I've known Tell me Lord, what did I ever do That was worthy of you Or the kindness you've shown Lord help me Jesus, I've wasted it so Help me Jesus, I know what I am Now that I know that I needed you so Help me Jesus, my soul's in your hand Lord help me Jesus, I've wasted it so Help me Jesus, I know what I am Now that I know that I needed you so Help me Jesus, my soul's in your hand |
Eve Of Destruction [2004]
|
eve of destruction
[Go to Song Page] The Eastern world, it is exploding Violence flaring, bullets loading You're old enough to kill but not for voting You don't believe in war, but what's that gun you're toting And even the Jordan river has bodies floating And you tell me Over and over and over again my friend That you don't believe We're on the eve of destruction Don't you understand what I'm trying to say Can't you feel the fears I'm feeling today If the button is pushed, there's no running away There'll be no one to save with the world in a grave If you take a look around you it's bound to scare ya Tell me Over and over and over again my friend You don't believe We're on the eve of destruction Yeah my blood's so mad, feels like coagulating I'm sitting here just uh, contemplating I can't twist the truth, it knows no regulation Handful of senators can't pass legislation And marches alone can't bring integration When human respect keeps disintegrating This whole crazy world is just too frustrating Tell me Over and over and over again my friend That you don't believe We're on the eve of destruction Think of all the hate there is in Red China Then take a look around to Selma, Alabama You may leave here for four days in space But when you return, it's the same old place The pounding of the drum, the pride and disgrace You can bury your dead, but don't leave a trace Hate your next door neighbour but don't forget to say grace Tell me Over and over and over and over again my friend You don't believe we're on the eve of destruction No you don't believe we're on the eve of destruction You don't believe we're on the eve of destruction radio interview *
Host: Today's artist is considered by many to be the grandfather of christian rock, or the grandfather of Jesus music. He's nurtured artists like Randy Stonehill, Steve Camp, Daniel Amos, Mark Heard and Keith Green. [I Am A Servant starts playing]. In 2001 he was inducted into the Gospel Hall of Fame, the same night as Elvis Presley. He's written an estimated six to seven hundred songs since his childhood. Maybe you'll remember some of these classics from Larry Norman I am a servant I am listening for my name [Segues into U.F.O.] He's an unidentified flying object You will see him in the air He's an unidentified flying object And you will drop your hands and stare [Segues into Why Don't You Look Into Jesus] Why don't you look into Jesus He got the answer [Segues into The Rock That Doesn't Roll] Wowie zowie well he saved my soul He's the rock that doesn't roll He's the rock that doesn't roll He's the rock that doesn't roll [Segues into Righteous Rocker] You can be a righteous rocker or a holy roller You can be most anything You can be a child of the slum or a skid row bum Or you can be an earthly king But without love, you ain't nothin' without love [Segues into I Love You] I love you, I love you, I love you, I love you, I love you, I love you I love you, I love [Host starts talking] you, I love you, I love you, I love you, I love you Host: If you're familiar with Larry Norman's music, you know that he uses a variety of styles. I had a chance to talk with Larry recently, and he explained his early musical influences Larry: Uh I, I guess it all started with my grandfather. He first started playing me his old vaudeville artists like Bert Williams, a very, very famous black singer at that time. And uh, so yeah, blues and um kind of a vaudevillian humour, uh were some of the earliest uh, influences. I lived in a black neighborhood, so I was also being exposed to black gospel music and um, the early phases of R&B. So um, that's why some of the songs like The Sun Began To Reign sound like eh Rudy Vallée might be singing them. [The Sun Began To Reign starts playing] A thief fell out of heaven with some loaded dice But the lamb rolled a seven back to paradise The bread was finally leavened so I had a slice And the sun began to rain [Interview continues over the music] Water swelled from fountains and then turned to wine Rocks fell from the mountains in a chorus line Larry: And then classical music, I loved classical, so that's why Pardon Me sounds like uh, it was written a hundred years ago, two hundred years ago. I never was copying anything. I, I was exposed to music so early in my life that to me, this be', this was part of the way I thought, an' it came out of my love for music Host: But there's one thing that far outweighs his love for music, and that's his love for Jesus. Larry has always been outspoken about the importance of knowing Jesus and serving him. He described where he got that passion to share Christ with others Larry: When I was about five, we were all getting ready to cross Market Street in San Francisco, and my dad just started talking to this sailor about Jesus. So I thought, well that's a normal thing to do. So I started talking to my friends at school in the first grade. And then by the fourth grade, I was singing to them. I'd just walk up in front of them while they're eating their lunch and just stand there while they're sitting on the bench, and I'd sing and talk to 'em, and it was very forward, now, looking back but I didn't know it at the time. And they didn't seem to mind. They'd either ignore me or listen to me and I was always prepared for rejection so I thought that that was eh almost an ingredient of witnessing to people. Then when I was eighteen or nineteen I went out on the streets, started witnessing. I'd been doing it in high school, but, but not on the streets you know, and, and, and then I had, I was living in LA, so I just figured Hollywood Boulevard, that's my beat. Nobody else was doing it so that's, means it must be my street Host: Larry went on to explain his songwriting technique Larry: Well, I had written several hundred songs ah before I got out of high school, but I didn't really have songs that would grab the attention of someone passing by. And I figured at the least they might stay for ah one verse or one chorus and then, and then find out what it was about and run off, you know. So I tried to fill [Why Should The Devil Have All The Good Music starts playing] every uh portion of a song with a message in itself. So it's just like punch, punch, punch right, it's like being in a fight, you know. Fight the good fight, run the race, you just, you don't slow down halfway