Upon This Rock

1970 / 1971

Published on Bandcamp on June 25, 2021

This is disc one of the 2002 double CD edition

This album was recorded for Capitol Records in 1969, but almost all evidence points to it not being issued until 1970. It is believed that initial test pressings and promotional copies may date from December 1969. Capitol pressed 20000 copies and dropped Larry from the label soon after the album's release. Larry later revealed that he had not been happy with how the album had turned out, and that he had convinced Capitol to give him access to the master tapes to enable a remix / partial re-recording. Larry's remix is the version that was leased to Benson / Impact, and went on to sell very well worldwide under a variety of labels. The Impact version was released in early 1971, probably April

"When I did the second album "Upon This Rock" the theme was "Let there be a firmament in the midst of the waters." So - - - "rock" is the "firmament" and the watery blue cover is both sky and water. Though I'm flying, people also correctly mistook the photo to show that I was swimming. And the evening and the morning were the second day"

"Beechwood Version" (Capitol) - Only ever released on vinyl. All subsequent releases reflect the "Larry Norman version"

prelude

[Go to Song Page]

Instrumental

you can't take away the lord

[Go to Song Page]

You can take away my kids
Take away my wife
You can take away my job
You can take away my life
You can take away my house
Take away my Ford
But you can't take away the Lord

Now listen Satan

You just can't take away the church
Or the bible book
Unless you wanna waste your time
You better take a second look
'Cause you can't take away my shield
Can't take away my sword
And you can't take away the Lord

Well he made me and he saved me, ba ba ba
And I follow after
Everywhere he leads
There's peace and laughter
Laughing in the spirit
Listen and you'll hear it

You can take away the pill
And the atom bomb
Take away Einstein's theories
And the things all yet to come
You could'a took away the wheel
With the dinosaur
But you can't take away the Lord, oh no

Well he made me and he saved me, ba ba ba ba-ow
And I follow after
Everywhere he leads
There's peace and laughter
Laughing in the spirit
Listen and you'll hear it

You can take away the pill
And the atom bomb
Take away Einstein's theories
And the things all yet to come
You could'a took away the wheel
With the dinosaur
But you can't take away the Lord

Na na na no you'll never take away
My sweet reward
'Cause you can't take away the Lord

i don't believe in miracles

[Go to Song Page]

I don't believe in miracles
I know what's real, I don't pretend
I don't believe in miracles
Or stories with a happy end
Life is no one's friend

But when we met I felt so free
And suddenly I felt a change come over me
Do you suppose a miracle is happening to me

I don't believe in miracles
I've been around, I've seen enough
The only way to get along you must be strong
You must be tough
Life is one big bluff

But then you opened up the door
An' I walked right in and all my fears fell on the floor
Do you suppose a miracle is happening to me

Pa [x35]

But then you opened up the door
An' I walked right in and all my fears fell on the floor
Do you suppose

I don't believe in miracles
I know what's real, I don't pretend
I don't believe in miracles
Or stories with a happy end
Life is no one's friend

But then we met and suddenly
I felt so strange
I felt a change come over me
Do you suppose a miracle is happening to me
Do you suppose a miracle is happening to me
Do you suppose a miracle is happening to me

moses in the wilderness

[Go to Song Page]

Moses tending sheep in the fields one day
When he thought he heard a burning scrub-brush say
Gotta free your people
From the Pharaoh's hand
Gotta take 'em all to the promised land
Moses knew that God was talking to him
So he set off to Egypt with a vigor and vim
And Moses bugged the Pharaoh, he bugged him
And he bugged him
'Till he got his people freed

He used real bugs

Yes indeed, ow ow
He got his people freed

Ow ow ow ow [x2]

Moses on the banks of the wide Red Sea
He stuck out a stick and one two three
The water rolled back
And the people walked down
Everybody knew they wouldn't drown
Pharaoh told his army to bring 'em all back
An' here come the chariots, clickety clack
Why Moses took his stick
And he closed up the water
An' the 'Gyptians all took a bath

Ow ow ow ow
What a laugh
Ow they all took a bath
Ow ow ow [cough] ow
Ow ow ow ow
Dirty 'Gyptians

Grab my foot, take my hand
Lead me on to the promised land
Milk and honey, milk and honey
Milk and honey, milk and honey

Me and all my people is here
So keep on sending manna
From the atmosphere
Milk and honey, milk and honey
Milk and honey, milk and honey

After forty long years in the wilderness
They finally saw their potential metropolis
They all gave thanks
And they all praised the Lord
Even though it took time he kept his word
He grab their foot and he tooken their hand
And he brung 'em all over
To the promised land
But it seems to me like an awful long time to be
Looking for a home

Ow ow ow ow
A mighty long roam, home
Looking for a home, a home a home
Never borrow money needlessly [cough]

walking backwards down the stairs

[Go to Song Page]

Walking backwards down the stairs
Trying to get higher
How can I get anywhere
Walking backwards down the stairs

Watching life elude me
Slipping through my grasp
Oh I know the truth at last
But to reach the top I've got to stop from

Walking backwards down the stairs
Trying to get higher
How can I get anywhere
Walking backwards down the stairs

People stop to watch me
Wonder what I'm doing
What direction I'm pursuing
I pretend I'm free but actually I'm

Walking backwards down the stairs
Trying to get higher, higher
How can I get anywhere
Walking backwards down the stairs

ha ha world

[Go to Song Page]

Ha ha world
Every day I used to write you a letter
But you never wrote back
And you never made me feel any better

Always sat in here
Fretting and getting confused
Halfway desperate
For a headline of hope in the news
When the telephone rang
I spilled it all over my sweater
Oh yeah

The call was for me
And I answered the phone in the kitchen (Ha ha world, ha ha world)
But the room was too hot
I forgot I was cooking my chicken (Ha ha world, ha ha world)

I was burning like hell
But the stove wasn't on
Then the voice on the line
Says the chicken is gone
The receiver goes dead and it
Hums while the plot starts to thicken
Oh oh yeah oh

Would I have hung up the phone had I known
The whole room would start swaying (Ha ha world, ha ha world)
I was instantly cold
And I knew why my life wasn't paying (Ha ha world, ha ha world)
I had money and fame
But my wealth wasn't wise
What good are the coins on a dead man's eyes
And the ringing of chimes in my head
Said it's time to start praying
Oh oh yeah oh

I’ve been sitting here praying
And laying up treasures in heaven (Ha ha world, ha ha world)
I was home and the front door was locked
When the clock struck eleven (Ha ha world, ha ha world)
I heard the bride outside yell millennium
Though the sun was still up
The twelfth hour has come
The bible says
Without a vision the people perish

sweet sweet song of salvation

[Go to Song Page]

Na na na na na na na na
Na na na na na na nada na
Na na na na na na na na
Na na na na na na nada na na

When you know a pretty story
You don't let it go unsaid
You tell it to your children
As you tuck them into bed
And when you know a wonderful secret
You tell it to your friends
Because a lifetime filled with happiness
Is like a street that never ends

Alright
Sing that sweet sweet song of salvation
And let your laughter fill the air
Sing that sweet sweet song of salvation
And tell the people everywhere
A-sing that sweet sweet song of salvation
To every man, every nation
Sing that sweet sweet song of salvation
And let the people know that Jesus cares

Na na na na na na na na
Na na na na nada na na na
Na na na na na na na na
Na na na na na na da da na na

Well look around you as you sing it
There are people everywhere
And to those who stop to listen
Your sweet song becomes a prayer
'Cause when you know a wonderful secret
You tell it to your friends
Tell them that a lifetime filled with Jesus
Is like a street that never ends

Alright co' co' co' sing that sweet sweet song of salvation
And let the laughter fill the air
Sing that sweet (sweet) sweet song of salvation
Tell the people everywhere
Sing that sweet sweet song of salvation
To every man an' every nation
Sing that sweet sweet song of salvation
And let the people know that Jesus cares

Sing that sweet sweet song of salvation
Sing it like you mean it
And let your laughter fill the air
Sing that sweet sweet song of salvation
Song of salvation
Tell the people everywhere
Sing that sweet sweet song of salvation
To every man and every nation
(Sing that sweet sweet song of salvation) Sing a song of salvation
Let the people know that Jesus care

Sing that sweet sweet song of salvation
(Sing that sweet sweet song of salvation) Sing, sweet sweet song of salvation
Tell all your friends about it
(Sing that sweet sweet song of salvation) Sing that sweet, sweet sweet song
To every man and every nation
Sing that sweet sweet song of salvation (Salvation)
And let the people know that Jesus cares

(Sing that sweet sweet song of salvation)
Sing it, sing it, sing it, sing it, sing out
Sing out, only if you mean it
(Sing that sweet sweet song of salvation)

forget your hexagram

[Go to Song Page]

Forget your hexagram, you'll soon feel fine
Stop looking at the stars
You don't live under the signs
Don't mess with gypsies
Or have your fortune read
Keep your table on the floor
And don't you listen to the dead

You can't a-hitchhike your way to heaven
The devil's closed the roads
You live once and you die once with no
Re-incarnate episodes
You can't hitchhike to heaven
Or get there by just being good
The rules were set down long ago
When the spikes went in the wood

Heaven is in your mind
When love is in your heart
Maybe you'll find the way
But first you have to start

Forget your hexagram, you'll soon feel fine
An' stop looking at the stars
You don't live under the signs
Don't mess with gypsies
Or have your fortune read
Keep your table on the floor
And don't you listen to the dead