round the track and take a break, you just go as hard as you can I want the people to know That he saved my soul But I still like to listen to the radio They say rock and roll is wrong We'll give you one more chance I say I feel so good I gotta get up and dance I know what's right, I know what's wrong I don't confuse it All I'm really trying to say is Why should the devil have all the good music [Interview continues over the music] An’ I feel good every day Because Jesus is the rock and he rolled my blues away Larry: That's why the songs like Why Should The Devil Have All The Good Music ah, they're just filled with information. And uh it might be done humorously or it might be very serious, but it's just chock full of, of concepts Host: And those concepts have been rock solid. He had a sound foundation in his faith due to his mom and dad. In fact his whole family has been instrumental in supporting Larry's ministry. And in those early years that support was necessary when some churches reacted negatively toward his style of proclaiming the word. Larry described how he was perceived by some christians Larry: They thought I was a tool of Satan and, and um, not a christian and, you know, that's what I expected them to do, so I wasn', didn't bother me, wa', it didn't disappoint me. Okay, I started [I Wish We'd All Been Ready starts playing] in 1956. By 1966, I still didn't have any ah reception from the church, no understanding. But ah, I wasn't trying to communicate to church people, I was trying to communicate to people that didn't know anything about Jesus. If I got invited to a church, I knew that they're inviting me because I wrote I Wish We'd All Been Ready. And once they hear the rest of my songs, I'm never getting invited back again Life was filled with guns and war And everyone got trampled on the floor I wish we'd all been ready [Interview continues over the music] Children died, the days grew cold A piece of bread could buy a bag of gold I wish we'd all been ready There's no time to change your mind The son has come and you've been left behind Larry: So I felt that I was working counter to the culture, counter to the christian culture. I was giving a gospel to people that never heard it before and didn't want to hear it, and were drinking and smoking right on, you know right in front of me when I was on stage in, in uh like nightclubs, uh, in New York, coffeehouses, folk, you know that kind of thing. And eh, and then sometimes I would talk about culture to the christians instead of talking to them about Jesus. Uh you know, really taking my lead from what I saw in the bible, Jesus had different messages for different groups of people Host: And sometimes, Larry liked to use humour to make his point Larry: Those were my earliest songs where, songs that were both uh spiritual and humorous at the same time, which is one of the reasons the church might have had problems with me back in the fifties, is they might have thought I was making fun of church, and I certainly wasn't. I was making fun of people, making fun of myself Host: Then I asked Larry the question we've all been thinking. So, what are you up to now? Larry: Um 5'10", 5'10" and a half you know, uh, ah I just put out a new Christmas album. I've never done one before, that was, that was fun, it'll be coming out this Christmas. I'm working on some other songs um, studio songs and then occasionally releasing a, a bootleg. Usually what, what happens is I find out there's a bootleg on the internet or circulating among collectors and, and I get a copy. If it's really interesting, then I edit it, clean it up eh digitally and uh, and release it myself Host: By the way, he's talking about bootlegs of his own musical performances. He has a vast library of most of them. He explained how that helped his ministry Larry: That also gave me the opportunity to make every night very different if I wanted to. I could write a song spontaneously, knowing that it's on tape, and if I think the song's good when I finish, uh then I'll get the tape, memorize the song and perform it again, or record it Host: Although he operates a studio that he named Solid Rock Records, Larry rarely performs in public anymore. He's had his share of health problems, which began with this event Larry: I was in an airplane and, and it was a 747. It made a, a bad crash landing at LAX in 1978, and the ceiling disengaged and fell on my head. I was in the middle section of the front section and nobody else was there, so the entire ceiling came down and I, I had brain damage Host: But after twelve years Larry had an unusual encounter with a man who described some personal things in Larry's life that only the family would know. Then the man said this to Larry Larry: Inside your mind or your brain, it's like there's a bunch of loose wires. Could I pray for God to reconnect them? And I said yes, and he laid his hands on me and my head got intensely hot and I heard crackling noises and boom, I woke up from twelve years of brain damage. I was completely restored. I, I was able to record a new album called Stranded in Babylon, and I thought well, I'm back. I mean my creative ability is back, and I don't get lost anymore, and I come home with the milk, and, and uh gee, I'm normal now Host: Since then Larry has suffered from some serious heart troubles that have nagged him to the brink of death on many occasions. And although that has limited a lot of his activities, including his travel and performance schedule, Larry still has a very positive outlook on his life Larry: We do live in a body that's uh, has a limited warranty, you know, uh, a, a terminal um, moment in life. And because we have not experienced what's beyond the grave, uh we can easily fear what it might be. I tell you, I'm so glad to live on the border of the land that lies ahead of me. It's exciting to look across eh the county line and, and anticipate being with Jesus. If I had been healed outright, I would have gone back to going out in the street, talking to people, uh flying around the country. Ah, I would be, go back to being very busy. So now it's just a joy to know that, yes, I could die tomorrow. But I am alive today. So, I, I think illness can be wonderful, a wonderful experience, as, as sad as it, as it might seem at the time. We, we grow so much Host: Larry left us with these encouraging words Larry: You might break your arm, uh when you're growing up, and uh you go to the doctors and he puts a cast on it, and then you, in your mind, when you're a kid, you go, okay now that's taken care of. Well when you get to be an adult, sometimes you break your heart, or you eh, you know, you lose confidence in, in a friend [show theme music starts playing] who is disloyal or, you know your boyfriend leaves you, your wife uh abandons you or something. And you shouldn't be looking at that. You should just say, well, God's the doctor. He'll put a cast on me, I'll be okay, I'm not going to think about it now. I'll be out of the cast, you know, pretty soon. God's on the job with us. God's taking care of us Host: Larry has a website that provides a biography of his career, updates about his ministry, information on how to order music, and even a page for your prayer requests. Simply visit our website at primetimeamerica.o-r-g and you'll find a link to Larry's ministry. That's primetimeamerica.o-r-g. Finally, I'd like to thank Larry Norman for taking a few minutes to tell us what he's up to now. For Primetime America, I'm Lee Rubin home movie **
* Prime Time America Radio interview with host Lee Rugen, originally aired 7/2/04
** Larry's video tour of Salem, Oregon |
Maxi Single Packet SRA 2005 Strong Hand / Til Kingdom Come [2005]
|
strong hand (just one miracle)
[Go to Song Page] He was a tall man Raised up on a field out picking cotton In a hard land Where the ground was poor and the wood was rotten But when he saw her All those bad times were forgotten And he believed, yes he believed She was a strong hand A good sister and a daughter Looking for one man To love the way that her mama taught her And when she saw him She thanked God for what he'd brought her She believed, yes she believed And it's a miracle How one soul finds another Just one miracle Is all it took, my brother And I have seen them As they walked this world together And I believe, yes I believe It's a sad thing When one must leave the other And fly up where the voices ringing out With all the multitudes that gather And but for a short while Down here no song ever sounded sweeter And we believed, yes we believed For it's a miracle How one soul finds another Just one miracle Is all it took, my brother And I will see them Someday they'll walk again together And I believe, I believe Yes I believe, I believe Yes I believe, I believe crossroads (live with jon linn)
[Go to Song Page] Oh Australia is where the beautiful people are You got so many crazy kind of animals And at night you got millions of stars But you must love one another I see those aboriginals standing outside the bar You must love one another Well I'm standing at the crossroads Don't know which way to go I'm standing at the crossroads Don't know which way to go Some people take the high road Some people take the low Way back among the woods among the evergreens Down near New Orleans A ??? A little boy named Johnny B Goode Never ever learned to read or write too well But he guitar just like a ringing a bell Oh oh (go) Go Johnny go go go go-oh Go Johnny go go go woo Go Johnny go go go Go Johnny go go go Oh oh-oh oh-ah Johnny be good No bridge [Spoken] If you are standing at the crossroads And you don't feel well You see Johnny guitar And he's playing just like a ringing a bell Then you must tell him this Tell him that the high road goes to heaven But the low road goes to hell Go go Johnny go go go, take that high road Go go Johnny go go go, take that high road See that cross made of wood, little Johnny be good Thanks for coming to the last concert of the last tour And if you're standing at the crossroads and you don't know which way to go Just remember Jesus is coming back to earth Sweet chariot's gonna swing low [Spoken] Standing at the crossroads, which way should we go Standing at the crossroads, which way should we go And Jesus stands at your heart and he keeps on knocking and knocking on your door He keeps on knocking on your door Go wo-oh Wey til kingdom come
[Go to Song Page] Steel my heart and hold my tongue I feel my time, my time has come Let me in, unlock the door I've never felt this way before The wheels just keep on turning The drummer begins to drum Don't know which way I'm going Don't know which way I've come Hold my head inside your hands I need someone who understands I need someone, someone who hears For you I've waited all these years For you I'd wait 'til kingdom come Until my day, my day is done Just say you'll come and set me free Say you'll wait, you'll wait for me In your tears and in your blood In your fire and in your flood I hear you laugh, I hear you sing I wouldn't change a single thing The wheels just keep on turning The drummers begin to drum Don't know which way I'm going I don't know what I've become For you I'd wait 'til kingdom come (Ah-ah) Until my days, my days are done (Ah-ah) So say you'll come and set me free (Aah) Just say you'll wait, you'll wait for me (Aah) Just say you'll wait, you'll wait for me (Aah) Just say you'll wait, you'll wait for me (Aah) crossroads (studio rough mix)
[Go to Song Page] Well I'm standing at the crossroad Not sure which way to go Well I'm standing at the crossroad Don't know which way to go Should I climb up that high road Or should I stick to the low Well that high road looks hard now It goes straight up to the sky That high road is steep mama Goes straight up to the sky Well the low road looks easy I just might take it by and by I'm just standing at the crossroad Not sure which way to go Well I'm standing at the crossroad Not sure which way to go Should I take that high road Or keep on walking the low Well I'm standing at the crossroad Don't know which way to go Well I'm standing at the crossroad Don't know which way to go Should I take that high road Or should I stay on the low Won't somebody help me I just can't make up my mind Well won't somebody help me I just can't make up my mind Well I'm just standing at the crossroads And I'm just looking for a sign Well I'm just standing at the crossroad Don't know which way to go Well I'm standing at the crossroads Don't know which way to go Should I climb up that high road Or should I stick to the low 'Cause I've been tripping and stumbling I cried the whole night long And I've been roving and tumbling I cried the whole night long On won't somebody help me Jesus I'm just not that strong Two CD singles packaged in a gatefold plastic case
|
The Road That Leads To Home [2006]
|
|
Conscription 2007 [2007]
|
|
Lost Unto This World [2007]
|
|
Rough Mix Audio Pack [2009]
|
This was part of an SRA package which shipped in February 2009.
|
Covert Field Report [2009]
|
This was part of an SRA package which shipped in early December 2009.
|
Tactical Maneuvers [2009]
|
This was part of an SRA package which shipped in late December 2009.
|
Solid Rock Army 2010 Disc 001 [2010]
|
This was part of an SRA package which shipped in April 2010.
|
Solid Rock Army 2010 Disc 002 [2010]
|
This was part of an SRA package which shipped in December 2010. Tracks 1 to 6 are recordings of Larry's performance at the White House in 1980.