You can't hitchhike your way to heaven
The devil's closed the roads
You live once and you die once with no
Re-incarnate episodes
You can't hitchhike to heaven
Or get there by just being good
The rules were set down long ago
When the spikes went in the wood

the last supper

[Go to Song Page]

There was a pig on the table
With a fig in his mouth
And a snake crawled around the plate
And when the wine turned to water
And the bread turned to dust
I knew I'd arrived too late

It was the last supper
A seven course meal for the soul
It was the last supper
But I was the last to know

I saw my name in a book
That lay in front of the veil
With a key in between the pages
And when I unlocked the door
I found a hall full of mirrors
And I saw my life in stages

It was the last supper
And a snake crawled around the plate
It was the last supper
And I knew I'd arrived too late

Ah ah ah ah ah ah
Ah ah ah

Last night I came to the gate
With invitation in hand
And my old life left behind
I came as soon as he called
But long before I had planned
Still I came prepared to dine

It was the last supper
And a snake crawled around the plate
It was the last supper
And I knew I'd arrived too late

i wish we'd all been ready

[Go to Song Page]

Life was filled with guns and war
And everyone got trampled on the floor
I wish we'd all been ready

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

A man and wife asleep in bed
She hears a noise and turns her head
He's gone
I wish we'd all been ready

Two men walking up a hill
One disappears and one's left standing still
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

La la la la la la la
La la la-la la la la la la la la la la

Life was filled with guns and war
And everyone got trampled on the floor
I wish we'd all been ready

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
How could you have been so blind
The father spoke the demons dined
The son has come and you've been left behind

You've been left behind [x5]

nothing really changes

[Go to Song Page]

Nothing really changes
Everything remains the same
We are what we are till the day that we die [x2]

If we could live in Shakespeare's days
I wonder who we'd be
If people then could live today
I wonder who we'd see
They'd prob'ly stop a corner cop
And ask what the whole world's coming to
If people then could live today
I wonder what they'd do
Yes I wonder what they'd do

Would Romeo and Juliet watch Nelson Eddy kiss Jeanette
Would Bacchus read Police Gazette
And window peep at silhouettes
Would Caesar pay to see the Mets
Would Icarus join the jet set
Would Satan smoke menthol cigarettes
Would Samson razor with Gilette

Bi di dip'n bow

Nothing really changes
Everything remains the same
We are what we are till the day that we die

Unless we love the Lord

(Nothing really changes) Nothing really changes
Everything remains the same
We are what we are till the day that we die

Would Henry the eighth use etiquette
In a busy New York luncheonette
Would Cleopatra die when bit
Or save herself with a tourniquet
Would Beethoven join a jazz quartet
Would Ben Hur drive a blue Corvette
Would Aristotle be an acid head
Would Cain kill Abel with a bayonet, ah

(Nothing really changes)
Everything remains the same
We are what we are till the day that we die
Unless we love the Lord

(Nothing really changes) Nothing really changes
Everything remains the same
We are what we are till the day that we die

Nothing really changes
Everything remains the same
We are what we are till the day that we die [x2]

Unless we love the Lord
(Nothing really changes)
Everything remains the same
(We are what we are till the day that we die) Till the day that we die

I'm gonna sing it to you one more time now (Nothing really changes)
Everything remains the same
(We are what we are till the day that we die) Till the day that we die-ah-ah

(Nothing really changes
Everything remains the same
We are what we are till the day that we die) [x3]

postlude

[Go to Song Page]

I don't believe in miracles
Or stories with a happy end
Do you suppose a miracle
Is happening to me, to me

Heaven is in your mind
When love is in your heart

Na na na na na na na na
Ha ha world, ha ha world
Na na na na na na na-na na

When you know a wonderful secret
You don't let it go unsaid

I wish we'd all been ready [x7]
I wish we'd all

[Note, this song is almost entirely sung by the backing vocalists. Larry only sings during the second 'na na' line]

"Larry Norman Version" - The re-recorded version has the same track listing as the Capitol release other than Prelude being omitted. Every song differs from the Capitol version, some only slightly and some significantly. Those marked ** are lyrically different

You can't take away the lord **

[Go to Song Page]

Ah
You can take away my kids
Take away my wife
You can take away my job
And you can take away my life
You can take away my house
Take away my Ford
But you can't take away the Lord

Now listen Satan

You just can't take away the church
Or the bible book
Unless you wanna waste your time
You better take a second look
'Cause you can't take away my shield
Can't take away my sword
And you can't take away the Lord

Well he made me and he saved me, ba ba ba
And I follow after
Everywhere he leads
There's peace and laughter
Laughing in the spirit
Listen and you'll hear it

You can take away the pill
And the atom bomb
Take away Einstein's theories
And the things all yet to come
You could'a took away the wheel
With the dinosaur
But you can't take away the Lord, oh no

Well he made me and he saved me, ba ba ba ba-ow
And I follow after
Everywhere he leads
There's peace and laughter
Laughing in the spirit
Listen and you'll hear it

You can take away the pill, wooh
And the atom bomb
Take away Einstein's theories
And the things all yet to come
You could'a took away the wheel
With the dinosaur
But you can't take away the Lord

Na na na no you'll never take away
My sweet reward
'Cause you can't take away the Lord

i don't believe in miracles

moses in the wilderness

walking backwards down the stairs

ha ha world

sweet sweet song of salvation **

[Go to Song Page]

Na na na na na na na na
Na na na na na na nada na
Na na na na na na na na
Na na na na na na nada na na

When you know a pretty story
You don't let it go unsaid
You tell it to your children
As you tuck them into bed
And when you know a wonderful secret
You tell it to your friends
Because a lifetime filled with happiness
Is like a street that never ends

Alright
Sing that sweet sweet song of salvation
And let your laughter fill the air
Sing that sweet sweet song of salvation
And tell the people everywhere
Sing that sweet sweet song of salvation
To every man in every nation
Sing that sweet sweet song of salvation
An' let the people know that Jesus cares

Na na na na na na na na
Na na na na nada na na na
Na na na na na na na na
Na na na na na na da da na na

Well look around you as you sing it
There are people everywhere
And to those who stop to listen
Your sweet song becomes a prayer
'Cause when you know a wonderful secret
You tell it to your friends
Tell them that a lifetime filled with Jesus
Is like a street that never ends

Alright co' co' co' sing that sweet sweet song of salvation
And let the laughter fill the air
Sing that sweet (sweet) sweet song of salvation
Tell the people everywhere
Sing that sweet sweet song of salvation
To every man an' every nation
Sing that sweet sweet song of salvation
And let the people know that Jesus cares

Sing that sweet sweet song of salvation
Sing it like you mean it
And let your laughter fill the air
Sing that sweet sweet song of salvation
Song of salvation
Tell the people everywhere (Yeah ah ah)
Sing that sweet sweet song of salvation
To every man and every nation
(Sing that sweet sweet song of salvation) Sing a song of salvation
Let the people know that Jesus care

Sing that sweet sweet song of salvation
(Sing that sweet sweet song of salvation) Sing, sweet sweet song of salvation
Tell all your friends about it
(Sing that sweet sweet song of salvation) Sing that sweet, sweet sweet song
To every man and every nation
Sing that sweet sweet song of salvation (Salvation)
And let the people know that Jesus cares

(Sing that sweet sweet song of salvation)
Sing it, sing it, sing it, sing it, sing out
Sing out, only if you mean it
(Sing that sweet sweet song of salvation)
And let the laughter
Sing that sweet sweet song ever after
(Sing that sweet, sweet song of salvation)

forget your hexagram **

[Go to Song Page]

Ah forget your hexagram, you'll soon feel fine
Stop looking at the stars
You don't live under the signs
Don't mess with gypsies
Or have your fortune read
Keep the table on the floor
And don't you listen to the dead

You can't hitchhike your way to heaven
The devil's closed the roads
You live once and you die once with no
Re-incarnate episodes
You can't hitchhike to heaven
Or get there by just being good
The rules were set down long ago
When the spikes went in the wood

OK now [Very faintly]

Oh

Heaven is in your mind
When love is in your heart
Maybe you'll find the way
But first you have to start

Forget your hexagram, you'll soon feel fine
Stop looking at the stars
You don't live under the signs
Don't mess with gypsies
Or have your fortune read
Keep your table on the floor
And don't you listen to the dead

You can't hitchhike your way to heaven
The devil's closed the roads
You live once and you die once with no
Re-incarnate episodes
You can't hitchhike to heaven
Or get there by just being good
The rules were set down long ago
When the spikes went in the wood

the last supper **

[Go to Song Page]

There was a pig on the table
With a fig in his mouth
And a snake crawled around the plate
And when the wine turned to water
And the bread turned to dust
I knew I'd arrived too late

It was the last supper
A seven course meal for the soul
It was the last supper
And I was the last to know

I saw my name in the book
That lay in front of the veil
With the key in between the pages
And when I unlocked the door
I found a hall full of mirrors
And I saw my life in stages

It was the last supper
And a snake crawled around the plate
It was the last supper
And I knew I'd arrived too late

Last night I came to the gates
With invitation in hand
And my old life left behind
I came as soon as he called
But long before I had planned
Still I came prepared to dine

It was the last supper
A snake crawled around the plate
It was the last supper
And I knew I'd arrived too late

i wish we'd all been ready **

[Go to Song Page]