The package also contained a DVD of the tribute concert performance from the Seaside Festival in Norway, July 2009. |
The Girl With The Golden Hair [2011]
|
|
The Living Room Tapes Vol. 1 [2011]
|
|
The Living Room Tapes Vol. 2 [2012]
|
This was part of an SRA package which shipped in April 2012.
|
The Living Room Tapes Vol. 3 [2013]
|
This was part of a 2012 membership SRA package which shipped in early 2013.
|
The Living Room Tapes Vol. 4 [2013]
|
This was part of the 2013 membership SRA package, which shipped in December 2013.
|
Shepherd Of Green Pastures [2013]
|
This was part of the 2013 membership SRA package, which shipped in December 2013.
|
|
Capitol P 5920
7" promotional single, May 1967 
|
Matrix side one: Etched '45-57580-F-1.' and Los Angeles pressing plant symbol
Matrix side two: Etched '45-57581-F-1.' and Los Angeles pressing plant symbol
Matrix side two: Etched '45-57581-F-1.' and Los Angeles pressing plant symbol
|
Capitol 5920
7" single, May 1967 
|
Matrix side one: Etched '45-57580-F-1.' and Los Angeles pressing plant symbol
Matrix side two: Etched '45-57581-F-1.' and Los Angeles pressing plant symbol
Both sides also have a stamped '1'. This is at an angle on side two
Matrix side two: Etched '45-57581-F-1.' and Los Angeles pressing plant symbol
Both sides also have a stamped '1'. This is at an angle on side two
|
Capitol P 2078
7" promotional single, January 1968 
|
Matrix side two: Etched '45-58821-F-1.' and Los Angeles pressing plant symbol
Matrix side one: Etched '45-58820-F-1.' and Los Angeles pressing plant symbol
Both sides also have a stamped '1'
Matrix side one: Etched '45-58820-F-1.' and Los Angeles pressing plant symbol
Both sides also have a stamped '1'
|
Capitol 33 M 2078
7" promotional single, 1968, Argentinian release 
|
Matrix side one: Stamped '37CAP-F 2563'
Matrix side two: Stamped '37CAP-F 2564'. There is also what looks like a half height back slash before the five, and an etched 'o' elsewhere
Although the label indicates 4:37, this is actually the 3:33 'medium' length mono mix of I Love You
The record plays at 33RPM, and the song titles are printed in Argentinian Spanish too: Te Amo / Alguien Dice Mi Nombre
Matrix side two: Stamped '37CAP-F 2564'. There is also what looks like a half height back slash before the five, and an etched 'o' elsewhere
Although the label indicates 4:37, this is actually the 3:33 'medium' length mono mix of I Love You
The record plays at 33RPM, and the song titles are printed in Argentinian Spanish too: Te Amo / Alguien Dice Mi Nombre
|
Capitol 2078
7" single, January 1968, US Scranton pressing 
|
|
Kode: 7ILY-US13
Kode: 7ILY-US2
Kode: 7ILY-US3
Kode: 7ILY-US8
Kode: 7ILY-US11
|
Matrix side one: Etched '45-58821-T2' and Scranton pressing plant symbol
Matrix side two: Etched '45-58820-T2' and Scranton pressing plant symbol Matrix side one: Etched '45-58821-T2 #3' and Scranton pressing plant symbol. Note that the '3' is stamped
Matrix side two: Etched '45-58820-T2 #4' and Scranton pressing plant symbol Matrix side one: Etched '45-58821-T2 #4' and Scranton pressing plant symbol
Matrix side two: Etched '45-58820-T2 #4' and Scranton pressing plant symbol Matrix side one: Etched '45-58821-T2 #2' and Scranton pressing plant symbol. Note that the '2' on the end is stamped
Matrix side two: Etched '45-58820-T2 #4' and Scranton pressing plant symbol Matrix side one: Etched '45-58821-T2 #4' and Scranton pressing plant symbol
Matrix side two: Etched '45-58820-T2 #2' and Scranton pressing plant symbol. Note that the '2' on the end is stamped |
|
Kode: 7ILY-US12
|
Matrix side one: Etched '45-58821-T2 #4' and Scranton pressing plant symbol
Matrix side two: Etched '45-58820-T2 #5' and Scranton pressing plant symbol. Note that the '5' on the end is stamped. Thanks to Robert Termorshuizen for advising the existence of this variant |
|
Kode: 7ILY-US15
|
Matrix side one: Etched '45-58821-T2 #2' and Scranton pressing plant symbol
Matrix side two: Etched '45-58820-T2 #2' and Scranton pressing plant symbol Note that the '2' on the end of both sides is stamped |
|
Capitol 2078
7" single, January 1968, US Los Angeles pressing 
|
Matrix side one: Etched '45-58821-F-1.' and Los Angeles pressing plant symbol
Matrix side two: Etched '45-58820-F-1.' and Los Angeles pressing plant symbol
Matrix side two: Etched '45-58820-F-1.' and Los Angeles pressing plant symbol
|
Capitol 2078
7" single, January 1968, US Scranton pressing, label variation 
|
|
Kode: 7ILY-US5
Kode: 7ILY-US16 |
Matrix side one: Etched '45-58821-T2 #2' and Scranton pressing plant symbol. Note that the '2' on the end is stamped
Matrix side two: Etched '45-58820-T2 #2' and Scranton pressing plant symbol. Note that the '2' on the end is stamped Matrix side one: Etched '45-58821-T2' and Scranton pressing plant symbol Matrix side two: Etched '45-58820-T2' and Scranton pressing plant symbol |
|
Capitol 2078
7" single, January 1968, US, label variation 
|
|
Kode: 7ILY-US6
Kode: 7ILY-US10
|
Matrix side one: Etched '45-58821-T2 #4' and Scranton pressing plant symbol