Life was filled with guns and war
And everyone got trampled on the floor
I wish we'd all been ready

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

A man and wife asleep in bed
She hears a noise and turns her head
He's gone
I wish we'd all been ready

Two men walking up a hill
One disappears and one's left standing still
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

La la la la la la la
La la la la la la la la la la la la la

Life was filled with guns and war
And everyone got trampled on the floor
I wish we'd all been ready

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
How could you have been so blind
The father spoke the demons dined
The son has come and you've been left behind

You've been left behind [x4]

nothing really changes **

[Go to Song Page]

Oh

One two one two three, oh

Nothing really changes
Everything remains the same
We are what we are till the day that we die [x2]

If we could live in Shakespeare's days
I wonder who we'd be
If people then could live today
I wonder who we'd see
They'd prob'ly stop a corner cop
And ask what the whole world's coming to
If people then could live today
I wonder what they'd do
Yes I wonder what they'd do

Would Romeo and Juliet watch Nelson Eddy kiss Jeanette
Would Bacchus read Police Gazette
And window peep at silhouettes
Would Caesar pay to see the Mets
Would Icarus join the jet set
Would Satan smoke menthol cigarettes
Would Samson razor with Gilette

Bi di dip'n bow

Nothing really changes
Everything remains the same
We are what we are till the day that we die

Unless we love the Lord

(Nothing really changes) Nothing really changes
Everything remains the same
We are what we are till the day that we die

Would Henry the eighth use etiquette
In a busy New York luncheonette
Would Cleopatra die when bit
Or save herself with a tourniquet
Would Beethoven join a jazz quartet
Would Ben Hur drive a blue Corvette
Would Aristotle be an acid head
Would Cain kill Abel with a bayonet, ah

Nothing really changes
Everything remains the same
We are what we are till the day that we die
Yeah

Nothing really changes
Talk about it
Everything remains the same
We are what we are till the day that we die
Oh

Nothing really changes
Everything remains the same
We are what we are till the day that we die
Unless we love the Lord
(Nothing really changes) Nothing really changes
Everything remains the same
We are what we are (till the day that we die) Till the day we die

Unless JC sets you free (Nothing really changes)
Everything remains the same
We are what we are till the day that we die

I'm gonna sing it to you one more time now (Nothing really changes)
Everything remains the same
We are what we are till the day that we (die) Die-ah-ah

(Nothing really changes
Everything remains the same
We are what we are till the day that we die)

Ah ah ah-ah

(Nothing really changes
Everything remains the same
We are what we are till the day that we die)

(Nothing really changes
Everything remains the same
We are what we are till the day that we die) ??? [Something is said in the left channel]

postlude **

[Go to Song Page]

I don't believe in miracles
Or stories with a happy end
Do you suppose a miracle
Is happening to me, to me

Heaven is in your mind
When love is in your heart

Na na na na na na na na
Ha ha world, ha ha world
Na na na na na na na

When you know a wonderful secret
You don't let it go unsaid

I wish we'd all been ready [x9]
I

[Note, this song is almost entirely sung by the backing vocalists. Larry only sings during the second 'na na' line]

Note that the stereo image on the South African Impact release is reversed. Also, the UK LP releases (Key, Dove, Kingsway) have shorter gaps between the songs Forget Your Hexagram and The Last Supper, and between The Last Supper and I Wish We'd All Been Ready. Overall, the UK LPs run around ten seconds shorter than most Impact ones

The 1989 Kingsway CD release is essentially the same as the UK LP versions but with altered gaps between songs and some shorter fade outs. I Don't Believe In Miracles fades out about two seconds earlier, Moses In The Wilderness fractionally earlier and Walking Backwards about half a second earlier. The end of The Last Supper as it transitions into I Wish We'd All Been Ready is fractionally shortened

The 1998 Radio Promotional CD is basically a copy of the Kingsway CD with corrected stereo image, the volume level increased a little, gaps between songs reduced, and three bonus tracks added - the Capitol versions of Prelude, The Last Supper and Ha Ha World. Prelude and You Can't Take Away The Lord differ due to being cross faded with each other. Moses In The Wilderness fades out fractionally earlier and Forget Your Hexagram about a second earlier. Lastly, the track split between Nothing Really Changes and Postlude is moved

The Capitol tracks are all altered compared with the originals - Prelude is several seconds shorter due to the cross fade point with You Can't Take Away The Lord being earlier. The Last Supper fades out about two seconds earlier and Ha Ha World has a fade out applied rather than ending abruptly

The 2001 Illegal Noise CD release is a direct copy of the Radio Promo CD except that the gap between some of the tracks is reduced and Dear Malcolm, Dear Alwyn is added on the end. This is a vinyl transfer from the Jubilation compilation LP - see the Other Releases page

dear malcolm, dear alwyn

[Go to Song Page]

Dear Malcolm, dear Alwyn
You're my favorite singers in England
And I love you so much
You got the holy spirit's touch
You're much more than just a two man band

I got a memo from Turner
He's a poet, I'm a learner
And he says you're coming back to L.A.
So I'll see you when you land
I'll hope your schedule's not too planned
I know you can't, but I wish you could stay

I miss you my friends
I think about you all the time
You're so far away
Well I hope you're feeling fine

Beware of the snakes and the robbers and the fakes
And the guys who want to take a percent
You don't need them anymore
God is gonna close that door
It's getting time to pack up your tent

Dear Malcolm (dear Malcolm), dear Alwyn (dear Alwyn)
La la la la la la
La la la la la la la la
La la la la la la la

I miss you my friends
I think about you all the time
You're so far away
Well I hope you're feeling fine

Dear Malcolm (dear Malcolm), dear Alwyn (dear Alwyn)
You're my favorite singers in England
And your songs are so simple
But they take me to the temple
I guess I'm just your number one fan

The 2002 Collector's Edition 2CD was created directly from the master tapes and has better sound quality than previous releases. Disc one covers the Impact version of the album - but with a reversed stereo image - and adds six demo recordings from the period. Ha Ha World is the same recording as was on the album Bootleg, but the others were all previously unheard

you can't take away the lord

[Go to Song Page]

You can take away my kids
Take away my wife
You can take away my job
You can take away my life
You can take away my house
Take away my Ford
But you can't take away the Lord

Now listen Satan

You just can't take away the church
Or the bible book
Unless you wanna waste your time
You better take a second look
You still can't take away my shield
Take away my sword
And you can't take away the Lord

Well he made me and he saved me, ba ba ba
And I follow after
Everywhere he leads
There's peace and laughter
Laughing in the spirit
Listen and you'll hear it

You can take away the pill
And the atom bomb
Take away Einstein's theories
And the things all yet to come
You could'a took away the wheel
With the dinosaur
But you can't take away the Lord

Well he made me and he saved me, mm-hm, ba ba ba
And I follow after
Everywhere he leads
There's peace and laughter
Laughing in the spirit
Listen and you'll hear it

You could'a took away the pill
And the atom bomb
Take away Einstein's theories
And the things all yet to come
You could'a took away the wheel
With the dinosaur
But you can't take away the Lord

No you'll never take away my sweet reward
'Cause you can't take away the Lord

ha ha world

[Go to Song Page]

Ha ha world
Every day I used to write you a letter
But you never wrote back
And you never made me feel any better

Always sat in here
Fretting and getting confused
Halfway desperate
For a headline of hope in the news
When the telephone rang
Well I spilled it all over my sweater
Ah ah

The call is for me
And I answer the phone in the kitchen
The room was too hot
I forgot I was cooking a chicken

It was burning like hell
But the stove wasn't on
And the voice on the line
Says the chicken is gone
The receiver goes dead and it
Hums while the plot starts to thicken
Oh oh yeah oh-oh-ah-ah

Would I have hung up the phone had I known
The whole room would start swaying
It was instantly cold
And I knew why my life wasn't paying
I had money and fame
But my wealth wasn't wise
What good are the coins on a dead man's eyes
And the ringing of chimes in my head
Said it's time to start (praying) praying
Yeah
Yeh yeh yeh yehyaoo
Badabadidandee-ah-na

I’ve been sitting here praying
And laying up treasures in heaven
I was home and the front door was locked
When the clock struck eleven
I heard the bride outside yell millennium
Though the sun was still up
The twelfth hour has come
(One, two) The bible says
(Three, four, five, six, seven) Without a vision the people perish (perish)
Shhh [Whispers something]

i don't believe in miracles

[Go to Song Page]

I don't believe in miracles
I know what's real, I don't pretend, oh ho
I don't believe in miracles
Or stories with a happy end
Life is no one's friend

But when we met I felt so free
And suddenly I felt a change come over me
Do you suppose a miracle is happening to me

I don't believe in miracles
I've been around, I've seen enough, oh ho
Only way to get along you must be strong
You must be tough
Life is one big bluff

But when you opened up the door
I walked right in and all my fears fell on the floor
Do you suppose a miracle is happening to me

But then you smiled and suddenly
I felt so strange, I felt a change come over me
Do you suppose

I don't believe in miracles
I know what's real, I don't pretend, oh ho
I don't believe in miracles
Or stories with a happy end
Life is no one's friend

But when you opened up the door
I walked right in and all my fears fell on the floor
Do you suppose a miracle is happening to me
Do you suppose a miracle is happening to me
Do you suppose a miracle is happening to me

nothing really changes

[Go to Song Page]

Nothing really changes
Everything remains the same
We are what we are till the day that we die [x2]