Matrix side two: Etched '45-58820-T2 #2' and Scranton pressing plant symbol. Note that the '2' on the end is stamped Matrix side one: Etched '45-58821-F-2.' and Los Angeles pressing plant symbol. Also has a stamped '2'
Matrix side two: Etched '45-58820-F-1.' and Los Angeles pressing plant symbol. Also has a stamped '1' |
|
Capitol 2078
7" single, 1968, Canadian pressing 
|
Matrix side one: Etched '45-58821'
Matrix side two: Etched '45-58820'. Both sides also have an etched 'X' and a 'T'
Matrix side two: Etched '45-58820'. Both sides also have an etched 'X' and a 'T'
|
Capitol 2078
7" single, 1969, US Los Angeles pressing 
|
Matrix side one: Stamped '45-58821-F2 4' and Los Angeles pressing plant symbol
Matrix side two: Stamped '45-58820-F1 1' and Los Angeles pressing plant symbol
This label design was used between April 1969 and June or July 1969. Thanks to Mike Rohlinger for advising the existence of this variant, and for providing images
Matrix side two: Stamped '45-58820-F1 1' and Los Angeles pressing plant symbol
This label design was used between April 1969 and June or July 1969. Thanks to Mike Rohlinger for advising the existence of this variant, and for providing images
|
Capitol 2078
7" single, 1970-1972, US Jacksonville pressing 
|
Matrix side one: Etched '58821 1 2078 H10#1'
Matrix side two: Etched '58820 2 2078 H10#1'. Both sides also have a stamped O
This label design was used between October 1970 and November 1972
Matrix side two: Etched '58820 2 2078 H10#1'. Both sides also have a stamped O
This label design was used between October 1970 and November 1972
|
Capitol 6353
7" single, 1968, Mexico, promotional copy [Possibly Fake] 
|
Matrix side one: Etched '6353-A-Pm-R'
Matrix side two: Etched '6353-B-R-Pm', '23-1-68'
Note: This release, or at least the copy shown may be a counterfeit. If you look closely at the labels, they appear to have been cut by hand rather than die cut, and have probably been glued over the labels of a stock copy
The moral of the story - be very wary of purchasing from sellers in Mexico. Many are reputable of course, but there is a relatively high percentage who sell counterfeits - fake labels glued over the top of the real ones, counterfeit or fake picture sleeves and so on
Matrix side two: Etched '6353-B-R-Pm', '23-1-68'
Note: This release, or at least the copy shown may be a counterfeit. If you look closely at the labels, they appear to have been cut by hand rather than die cut, and have probably been glued over the labels of a stock copy
The moral of the story - be very wary of purchasing from sellers in Mexico. Many are reputable of course, but there is a relatively high percentage who sell counterfeits - fake labels glued over the top of the real ones, counterfeit or fake picture sleeves and so on
|
Capitol 6353
7" single, 1968, Mexico 
|
Matrix side one: Etched '6353-A-Pm-'
Matrix side two: Etched '6353-B-Pm'
Some copies came with a fold out picture sleeve. Thanks to Robert Termorshuizen for proving these sleeve images
Matrix side two: Etched '6353-B-Pm'
Some copies came with a fold out picture sleeve. Thanks to Robert Termorshuizen for proving these sleeve images
|
Capitol 6353
7" single, 1968, Mexico, label variation 
|
Matrix side one: Etched '6353-A-Pm-R'
Matrix side two: Etched '6353-B-R-Pm', '23-1-68'
Matrix side two: Etched '6353-B-R-Pm', '23-1-68'
|
Capitol 6353
7" single, 1968, Mexico, label variation 
|
Matrix side one: Etched '6353-A-Pm-R'
Matrix side two: Etched '6353-B-R-Pm', '23-1-68'
Note that the song lengths on the Mexican single are shorter than on all other releases, at 4:21 and 2:49 respectively. These are not shorter edits so must have been pressed with a slightly faster play speed
Matrix side two: Etched '6353-B-R-Pm', '23-1-68'
Note that the song lengths on the Mexican single are shorter than on all other releases, at 4:21 and 2:49 respectively. These are not shorter edits so must have been pressed with a slightly faster play speed
|
Capitol CL 15553
7" single, June 1968, UK, promotional copy 
|
Matrix side one: Stamped 'F 58821-1'. Also has a 'G' and a '1', both on their side
Matrix side two: Stamped 'F 58820-1'. Also has a 'G' and a '1', both on their side, and the letters 'KT'
Unlike in many other countries, I Love You did not sell well in the UK, and promotional copies are actually easier to find than stock ones
Matrix side two: Stamped 'F 58820-1'. Also has a 'G' and a '1', both on their side, and the letters 'KT'
Unlike in many other countries, I Love You did not sell well in the UK, and promotional copies are actually easier to find than stock ones
|
Capitol CL 15553
7" single, June 1968, UK, stock promotional copy 
|
Matrix side one: Stamped 'F 58821-1'. Also has an 'R' and a '1', both on their side
Matrix side two: Stamped 'F 58820-1'. Also has an 'R' and a '1', both on their side, and the letters 'KT'
Note that the publishing details on the labels are incorrect. Verulam Music relates to The Zombies, and so should be on the I Love You label rather than Somebody Tell Me My Name
Matrix side two: Stamped 'F 58820-1'. Also has an 'R' and a '1', both on their side, and the letters 'KT'