If we could live in Shakespeare's days
I wonder who we'd be
If people then could live today
I wonder who we'd see
They'd prob'ly stop a corner cop
And ask what this world is coming to
If people then could live today
Well I wonder what they'd do
Yes I wonder what they'd do

Would Romeo and Juliet watch Nelson Eddy kiss Jeanette
Would Bacchus read Police Gazette
And window peep at silhouettes
Would Caesar pay to see the Mets
Would Pan take up the clarinet
Would Satan smoke menthol cigarettes
Would Samson razor with Gilette
Dibeebam

Nothing really changes
Everything remains the same
We are what we are till the day that we die
Unless we love the Lord
(Nothing really changes) Nothing really changes
Everything remains the same
We are what we are till the day that we die

Would Henry the eighth use etiquette
In a busy New York luncheonette
Would Cleopatra die when bit
Or save herself with a tourniquet
Would Beethoven join a jazz quartet
Would Icarus join the jet set
Would Aristotle be an acid head
Would Cain kill Abel with a bayonet
Dibooba-aah

Nothing really changes
Everything remains the same
We are what we are till the day that we die
Unless we love the Lord
(Nothing really changes) Nothing really changes
(Everything remains the same) Everything's the same
We are what we are till the day that we die

Yeah yeah

Nothing really changes
Everything remains the same (Wo oh)
We are what we are till the day that we die

Nothing really changes
Everything (remains the same) Everything remains the same
We are what we are till the day that we die

I'm gonna sing it to you one more time
(Nothing really changes)
(Everything remains the same) Everything remains the same
We are what we are till the day that we die

Nothing really changes
Everything remains the same
We are what we are till the day that we die

(Nothing really changes) Nothing really changes
Everything remains the same
(We are what we are till the day that we die) Ah ah ah ah ow ow ow ow

(Nothing really changes) Yo oh yah
(Everything remains the same) Yeh yeh yeh, yeh yeh deh
(We are what we are till the day that we die) Ah ah ah ha
Nothing really changes

the day that a child appeared

[Go to Song Page]

I was thinking just last Sunday
How the world confuses one day
With the rest throughout the year
And that one day is the day that a child appeared

Just a baby in a manger
But the room was filled with strangers
And a star hung in the sky
Like an angel
On the day when a child appeared

Little children please remember
Why we celebrate December
It's much more than Santa Claus
But you're right about the gift and tree
A gift of life at Calvary

I was thinking just last Sunday
How the world confuses one day
With the rest throughout the year
And that one day is the day that a child appeared

country church, country people

[Go to Song Page]

Last Sunday there was preachin'
We all went out for prayer
The little church was crowded
The rich and poor were there
It was a splendid sermon
The singing full and free

Country church, country people
With their eyes upon the Lord
Built a church with a steeple
As a place to hear his word
You can live and die in the same small town
But the Lord spreads his love all around

The choir was dressed in glory
And their voices dressed in love
The preacher told the story
Of God who sent his son
How Jesus came from heaven
To set the sinner free

Country church, country people
With their eyes upon the Lord
Built a church with a steeple
As a place to hear his word
You can live and die in the same small town
But the Lord spreads his love all around
But the Lord spreads his love all around
La la la la la la la la la
La da na da da da

The preacher's voice was still
And the congregation stood
While the spirit touched and filled them
With power, love and good
From God who reigns in heaven
Always watching every man
And guiding all his children
With his kind protecting hand

Country church, country people
With their eyes upon the Lord
Built a church with a steeple
As a place to hear his word
You can live and die in the same small town
But the Lord spreads his love all around
But the Lord spreads his love all around
Ooh ooh ooh ooh ooh
Ooh ooh ooh ooh ooh

Disc 2 contains a Powerline interview from 1970 and a Lion's Breath interview from 2001

Published on Bandcamp on December 2, 2023

powerline introduction / sweet sweet song of salvation

[Go to Song Page]

Powerline [Tag]

Music of the day for the day's generation. In the next half hour you'll hear the top contemporary records of the day, the ones you've pushed to the top of the charts. There'll also be comments on what life is really all about, the way life really is in relation to our fellow man and the world today, and I'm your host Lee Randall [Spoken by host]

Powerline [Tag]

Na na na na na na na na
Na na na na na na nada na
Na na na na na na na na
Na na na na na na nada na na

When you know a pretty story
You don't let it go unsaid
You tell it to your children
As you tuck them into bed
And when you know a wonderful secret
You tell it to your friends
Because a lifetime filled with happiness
Is like a street that never ends

Look around you as you sing it
There are people everywhere
And to those who stop to listen
Your sweet song becomes a prayer
'Cause when you know a wonderful secret
You tell it to your friends
Tell them that a lifetime filled with Jesus
Is like a street that never ends

Alright co' co' co' sing that sweet sweet song of salvation
And let the laughter fill
[The music continues but with reduced volume, and Larry talks over the top]

My song of salvation of course is Jesus and it's been a sweet song to me and to most people that I know. It's my faith that made me interested in singing just about Jesus and it's my interest in the freedom and the, the good life that God gives us, it wants me to encourage other people to follow God, find happiness [Spoken by Larry]

Sing that sweet sweet song of salvation
(Sing that sweet sweet song of salvation) Sing, sweet sweet song of salvation
Tell all your friends about it
(Sing that sweet sweet song of salvation) Sing that sweet, sweet sweet song
To every man and every nation
Sing that
[Music returns to full volume]
Sweet sweet song of salvation (Salvation)
And let the people know that Jesus cares

(Sing that sweet sweet song of salvation)
Sing it, sing it, sing it, sing it, sing out
Sing out, only if you mean it

(Sing that) [On start of following track]

nothing really changes

[Go to Song Page]

(Sing that) [End of preceding track]

Powerline [Tag]

Nothing really changes
Everything remains the same
We are what we are till the day that we die [x2]

If we could live in Shakespeare's days
I wonder who we'd be
If people then could live today
I wonder who we'd see
They'd prob'ly stop a corner cop
And ask what the whole world's coming to
If people then could live today
I wonder what they'd do
Yes I wonder what they'd do

Would Romeo and Juliet watch Nelson Eddy kiss Jeanette
Would Bacchus read Police Gazette
And window peep at silhouettes
Would Caesar pay to see the Mets
Would Icarus join the jet set
Would Satan smoke menthol cigarettes
Would Samson razor with Gilette

Bi di dip'n bow

Nothing really changes
Everything remains the same
We are what we are till the day that we die

Unless we love the Lord

(Nothing really changes) Nothing really changes
Everything remains the same
We are what we are till the day that we die

Would Henry the eighth use etiquette
In a busy New York luncheonette
Would Cleopatra die when bit
Or save herself with a tourniquet
Would Beethoven join a jazz quartet
Would Ben Hur drive a blue Corvette
Would Aristotle be an acid head
Would Cain kill Abel with a bayonet, ah

(Nothing really changes)
Everything remains the same
We are what we are till the day that we die
Unless we love the Lord

(Nothing
[Continues on following track with reduced volume]
Really changes) Nothing really changes
Everything remains the same
We are what we are till the day that we die

Nothing really changes
Everything remains the same
We are what we are till the day that we die [x2]

Unless we love the Lord
(Nothing really changes)
Everything remains the same
(We are what we are till the day that we die) Till the day that we die

I'm gonna sing it to you one more time now (Nothing really changes)
Everything remains the same
(We are what we are till the day that we die) Till the day that we die-ah-ah

(Nothing really changes
Everything remains the same
Everything remains the same
We are what we are till the day that we die)

(Nothing really changes
Everything remains the same
We are what we are till the day that we die

interview

[Music continues from the preceding track with reduced volume]
Really changes) Nothing really changes
Everything remains the same
We are what we are till the day that we die

Nothing really changes
Everything remains the same
We are what we are till the day that we die [x2]

Unless we love the Lord
(Nothing really changes)
Everything remains the same
(We are what we are till the day that we die) Till the day that we die

I'm gonna sing it to you one more time now (Nothing really changes)
Everything remains the same
(We are what we are till the day that we die) Till the day that we die-ah-ah

(Nothing really changes
Everything remains the same
Everything remains the same
We are what we are till the day that we die)

(Nothing really changes
Everything remains the same
We are what we are till the day that we die

Larry, you call this one Nothing Really Changes and the line I hung up on was we are what we are until the day we die. Isn't there any hope? [Spoken by host]

There's a saying that we learn nothing from history except the fact that we never learn anything from history. This is kind of a cyclical view from the Greek viewpoint that man doesn't change. Well they were right, man doesn't change, but I inserted a line unless we love the Lord. That's what I don't want you to overlook in this song is that if we love the Lord we are not limited to what we are until the day we die. God changes all of our interests and God changes our possibilities, we're not limited to, to follow old patterns set up by previous relations [Spoken by Larry]

Unless we love the Lord. Okay I'll buy that [Spoken by host]

I'm not sure when I began to love the Lord but I know he began to love me long before I, I figured out where some of that love is coming from. About three or four years ago I just quit everything I was interested in because I realised I was frustrated doing things my way. And God, if you can do 'em a little better it's your turn, 'cause I give up. That's k' how it happened [Spoken by Larry]

Larry Norman will have a lot more observations on this edition of Powerline. If you'd like a free copy of this Powerline script containing Larry's philosophy just write Powerline, Box 341, Fort Worth, Texas, 76101. Ask for script number twenty five. We'll be back with more Larry Norman and his music in one minute [Spoken by host]