Note that the publishing details on the labels are incorrect. Verulam Music relates to The Zombies, and so should be on the I Love You label rather than Somebody Tell Me My Name
|
Capitol CL 15553
7" single, June 1968, UK 
|
Same matrix and label error as 7ILY-UK2
|
Capitol CL 15553
7" single, 1968, Scandinavia 
|
Matrix side one: Stamped 'F 58821 1'
Matrix side two: Stamped 'F 58820 1'
Note that the publishing details on the labels are incorrect. Verulam Music relates to The Zombies, and so should be on the I Love You label rather than Somebody Tell Me My Name
Matrix side two: Stamped 'F 58820 1'
Note that the publishing details on the labels are incorrect. Verulam Music relates to The Zombies, and so should be on the I Love You label rather than Somebody Tell Me My Name
|
Capitol F 2078
7" single, 1968, Holland 
|
Matrix side one: Etched '45-58821//10.042-1'
Matrix side two: Etched '45-58820//10.041-1'
Matrix side two: Etched '45-58820//10.041-1'
|
Capitol CLF 2078
7" single, 1968, France 
|
Matrix side one: Stamped '58821 21', 'M3 259772'
Matrix side two: Stamped '58820 21', 'M3 259773'
Matrix side two: Stamped '58820 21', 'M3 259773'
|
Capitol K 23827
7" single, 1968, Germany 
|
Matrix side one: Stamped 'CAP-45-58821-1'
Matrix side two: Stamped 'CAP-45-58820-1'
Note that the German single label indicates I Love You length as 4:30, whereas most other releases denote 4:37. The actual song length is close to 4:30 on all releases, apart from the Mexican single
Matrix side two: Stamped 'CAP-45-58820-1'
Note that the German single label indicates I Love You length as 4:30, whereas most other releases denote 4:37. The actual song length is close to 4:30 on all releases, apart from the Mexican single
|
Capitol CP-1729
7" single, 1968, Australia, promotional copy 
|
Matrix side one: Etched '45 58821', '7XCAP1537'
Matrix side two: Etched '45 58820', '7XCAP1538'
Note that the Australian single label indicates song lengths of 4:23 and 2:49, whereas most other releases denote 4:37 and 2:49. The actual song lengths are more like 4:30 and 2:52 on all releases, apart from the Mexican single
Matrix side two: Etched '45 58820', '7XCAP1538'
Note that the Australian single label indicates song lengths of 4:23 and 2:49, whereas most other releases denote 4:37 and 2:49. The actual song lengths are more like 4:30 and 2:52 on all releases, apart from the Mexican single
|
Capitol CP-1729
7" single, 1968, Australia 
|
Matrix side one: Etched '45 58821', '7XCAP1537'
Matrix side two: Etched '45 58820', '7XCAP1538'
Note that the Australian single label indicates song lengths of 4:23 and 2:49, whereas most other releases denote 4:37 and 2:49. The actual song lengths are more like 4:30 and 2:52 on all releases, apart from the Mexican single
Matrix side two: Etched '45 58820', '7XCAP1538'
Note that the Australian single label indicates song lengths of 4:23 and 2:49, whereas most other releases denote 4:37 and 2:49. The actual song lengths are more like 4:30 and 2:52 on all releases, apart from the Mexican single
|
Capitol F.2078
7" single, 1968, New Zealand 
|
Matrix side one: Etched '45 · 58821'
Matrix side two: Etched '45 · 58820'
Matrix side two: Etched '45 · 58820'
|
Capitol CR-1960
7" promotional single, 1968, Japan 
|
Images 'borrowed' from the internet
|
Capitol CR-1960
7" single, 1968, Japan [Four page paper sleeve] 
|
Matrix side one: Stamped '45-58821', '1S', '1'
Matrix side two: Stamped '45-58820', '1S', '3', '8G'
Matrix side two: Stamped '45-58820', '1S', '3', '8G'
|
Capitol CL 15553
7" single, 1968, Hong Kong / Malaysia / South East Asia 
|
Matrix side one: Etched 'F 58821' plus a small stamped '1'
Matrix side two: Etched 'F 58820'
Matrix side two: Etched 'F 58820'
|
Capitol 7C-11.072
7" single, 1968, Brazil 
|
Matrix side one: Stamped '58819'
Matrix side two: Stamped '52757' [Scored out], '59787'
Matrix side two: Stamped '52757' [Scored out], '59787'
|
Capitol 7C-11.072
7" single, 1968, Brazil [Clearance stamp on labels] 
|
Matrix side one: Stamped '58819'
Matrix side two: Stamped '59787'
Matrix side two: Stamped '59787'
|
Capitol CU-1445
7" single, 1968, Nicaragua 
|
|
Capitol CU-1445
7" single, 1968, Nicaragua, alternate labels |
|
|
Matrix side one: Etched 'SISA-M- 1445-1'
Matrix side two: Etched 'SISA-M- 1445-2'
Matrix side two: Etched 'SISA-M- 1445-2'
|
Capitol P 2251
7" single, 1968, US, Promotional copy 
|
Matrix side one: Etched '45-70156-F-1.', botched stamped '1' on its side and Los Angeles pressing plant symbol
Matrix side two: Etched '45-59789-F-1.', botched stamped '1' on its side and Los Angeles pressing plant symbol
Billboard Magazine, August 10, 1968: (Prod. Capt. Mikey) (Writers: People) (Beechwood, BMI)-Their "I Love You" proved a smash for them and this driving rock item from the musical "Alison," loaded with discotheque appeal, has much of the sales potential of the recent hit. Strong production work. Flip: Ashes Of Me (Beechwood, BMI). [Billboard predicted that this single would reach the top 60 of the Hot 100 Chart - it didn't]
Matrix side two: Etched '45-59789-F-1.', botched stamped '1' on its side and Los Angeles pressing plant symbol
Billboard Magazine, August 10, 1968: (Prod. Capt. Mikey) (Writers: People) (Beechwood, BMI)-Their "I Love You" proved a smash for them and this driving rock item from the musical "Alison," loaded with discotheque appeal, has much of the sales potential of the recent hit. Strong production work. Flip: Ashes Of Me (Beechwood, BMI). [Billboard predicted that this single would reach the top 60 of the Hot 100 Chart - it didn't]
|
Capitol P 2251
7" single, 1968, US, Promotional copy, Alternate labels 
|
Matrix side one: Etched '45-70156-F-1.', botched stamped '1' on its side and Los Angeles pressing plant symbol
Matrix side two: Etched '45-59789-F-1.', stamped '2' and Los Angeles pressing plant symbol
Matrix side two: Etched '45-59789-F-1.', stamped '2' and Los Angeles pressing plant symbol
|
Capitol 2251
7" single, 1968, US Los Angeles Pressing 
|
Matrix side one: Etched '45-70156-F-1.', botched stamped '1' on its side and Los Angeles pressing plant symbol
Matrix side two: Etched '45-59789-F-1.', stamped '2' and Los Angeles pressing plant symbol
Matrix side two: Etched '45-59789-F-1.', stamped '2' and Los Angeles pressing plant symbol
|
Capitol 2251
7" single, 1968, US Scranton Pressing 
|
Matrix side one: Etched '45-70156-T2' and Scranton pressing plant symbol
Matrix side two: Etched '45-59789-P1' and Scranton pressing plant symbol
Matrix side two: Etched '45-59789-P1' and Scranton pressing plant symbol
|
Capitol 2251
7" single, 1968, US Scranton Pressing, Label Variation 
|
Matrix side one: Etched '45-70156-P1#2' and Scranton pressing plant symbol
Matrix side two: Etched '45-59789-T2' and Scranton pressing plant symbol
Matrix side two: Etched '45-59789-T2' and Scranton pressing plant symbol
|
Capitol 2251
7" single, 1968, Canada 
|
Matrix side one: Etched '45-70156-P3'
Matrix side two: Etched '45-59789-P3'
Matrix side two: Etched '45-59789-P3'
|
Capitol F.2251
7" single, 1968, New Zealand 
|
Matrix side one: Etched '45.70156'
Matrix side two: Etched '45.59789'
Matrix side two: Etched '45.59789'
|
Capitol P4481 / P4482
7" promotional single, 1968, US 
|
Matrix side one: Etched 'PRO-4481-F-1.', Also has a very lightly stamped '1' and the Los Angeles pressing plant symbol
Matrix side two: Etched 'PRO-4482-F-1.', Also has a stamped '1' and the Los Angeles pressing plant symbol
Matrix side two: Etched 'PRO-4482-F-1.', Also has a stamped '1' and the Los Angeles pressing plant symbol
|
Capitol EAP 21103
7" EP, 1968, Spain 
|
Matrix side one: Stamped 'EAP 1 21103', '[Diamond]G' on their side, and a sideways '1'
Matrix side two: Stamped '850 EAP 21103 [Upside down triangle]=1', [Diamond] 'G' on their side
Matrix side two: Stamped '850 EAP 21103 [Upside down triangle]=1', [Diamond] 'G' on their side
|
Capitol EAP-21109
7" EP, 1968, Mexico 
|
Matrix side one: Etched 'EAP-21109 (EAP1-21109) 26-V11-68', Also has two symbols and a sideways '1'
Matrix side two: Etched 'EAP-21109(EAP2-21109) 26-V11-68', Also has two symbols and a very faint '1' at an angle
Matrix side two: Etched 'EAP-21109(EAP2-21109) 26-V11-68', Also has two symbols and a very faint '1' at an angle
|
Capitol EAP-21197
7" EP, 1968, Mexico, promotional copy, Possibly fake 
|
Matrix side one: Etched 'EAP-1-21197-A'. Also has a sideways '1'
Matrix side two: Etched 'EAP-2-21197-B', '1'
Matrix side two: Etched 'EAP-2-21197-B', '1'
|
Capitol EAP-21197
7" EP, 1968, Mexico 
|
|
Kode: 7ILY-ME6
Kode: 7ILY-ME7
|
Matrix side one: Etched 'EAP-1-21197-A'. Also has a sideways '1'
Matrix side two: Etched 'EAP-21197-B'. Also has a sideways '2' Matrix side one: Etched 'EAP-1-21197-A'. Also has a sideways '1'
Matrix side two: Etched 'EAP-2-21197-B', '1' |
|
Capitol EAP-21312
7" EP, 1968, Mexico 
|
Matrix side one: Etched 'EAP-1-21312.'
Matrix side two: Etched 'EAP.2.21312.'
Matrix side two: Etched 'EAP.2.21312.'
|
Top 4 EX-4271
7" EP, Unknown year, Iran 
|
Matrix side one: Stamped '4271A TP619'
Matrix side two: Stamped '4271P TP620'
Matrix side two: Stamped '4271P TP620'
|
Top 4 EX-4271
7" EP, Unknown year, Iran, alternate sleeve 
|
Matrix side one: Stamped '4271A TP619'
Matrix side two: Stamped '4271P TP620'
Matrix side two: Stamped '4271P TP620'
|
Capitol 6224, Starline issue
7" single, unknown year, US 
|
Matrix side one: Etched ’45-58821’, ‘-J11’, ‘J. [Winchester pressing plant symbol]. Also has stamped ‘MASTERED BY CAPITOL’
Matrix side two: Etched ’45-58028-J13', '. [Winchester pressing plant symbol]’
This label design was used from late 1972 to September 1975
Matrix side two: Etched ’45-58028-J13', '. [Winchester pressing plant symbol]’
This label design was used from late 1972 to September 1975
|
Capitol 6224, Starline issue
7" single, unknown year, US, "Capitain" spelling error corrected 
|
Matrix side one: Etched ’45-58821-F-13.’, [Los Angeles pressing plant symbol]. Also has stamped ‘MASTERED BY CAPITOL’ and a sideways '1'
Matrix side two: Etched ’45-58028-J-12.', ‘J.M’, [Los Angeles pressing plant symbol]. Also has stamped ‘MASTERED BY CAPITOL’ and a sideways '1'
This label design was used from late 1972 to September 1975