Powerline [Tag]

ha ha world

[Go to Song Page]

'ine [End of tag]

He calls it Ha Ha World and unless you really listen you'll think Larry Norman is putting us on [Spoken by host]

Ha ha world
Every day I used to write you a letter
But you never wrote back
And you never made me feel any better

Always sat in here
Fretting and getting confused
Halfway desperate
For a headline of hope in the news
When the telephone rang
I spilled it all over my sweater
Oh yeah

Would I have hung up the phone had I known
The whole room would start swaying (Ha ha world, ha ha world)
I was instantly cold
And I knew why my life wasn't paying (Ha ha world, ha ha world)
I had money and fame
But my wealth wasn't wise
What good are the coins on a dead man's eyes
And the ringing of chimes in my head
Said it's time to start praying
Oh oh yeah oh

I’ve been sitting here praying
And laying up treasures in heaven (Ha ha world, ha ha world)
I was home and the front door was locked
When the clock struck eleven (Ha ha world, ha ha world)
I heard the bride outside yell millennium
Though the sun was still up
The twelfth hour has come
The bible says
Without a vision the people perish

[Continues on following track with reduced volume]

interview

[Music continues from the preceding track with reduced volume]

Larry why don't you explain your underlying thought in Ha Ha World? [Spoken by host]

A man organises his life the way he thinks it's best and he goes through his life and at the end of a, a portion of his life he discovers he's not happy. Perhaps he discovers God. In this case in Ha Ha World he discovers God and he discovers that without a vision the people perish, without God the world can't hope to find peace [Spoken by Larry]

Powerline [Tag]

the last supper

[Go to Song Page]

Line [Tag end, continued from preceding track]

You've all seen reproductions of Da Vinci's painting of The Last Supper. Larry Norman paints it differently [Spoken by host]

There was a pig on the table
With a fig in his mouth
And a snake crawled around the plate
And when the wine turned to water
And the bread turned to dust
I knew I'd arrived too late

It was the last supper
A seven course meal for the soul
It was the last supper
But I was the last to know

I saw my name in a book
That lay in front of the veil
With a key in between the pages
And when I unlocked the door
I found a hall full of mirrors
And I saw my life in stages

It was the last supper
And a snake crawled around the plate
It was the last supper
And I knew I'd arrived too late

Ah ah ah ah ah ah
Ah ah ah

Last night I came to the gate
With invitation in hand
And my old life left behind
I came as soon as he called
But long before I had planned
Still I came prepared to dine

It was the last supper
And a snake crawled around the plate
It was the
[Music continues on next track, at reduced volume]
last supper
And I knew I'd arrived too late

interview

[Music continues from the preceding track with reduced volume]
Last supper
And I knew I'd arrived too late

Larry, you've put together some pretty weird and somewhat scary lyrics there. What's it all about? [Spoken by host]

I know what it means to me Lee, but everyone who hears the song comes up and they tell me what the song means to them and they've all got a different story. Perhaps this is eh, one of those art pieces like a, a crazy painting on the wall and everyone says the painting means something else. To me The Last Supper is about a man who thinks he's going to heaven because he's decided who God is and he's made up all his own rules and he's chosen his own lifestyle, but when he dies and he's called into the eternity he finds out that the rules were a little different than he thought they were. He didn't choose to look into God's plan of salvation, he chose to save himself in his own way [Spoken by Larry]

You say he didn't follow the rules? [Spoken by host]

Yeah. The rules were set down long ago when the spikes went in the wood. The word rules doesn't seem to fit the way I react toward situations. Well I don't believe we live under the law, we live now under grace and through faith. That doesn't destroy the law, if anything it fulfils the law and goes beyond it. I don't, I don't try to, to keep a set of rules in my pocket. If I come in situation I pray and God hands out the rules, or hands out the grace and the faith [Spoken by Larry]

That was Larry Norman and this is Powerline. I'm Lee Randall and we'll be back in precisely one minute with more of Larry Norman and his music [Spoken by host]

Powerline [Tag]

forget your hexagram

[Go to Song Page]

'ine [Tag end, continued from preceding track]

Larry Norman says forget your hexagram [Spoken by host]

Forget your hexagram, you'll soon feel fine
Stop looking at the stars
You don't live under the signs
Don't mess with gypsies
Or have your fortune read
Keep your table on the floor
And don't you listen to the dead

You can't a-hitchhike your way to heaven
The devil's closed the roads
You live once and you die once with no
Re-incarnate episodes
You can't hitchhike to heaven
Or get there by just being good
The rules were set down long ago
When the spikes went in the wood

Forget your hexagram, you'll soon feel fine
An' stop looking at the stars
You don't live under the signs
Don't mess with gypsies
Or have your fortune read
Keep your table on the floor
And don't you listen to the dead

You can't hitchhike your way to heaven
The devil's closed the roads
You live once and you die once with no
Re-incarnate episodes
You can't hitchhike to heaven
Or get there by just being good
The rules were set down long ago
When the spikes went in the wood

interview

[Music continues from the preceding track with reduced volume]

Larry, in your entire new album this is the only song which has lyrics that tell the people that they may be going in the wrong direction [Spoken by host]

Yeah, that's right Lee. Forget Your Hexagram is a suggestion to people to not put their faith in hexagrams or gypsies or fortune tellers or astrology, but to put their faith in God. And if the stars are correct at all, it would be because God fixed them perfectly in the sky. So if you believe in astrology, forget it, go beyond, go to the source of the stars, go to God [Spoken by Larry]

Well that makes sense to me Larry. And we need to pause from our visit with you right now for another Powerline feature that also makes sense. Loads of people write our Powerline problem panel with their troubles looking for solutions and their questions that need answers. All their letters get quick replies but we use a letter on the show each week that we believe to be helpful to many of our listeners as well as the writer. So here's Powerline's letter reader, Alicia Carlson [Spoken by host]

Lee, here's a pretty typical letter. It's from a seventeen year old guy who is going steady with a girl, nineteen. They began going steady about a year ago and the thing went great until about two months ago when the fussing, fighting and screaming between them started. They have lots of differences of opinion, and their parents also have differences of opinion concerning them and their going steady. They always kiss and make up but it isn't long until the next crisis starts. What should they do? [Spoken by second host]

Well I would recommend dueling swords, boxing gloves or wet noodles at ten paces. Well no, I'm just kidding, but it really is a problem, not only with them but lots of other couples too. What did the panel reply Alicia? [Spoken by host]

The panel predicts that these differences of opinion between them are the first indications of a breach that will split them apart. She is probably getting critical and edgy because she's nineteen and he's seventeen. They met each other's needs for a while but with her rapid maturity, as girls do before boys, she's finding a deficiency in what he can offer her. Also, her being in college is broadening her scope and the older fellows are showing up and emphasising his shortcomings. It isn't his fault, but that's just the way things are in life

At this point a two year differential in age is a wide gap, and if they were in their thirties or forties it would be nothing. If he were nineteen and she were seventeen, in maturity they would be about the same age. So he might as well recognise the problem and face the fact that he's going to lose her. It isn't easy and it hurts, but it will be a lot easier to break it off now than to go ahead and fuss and fight for a longer period and then split. The panel hopes that this makes sense to him and to her too [Spoken by second host]

Hey that's a beautiful answer and I can say from experience it's good advice. If you want some good advice, an answer to your question or a solution for your problem, just put it on paper and send it to Powerline, Box 341, Fort Worth, Texas 76101. Remember to use the zip code and your letter'll get here twice as fast. Powerline, Box 341, Fort Worth, Texas 76101. Every letter gets a prompt, personal reply [Spoken by host]

Powerline [Tag]

walking backwards down the stairs

[Go to Song Page]

Line [Tag end, continued from preceding track]

Here's one I really like Larry. It's got a strange title, Walking Backward Down The Stairs [Spoken by host]

Walking backwards down the stairs
Trying to get higher
How can I get anywhere
Walking backwards down the stairs

Watching life elude me
Slipping through my grasp
Oh I know the truth at last
But to reach the top I've got to stop from

Walking backwards down the stairs
Trying to get higher
How can I get anywhere
Walking backwards down the stairs

People stop to watch me
Wonder what I'm doing
What direction I'm pursuing
I pretend I'm free but actually I'm

Walking backwards down the stairs
Trying to get higher, higher
How can I get anywhere
Walking backwards down the stairs

interview

Well looks like it's time for Larry Norman to elaborate again [Spoken by host]

You can walk backwards up the stairs, you can walk any way you want to on the staircase. But if you want the happiness and the fullness you've gotta walk up the stairs facing forward with your eyes on God. Most people walk through life, they go in one direction but the never reach that goal. They might as well be walking backwards down the stairs trying to get higher, trying to go up the stairs but they're walking the wrong way [Spoken by Larry]

Can a person walk backwards up the stairs? [Spoken by host]

One can walk on the staircase any way he wants to but to be happy you gotta walk forwards up the stairs and keep your eyes on God [Spoken by Larry]

This is a reminder that if you'd like a free copy of Larry Norman's comments on today's Powerline, just write Powerline, Box 341, Fort Worth, Texas 76101 and ask for script number twenty five. We'll flash back in just sixty ticks for more Larry Norman, and more of his music from his new album Upon This Rock [Spoken by host]

Powerline [Tag]

you can't take away the lord

[Go to Song Page]

It's Larry Norman, singing to us that you can't take away the Lord [Spoken by host]

You can take away my kids
Take away my wife
You can take away my job
You can take away my life
You can take away my house
Take away my Ford
But you can't take away the Lord

Now listen Satan

You just can't take away the church
Or the bible book
Unless you wanna waste your time
You better take a second look
'Cause you can't take away my shield
Can't take away my sword
And you can't take away the Lord

Well he made me and he saved me, ba ba ba
And I follow after
Everywhere he leads
There's peace and laughter
Laughing in the spirit
Listen and you'll hear it

You can take away the pill
And the atom bomb
Take away Einstein's theories
And the things all yet to come
You could'a took away the wheel
With the dinosaur
But you can't take away the Lord, oh no

Well he made me and he saved me, ba ba ba ba-ow
And I follow after
Everywhere he leads
There's peace and laughter
Laughing in the spirit
Listen and you'll

[Music continues on the next track, at reduced volume]

Hear it

You can take away the pill
And the atom bomb
Take away Einstein's theories
And the things all yet to come
You could'a took away the wheel
With the dinosaur
But you can't take away the Lord

Na na na no you'll never take away
My sweet reward
'Cause you can't take away the Lord

interview

[Music continues from the preceding track with reduced volume]

Hear it

You can take away the pill
And the atom bomb
Take away Einstein's theories
And the things all yet to come
You could'a took away the wheel
With the dinosaur
But you can't take away the Lord

Na na na no you'll never take away
My sweet reward
'Cause you can't take away the Lord

Nobody can take God away from you, is that right [Spoken by host]

I mean that no one can take God from you except you yourself, because you have the power to accept or reject. You can take away my car, my kids, my wife, my job. You can't take God from me. I alone have the power to reject or accept God for myself [Spoken by Larry]

Thank you Larry Norman for sharing your music and thoughts with us on Powerline today [Spoken by host]

Powerline [Tag]

This has been Powerline, a composite of the hottest records and christian thought. If you have a problem or want a free copy of the comments on this show write Powerline, Box 341, Fort Worth, Texas. Powerline has been a cooperative program production of the Southern Baptist Church convention through its radio and television commission. Doctor Paul M Stephens director and I'm your host Lee Randall [Spoken by host]

Powerline [Tag]

Published on Bandcamp on January 28, 2024

lion's breath interview

Hi Larry, I'd like to ask you about eh the song Strong Love, Strange Peace [Spoken by interviewer]

That's the first song eh ah, the curtain goes up and the house lights go down and, and eh the main character Michael walks in to his home an', and sits down at the piano. He's got a newspaper, he, he sits down at the piano but he's reading a newspaper and then he folds it and starts playing this response to whatever it is he's reading and it's eh Strong Love, Strange Peace. And also, he sings the curtains up, houselights down to kind of echo what the audience is experiencing an', and eh, he, he obviously has some strong beliefs and you don't know what, what they are. But you're gonna find out [Chuckles] [Spoken by Larry]

strong love, strange peace

[Go to Song Page]

Backstage, I cross the middle ground
Curtain up, house lights down
I sing love songs and pass myself around
And afterwards
Some people say they thought I put them down
They feel so bad
It doesn't matter what I say
I hope tomorrow they have a better day

They seem so caught
They need release
They need your strong love and strange peace
Strong love and strange peace

Reporters question me, is this a new direction for the young
How lamb like their faces
How snake like their tongue
They quote me perfectly
Then rewrite every word I speak
And go away convinced we're all some new kind of freak
I feel so good
It does not matter what they say
I hope tomorrow they have a better day

They seem so trapped
They need release
They need your strong love and strange peace
Strong love and strange peace
Please give them your strong love and strange peace

La la la la
La la la la la la la la la
La la la la la la la la

interview

Larry, how about this next song Lost Kids, what was that about? [Spoken by interviewer]

Well this is not my voice. Uh you know, I'm singing the song but this is another character singing the song. Uh, people who usually hear my albums think that I'm expressing something that I believe in. Uh, you could kind of think that I'm saying this except it's kind of scurrilous the way this person is doing it, he's, he's making fun of uh people's fear about their kids. Well people have, you know parents have a right to be ah concerned with their kids. Kids can mess up their life. But this person is uh, not the main character, which is Michael. He's another character. You hear all these different voices and these different philosophies in the musical

This is, uh, from Lion's Breath. So um, he is mocking the situation while he's uh talki', he's actually detailing all the trouble the kids are getting into. But, but it's, it's a slightly compassionate expression of this dilemma that parents have had for centuries where their kids run away from home and go off to the big city and try to live a different way instead of staying on the farm and helping dad with the cows and you know. So it's, again, this is establishing character for the, later on you start to see how everybody's philosophy affects their lives [Spoken by Larry]

lost kids (song for the runaways)

[Go to Song Page]

Here's a word to all you parents
Who are looking for your Clarences and Larrys
If he ran away from home he's probably living on his own
In Haight Ashbury
It's a shame that all the kids are smoking grass
And buying live and looking hairy
Oh oh wo-oh oh oh oh oh

When they spend their nights in alleys
And the local cops start prowling it gets very scary

How about the blue eyed girls who used to wear their hair in curls
With names like Nancy
Now her hair is filled with fleas, her eyes are clouds of LSD
She's in a trance-y
With her hemlines at her thighs she's probably kissing every guy
That tickles her fancy
Oh oh oh oh oh oh

And she's living in a nifty two room building
With a fifty (badap) person occupancy

interview

Okay well how about the song We All, maybe you can elaborate on that for me [Spoken by interviewer]

Yeah sure, this is sung by the cast and uh, you know different ones of them actually step forward and deliver a line or two lines and so eh, it's an ensemble performance. Uh, again I'm just singing it so it sounds like I'm speaking for this crowd of people but actually this is a production number, which means there's also movement on stage, there's dancing, you know, or dance movements and eh, and eh, eh it, this is the celebration of uh the people living in Haight Ashbury for their lifestyle. And it's not re', it, it reveals more about them than they realise. But because they accept this way of living, they think this is personally, that this is perfectly uh reasonable. But we the listener, depending on our philosophy, make judgements about who they are and how they're living. Uh, yeah, this is not my philosophy. This is other peop', other character's [chuckles] beliefs [Spoken by Larry]

we all (the crash pad)

[Go to Song Page]

We all live together, give together
We all joke together, smoke together
Our crash pad has an open door
It is cheap together
And every night we share the floor
We all sleep together
We love and laugh together
We take our bath together
Share our concern together
Watch draft cards burn together

We (we) all (all) sing and do our thing together
We (we) all (all) goes without our clothes together
Take LSD together
Trip out and be together
Our bodies move together
Our minds all groove together
We take our chance together
F**k cops and dance together
We dig hard rock together
We peaced our flock [???] together

We (we) all (all) live together, give together
We (we) all (all) joke and toke a smoke together
We (we) all (all) sing and do our thing together
We (we) all (all) goes without our clothes together
We all

interview

This next song Prayer Meeting, how in the world did you get these sounds? [Spoken by interviewer]

Well this is uh, this is another scene, it's another ensemble piece. Ik, and uh there's movement that's not dancing and people are singing, uh, and you can't quite make out the words. Now this is a lot more radical for back in the sixties than it is now, because now places like, you know the churches that uh, um have ih, ih. Anyway, I, I had never heard anything like this. I made it up to be something musical. The only thing I'd ever heard was at a couple meetings I went to was talking, people praying out loud, but they weren't singing. So I just made this a musical expression of what I had seen in church. And uh, and um, th', this is uh, a real personal moment. So people are singing different things that they just feel at that moment

And what I did, actually, how I created this was uh, I recorded various tracks. And then I used the faders to move in and out of these different tracks to make it ki', it's kinda like playing an instrument, it, 'cause the chords suddenly change. It was really complex how I did it. It took quite a while to, to figure this out and then quite a while to record, but anyway that's technically how I did it. And it end, ends up being very beautiful, like it just flows from one thing to another. So even though you don't understand what people are saying, there's a lot of emotion here with the chords that are being created

And, and this to me, you know, I, during this time I was going to church for eight hours every, every uh, Sunday and five hours a couple days before on Friday. So the, you know, and it wasn't Pentecostal church. But this is the, kind of my musical vision of, of what real worship should be like. And you know, this was way before the praise and worship movement that, that exists now [Spoken by Larry]

the prayer meeting

[Go to Song Page]

[Multiple voices overlapping in prayer and choral sounds]

interview

Okay, now the song uh, I'm So Glad I Know You. That's uh, that's a, almost a vaudevillian type of a song, uh, can you tell us a little bit about that? [Spoken by interviewer]

Yeah. Um, there's a girl named Mary Kay, who uh, all, almost all these musicals take place in Sa', San Francisco, which is where I grew up. Uh, it's really about the, the, the, the um, the same kind of community. Uh, one takes place on a college campus, Birthday For Shakespeare's about uh, people in theater. Uh Allison takes place in, in eh San Francisco and Love On Haight Street takes place in San Francisco, and uh, and Lion's Breath takes place in San Francisco. So uh, Mary Kay's just come from back, the Midwest and she comes to San Francisco and, and she meets this guy named Christopher, and Christopher's asking questions. She just kind of gets off the bus, she wanted to see what is this that she's read about in Life Magazine, you know, and it's the summer and she, she comes here and, and you don't know if she's a runaway or if sh', if her parents let her come here, but she's very naive

And he realises that from talking to her, you know, she doesn't drink, she doesn't smoke cigarettes, and she's never taken any drugs. She just really doesn't fit the Haight Ashbury scene. And so he's making fun of her but she doesn't know that. So he starts saying, hey I'm so glad I know you Mary Jane and, and she's saying, no, Mary Kay. And he just won't correct himself, he keeps saying, I'm so glad I know you Mary Jane and he's though, you know, every time you walk into a room, though dark and clouded, all I see i', cloudy, all I see is you, uh you're something special to me in every way, I'm so glad I know you Mary Jane. I think those are the words, it's been how many, thirty years or something, twenty, yeah thi'.