Matrix side two: Etched ’45-58028-J-12.', ‘J.M’, [Los Angeles pressing plant symbol]. Also has stamped ‘MASTERED BY CAPITOL’ and a sideways '1'
This label design was used from late 1972 to September 1975
|
Capitol 6224, Starline issue
7" single, unknown year, US, additional circumference text 
|
Matrix side one: Etched ’58821 6224 H10#1’, ‘J.M.’, [Jacksonville pressing plant symbol]. Also has stamped ‘MASTERED BY CAPITOL’
Matrix side two: Etched ’58028 6224 H10#1’, [Jacksonville pressing plant symbol]’, ‘J.M’. Also has stamped ‘MASTERED BY CAPITOL’
This label design was used from around October 1975 to March 1978
Matrix side two: Etched ’58028 6224 H10#1’, [Jacksonville pressing plant symbol]’, ‘J.M’. Also has stamped ‘MASTERED BY CAPITOL’
This label design was used from around October 1975 to March 1978
|
Capitol 6224, Starline issue
7" single, unknown year, US 
|
Matrix side one: Etched ’45-58821', ‘-J11’, ‘J. [Winchester pressing plant symbol]. Also has stamped ‘MASTERED BY CAPITOL’
Matrix side two: Etched ’45-58028-J13', [Winchester pressing plant symbol]
This label design was used from around March 1978, until late 1981
Matrix side two: Etched ’45-58028-J13', [Winchester pressing plant symbol]
This label design was used from around March 1978, until late 1981
|
Capitol 6224, Starline issue
7" single, unknown year, US, "Capitain" spelling error corrected 
|
Matrix side one: Etched ’45-58821-F-13.’, [Los Angeles pressing plant symbol]. Also has stamped ‘MASTERED BY CAPITOL’ and a sideways '1'
Matrix side two: Etched ’45-58028-J-12.', ‘J.M’, [Los Angeles pressing plant symbol]. Also has stamped ‘MASTERED BY CAPITOL’ and a sideways '1'
This label design was used from around March 1978, until late 1981
Matrix side two: Etched ’45-58028-J-12.', ‘J.M’, [Los Angeles pressing plant symbol]. Also has stamped ‘MASTERED BY CAPITOL’ and a sideways '1'
This label design was used from around March 1978, until late 1981
|
Capitol X-6224, Starline issue
7" single, unknown year, US 
|
Matrix side one: Etched ’45-58821’, ‘-J11’, ‘J. [Winchester pressing plant symbol], ‘6224’. Also has stamped ‘MASTERED BY CAPITOL’
Matrix side two: Etched ’58028 X6224 H10#1’, ‘J.M’, [Jacksonville pressing plant symbol]’. Also has stamped ‘MASTERED BY CAPITOL’
The blue Starline label design was used from November 1981 to July 1983
Matrix side two: Etched ’58028 X6224 H10#1’, ‘J.M’, [Jacksonville pressing plant symbol]’. Also has stamped ‘MASTERED BY CAPITOL’
The blue Starline label design was used from November 1981 to July 1983
|
Capitol X-6224, Starline issue
7" single, unknown year, US 
|
Matrix side one: Etched ’45-58821’, ‘[symbol] -J11’, ‘0-1’, ‘J. [Winchester pressing plant symbol], ‘6224’. Also has stamped ‘MASTERED BY CAPITOL’
Matrix side two: Etched ’58028 X6224 H10#1’, ‘SP 0-1’, ‘J.M’, [Jacksonville pressing plant symbol]’. Also has stamped ‘MASTERED BY CAPITOL’
This label design was used from 1986, until mid 1988
Matrix side two: Etched ’58028 X6224 H10#1’, ‘SP 0-1’, ‘J.M’, [Jacksonville pressing plant symbol]’. Also has stamped ‘MASTERED BY CAPITOL’
This label design was used from 1986, until mid 1988
|
Capitol X-6224, Starline issue
7" single, unknown year, US 
|
Matrix side one: Etched ’45-58821’, ‘[symbol] -J11’, ‘0-1’, ‘J. [Winchester pressing plant symbol], ‘6224’. Also has stamped ‘MASTERED BY CAPITOL’
Matrix side two: Etched ’58028 X6224 H10#1’, ‘SP 0-1’, ‘J.M’, [Jacksonville pressing plant symbol]’. Also has stamped ‘MASTERED BY CAPITOL’
The purple Starline label was introduced in mid 1988
Matrix side two: Etched ’58028 X6224 H10#1’, ‘SP 0-1’, ‘J.M’, [Jacksonville pressing plant symbol]’. Also has stamped ‘MASTERED BY CAPITOL’
The purple Starline label was introduced in mid 1988
|
Capitol 1A 006-86323, Popcorn Oldies issue
7" single, 1981, Holland 
|
Note that I Love You is incorrectly identified as being performed by The Human Beinz on both the sleeve and label. It is People's recording of the song
|
This is a full studio recording
This song remained unreleased until its inclusion on the bonus CD [Archive] given with Solid Rock pre-orders of Gregory Thornbury's biography of Larry, which was released on March 20, 2018. The book is titled Why Should The Devil Have All The Good Music: Larry Norman And The Perils Of Christian Rock |
|
|
|
Changes
|
|
|
Non-cropped photograph included here, as the note written on the sleeve is interesting
|
|
|
Giant Man [Also known as I Want You To Know]
|
|
|
This is a full studio recording
This song remained unreleased until its inclusion on the bonus CD [Archive] given with Solid Rock pre-orders of Gregory Thornbury's biography of Larry, which was released on March 20, 2018. The book is titled Why Should The Devil Have All The Good Music: Larry Norman And The Perils Of Christian Rock |
|
|
Let Me Down Easy
|
|
|
Marvin David Walter Lincoln Jones
|
|
|
To Feel Like A Woman
Both of these acetates feature Trudy Johnson demoing Larry's song. One is performed like a ballad whilst the other is a more upbeat band version
There is also a recording in the archives of Larry performing this song himself |
|
|