And uh, and so we in the audience might figure out who this i', what, what he's singing about, he's really singing about drugs and he's singing to all the people that are standing around, they're all kind of making fun of Mary Kay, but she doesn't know it. And uh, this is a lot of the derisive kind of things that happened you know. I, I actually grew up just a few blocks away from Haight Ashbury. I used to walk to Haight Ashbury to catch the bus. You know, I had a, a paper route and, and uh, when I was ten years old and in a hospital, and so Haight Ashbury to me was no big artistic scene, it was just a place where the bus came and, and uh, so it, I, I'm, there's a lot of negativity in, in the hippie community, although they woulda thought they're all into peace and love, they're not

They would charge people pict', uh money to take pictures of them. They would make fun of people, they would taunt sailors and, you know soldiers on weekend leave and, they, there there was a lot of cruelty and this is just one of the uh, you know sign, ay-ow that's kind of an indication of what kind of uh negativity there was [Spoken by Larry]

i'm so glad i know you

[Go to Song Page]

You'll never know how much I think of you
You'll never know how high you stand with me
You make me happy and you brighten my day
And I'm so glad I know you Mary Jane

And every time I walk into a room
Though dark and crowded all I see is you
Your presence lingers long after you've gone
Every thought of you turns me on
You're something special to me in every way
And I'm so glad I know you Mary Jane

interview

Okay Larry, how about this song Clean Lennon? It almost seems like a, a, a take on clean linen. Am I right there? [Spoken by interviewer]

Yeah, except it's spelled l e n n o n like John Lennon. Yeah. Well um, George Harrison had come to Haight Ashbury with his wife Pattie, and h', he had heart shaped sunglasses on, rose coloured sunglasses and, and uh, so they're talking about that. Somebody said, yeah, I've got to meet him. Well I didn't really meet him but I, I smiled at him and, and he, he flashed me the peace sign and, and uh. And somebody else says, oh, I wish John Lennon would come here, you know, he's really cool and he came out of the slums, you know, he grew up in Liverpool and. Yeah well, they all did. Well, yeah, I guess so

But John just seems like he's more in tune with all the, the stuff that the man's doing and the pigs, you know, what they're, and so he starts to sing this song about John Lennon. And uh, you know, hey man, this is a guy from the, the bad neighborhood, local boy makes good, you know, all his life a hood but now he's a star, he sure went far with his guitar and, and uh, cool looks. You know, he even eh wr', wrote two books and eh, he's got wealth and fame and he, he's a household name you know. They never thought he'd make it but, you know, he came out of nowhere, man. He crossed the finish line, says he's feel', so there's a lot of song titles in there too, like Nowhere Man, and, and the flying glove at the end of the song, that has to do with the Yellow Submarine cartoon. Uh the flying glove would fly around and, you know, there's just ah, now I don't even know if the song would, would make that much sense to people. They can accept it on a literal level, but at the time, you know, back in, in 69, it, it, it rang a lot more contemporarily with what was in the news [Spoken by Larry]

A lot of the irony would be lost nowadays then [Spoken by interviewer]

Yeah [Spoken by Larry]

Yeah [Spoken by interviewer]

clean lennon

[Go to Song Page]

Well whaddaya know
Local boy makes good
All his life a hood
And now he's a star
Showing far with his guitar
And strange looks
He even put his mind in a book
He's got wealth and fame
He's a household name
We never thought he'd make it
But you know he came out of nowhere man
He crossed the finish line
Says he's feeling fine
Drinking Japanese wine
And signing autographs
Just for a laugh
You know he never stops
For cops or hops on teeny bop
He drops his clothes
And blows his nose
Says all you need is love
And then gives you the flying glove
Ah

interview

Is God dead? [Spoken by interviewer]

Yeah, this is from Birthday For Shakespeare, and eh, they're uh putting on, you know, plays and celebrating at this university. They're celebrating uh Shakespeare's, uh birthday ah, as accurately as they can, not being sure when he was born but. You know, it's been so many hundreds of years and. And they're putting on scenes from different plays, like uh, one of my songs called Pyramus and Thisbe, eh, is actually a, a humorous look at A Midsummer Night's Dream, and which, which is a funny play in itself. And uh, anyway, the, this person is not saying that God doesn't exist. They're saying, why is the world so messed up man? You know, how about the war man, the war in Vietnam an'? And, you know, is God dead or like is, is he here? Is he watching us? Is he asleep? Maybe he's like asleep man, and you know, it just, things can't keep going on like this, you know and, and we need God's help, man and

So he's not really an atheist, he's not an agnostic. He's just a, uh, I'd say he's pre-christian. He doesn't really know what he thinks, and he's, and he wants some help from above to solve the world problem, brings, bring world peace or, or whatever God could do and. So this is kind of a sweet, gentle, naive look at the way the world is and, and wondering how God interfaces with, with mankind

And that's, you know that's about all I brought today, I mean I've got a lot of other stuff. Some of it's a lot more complicated and some of it's more difficult to understand or more controversial, and I just thought I'd play it safe and bring some of the, the high points from these different musicals [Spoken by Larry]

Well thank you very much Larry [Spoken by interviewer]

Yeah [Spoken by Larry]

It's been fun [Spoken by interviewer]

Yeah thank you, thanks [Spoken by Larry]

is god dead?

[Go to Song Page]

Is God dead or is he just asleep
Sick in bed or buried six feet deep
Look at what a mess the world is in
Guess he's left it up to us, we should have left it up to

God's not dead, the world has been asleep
Sin has spread, the devil steals the sheep
People have to make a choice in life
On the verge of peace they always seem to find another knife

Take a look at the people passing by
Pushing you out of their way
Stop a moment and if you listen
You’ll hear the people say

Is God dead or is he just asleep (Is God dead or is he just asleep) [x3]
Is God dead or is he just asleep (Is he just asleep)

interview

What was it like Larry recording in the old studios back in the day uh, I remember reading about um, Abbey Road and they would have these technicians there that would be all dressed in these white coats, and the artist wasn't allowed to touch any of the machinery at all and uh, was it like that for you when you started out or? [Spoken by interviewer]

Well the, the engineers weren't that uptight, you know. The, that's the English for you [Spoken by Larry]

Yeah [Spoken by interviewer]

You know, they, they uh, that's not the way we did it. But eh, I can tell you a little bit about the English studio and then compare it to the American studio. The English studio, they used to have two tracks, and then uh, they decided, hey let's make three tracks, three heads record simultaneously. We'll have a stereo picture to the left, to the right, and then straight ahead. So for years they had these three head recorders and then it occurred to somebody that stereo's all in your mind. You don't, you only need two tracks. People can't actually hear with their nose, so it doesn't matter what's ahead of you, you just need separate ambience

So then uh, they said well, you know, we built a three track. Let's build a four track. So they created that. Uh, a lot of this stuff was on very small tape, so the, the, uh, quality of each track wasn't that good because the, the width of the tape wasn't that great on the small tapes. Anyway, so they started experimenting and I think that, uh, America was ah very influential. The 3M companies, Scotch, Minnesota Mining Corporation or whatever they're called, eh was creating different formats of tape, really helping the industry. So they had four track. Now jump over to America during the same time when the Beatles were recording on four track, and that was state of the art at Abbey Road [Spoken by Larry]

Mm-hmm [Spoken by interviewer]

I could walk in to almost any studio and do eight track. And if I wanted to pay more I could do sixteen track. So there was a different price, there was actually uh, three different formats that many, many studios had. Four track, eight track, sixteen track, and they would charge you maybe uh, $15 an hour for four track, twenty an hour for eight track, and then jump up to like thirty for uh, you know sixteen track. And that was real expensive, thirty bucks back then. Because you can walk into almost any studio in Hollywood or Portland now, and for fifty bucks you can make a recording on uh, 24 track tape. So it was pretty expensive back then [Spoken by Larry]

interview

Perhaps you could tell me about the actual recording process of the late sixties [Spoken by interviewer]

I think most rock and roll was uh, a band that had already rehearsed, that knew the songs, maybe even performed the songs, and were going into the studio and, and all playing at the same time to get a feel. O', of course during the same time, there were, uh there was Sinatra and people. D', Don Costa would make the charts, the arrangements, and the people would come in, maybe they'd run through it twice you know the', and they'd never really rehearsed it before. Like when I did Upon This Rock in 69, we didn't really rehearse it. We had a bunch of players, you know, and they were good sight readers and, and some of them who couldn't read were so great at learning so quickly they could basically fake it and be perfect, no mistakes

So that was the standard of performance at that time. That was the way that music was done, there was two schools. O', one was the, the have everybody in the room uh, and don't rehearse it. And then, uh, and uh, you know, have everybody in the room and know exactly what you're gonna do. And then there was just a third variation was have everybody come into the room, but not at the same time [Spoken by Larry]

Hmm [Spoken by interviewer]

Let people overdub. And that was the multi-track, that was the, you know, you could lay down a rhythm track. And then use the orchestra instead of as a live performer, you could use it as what they call a sweetener. They could come in a day, a month later and, and uh overdub the orchestra on top. But it just wasn't the same, it didn't get that same ambience. But you know, what you sacrificed in uh, the live sound sometimes you made up for in, in a pop world, in rock, with having a, a fascinating layering of, of sounds. And then you could, you could warp reality, like the Beatles did, they'd even have uh, tape loops and things going. So they were creating sound pictures that weren't necessarily something they could ever do on stage, or that could even be done at the same time if you had everybody in the studio. It had to be done in layers because you were creating it as you went. You were experimenting and dreaming it up as you went [Spoken by Larry]

Mm-hmm [Spoken by interviewer]

interview

Do you think that the average musician in those days was of uh, a higher quality? Do you think they had to be a better player when they didn't have all the overdub possibilities and punching in and punching out? [Spoken by interviewer]

Yeah, session players? [Spoken by Larry]

Mm-hmm [Spoken by interviewer]

Yeah they had to be perfect or they wouldn't get hired [Spoken by Larry]

Mm-hmm [Spoken by interviewer]

If they made a mistake on a track and the producer had to redo it, since it was union rules, you were under the clock, and if a guy made a mistake and it messed up your time schedule enough that you couldn't even get one more song done before the clock struck twelve. You wouldn't wanna hire that guy again and the word would go around, don't hire so-and-so [Spoken by Larry]

Right [Spoken by interviewer]

He, he can't uh, uh, you know, he can't do it every time. So yeah, you had to be perfect or you just didn't survive [Spoken by Larry]

And it wasn't like, uh let's say the bass player made a, made a flub on a note. That would, that, it's not like they could go back and just fix that one note like they can nowadays [Spoken by interviewer]

No [Spoken by Larry]

They had to go and redo the whole tape, right? [Spoken by interviewer]

Well you could punch in, you could punch out, but you had to have real nerves [Spoken by Larry]

Mm-hmm [Spoken by interviewer]

And uh, you'd have to take the whole time to go through the track and find out where that mistake was and back it up a little bit, and then te', and then you as the producer or the engineer would have to really have a good memory to know exactly where to punch, and the bass player would have to play the right note and not nothing more [Spoken by Larry]

Mm-hmm [Spoken by interviewer]

So he you could punch in and out. Because if he played the next note a little too fast, then it created what they called a, wow, it's been so long, I can't, I can't remember, uh, but you'd hear a ba-boom [Spoken by Larry]

Yeah [Spoken by interviewer]

You'd hear two notes [Spoken by Larry]

Mm-hmm, hmm [Spoken by interviewer]

And it would, it would, uh. Man, I can't remember what they used to [Spoken by Larry]

Like an artifact or something [Spoken by interviewer]

Yeah. Yeah but now with bass it wasn't so bad because sometimes bass player, you'd hear on the Motown records, the bass would make a mistake [Spoken by Larry]

Yeah [Spoken by interviewer]

But it was a good mistake [Spoken by Larry]

Yeah, yeah [Spoken by interviewer]

And he was like, wow. And then so, if me being a musician the next time that came on the radio, I'd be listening for that one part of the song where the guy goes to the wrong note but it's really cool, and I wonder what kind of chord that forms 'cause I'd like to, to know that in case I ever want to use a bass line like that. So uh, perfection isn't everything, you know. I played with Ray Charles' bass player and that guy was awesome. He just, we just went through the song once, talked it through and then he gave me the most fearsome performance. Uh I, I don't have the track anymore. I couldn't, I couldn't find it, but uh, it was something I'd already recorded as a demo and then I went in and did it and this guy was amazing. So uh, being perfect isn't everything, but in those days because money is, it was so scary to be in the studio. Now it's not, you know, now you go in there and you take your time and the band eats a snack on the clock and, you know [Spoken by Larry]

interview

You were talking about using tape loops and backwards tapes [Spoken by interviewer]

Yeah [Spoken by Larry]

And things like that, I noticed on, uh, Nothing Really Changes [Spoken by interviewer]

Uh-huh [Spoken by Larry]

You had some interesting sounds on there, uh, especially the reprise [Spoken by interviewer]

Mm-hmm [Spoken by Larry]

Did you, how did you get some of those effects, what? The, some [Spoken by interviewer]

Yeah [Spoken by Larry]

Of the hand clapping [Spoken by interviewer]

Yeah [Spoken by Larry]

Was, was, was that just you in the studio or what, how did you do that? [Spoken by interviewer]

Gee I hate to ruin the song for people but [Spoken by Larry]

Mm-hmm [Spoken by interviewer]

It sounds like it's a huge festival crowd, you know [Spoken by Larry]

Mm-hmm [Spoken by interviewer]

But uh, really it was just the, the band, orchestra and me, and then I took one of my live concerts and uh, where the audience was applauding, I, I made a, a copy of that, made a tape loop and put it on so, on the machine in a circle so it just kept going, you know, the applause instead of going [makes applause noise] and then dying down it just goes [makes applause noise]. It just keeps going, you know. And then I took the fader and the engineer had never seen this, and no, nobody had ever thought of it before [Spoken by Larry]

Hmm [Spoken by interviewer]

I mean I don't even know how I thought of it, I just thought, I got an idea how to make this sound live. So I would take this loop, which was just [make applause noise] the whole time, and I'd, and I'd push the fader up. [Makes noises]. Up, down, up, down [Spoken by Larry]

Mmm [Spoken by interviewer]

Up, down. So that it sounded like a, this big crowd was applauding and uh, then I'd get it off a little bit, you know. I'd, I'd make them applaud a little bit too early, a little bit too late, just to keep it natural. You know, 'cause today if you sample something and then you, and you, and you uh, put it right on the beat, it sounds artificial. So I, I was thinking even back then, an audience can't clap exactly on the beat, so I made it a fake applause with, with the kind of errors that an audience would make in, in their timing and [Spoken by Larry]

Huh [Spoken by interviewer]

Yeah, it was fun, it was fun [Spoken by Larry]

So it was actually like a early sampler [Spoken by interviewer]

Yeah, yeah [Spoken by Larry]

In a way really [Spoken by interviewer]

Yeah. It was a tape loop and a, yeah. I just didn't bother using a, a keyboard. I just did it by hand [Spoken by Larry]

Do you think that's gonna become uh, somewhat of a lost art? You know I mean, like nowadays kids can, you know, basically go out and buy a computer and record into a computer ah [Spoken by interviewer]

Well, yeah yeah, I think it is a lost art and I, I've done things that, that I, it just came to me. I think that there was a lot of creativity in those days, uh with Beatles perfor', you know, performances in the studio, the engineers would have to figure out how to do things for the first time. And so I've done a lot of things that now when I talk to uh, engineers, they have no idea how to do it. They've never even thought of it. They never heard about it, they never read about it

One thing was you'd take the old two tracks and you'd, you would unlock them at the side and bend them up. So instead of the tape going around like pancakes on a plate, it was like a clock on a wall. And you'd take the two reels and you'd get a baby hub, a plastic hub, and you'd dangle it below. You'd just suspend it in the air and you'd make a tape loop uh, with nothing on it. And you'd create uh, another form of reverb [Spoken by Larry]

Mm-hmm [Spoken by interviewer]

So you might have a plate echo, you might have a room echo, you, some people had a chamber, a natural chamber. And then there was spring reverb, and uh you know. And then you might have, some people had a hole in the ground, uh, in, underneath the studio they'd dug and they'd put a microphone in there just to give a, you know, it had hard walls they built to put it in a box. So then this created a different kind of reverb, with a delay. You could actually fix the kind of delay you wanted by uh, you know, make the t', the, the. I guess the next time I ever heard about anything like that was when Echoplex came out with, with mm, you know, a little box that, that had a, a built-in loo'. It, it's just interesting all the stuff you could invent. I used to lay in bed at night and try [Spoken by Larry]

Hmm [Spoken by interviewer]

To think up ideas, write 'em down, and then go into the studio and do it. You know, I did a whole album once with, for an artist named Randy Stonehill, and I actually tried to figure out special uh, w', types of vocals that I'd never heard anybody do, to give his album uh, an ethereal sound, a very, you know, angelic sound. And it worked. When I went into the studio, the stuff that I had thought about when I was falling asleep actually worked [Spoken by Larry]

Hmm [Spoken by interviewer]

So I think that the, all that stuff's gone now, people just have a machine. And, and players aren't that good, don't need to be that good anymore. You can get a, a band that's top twenty that the guys really aren't that good at playing, but they can always fix it in the studio and then go out on stage and. You know when you're playing that loud through speakers and the audience is making noise, and sometimes audiences even talk through the whole show. I mean it's just not the same as it used to be where the audience came and sat like they were in church and listened to every note [Spoken by Larry]

interview

Recording engineers and musicians back in the day used to uh, used to come up through the ranks in a, in a, in a mentor type of a situation. You know, where nowadays it's like you've got uh, all these recording institutes and [Spoken by interviewer]

Right [Spoken by Larry]

Uh, the Guitar Institute of Technology down [Spoken by interviewer]

Yeah, ah [Spoken by Larry]

In Hollywood and stuff like that, where you know, these schools are just pumping out, you know, quote unquote musicians and engineers [Spoken by interviewer]

Yeah [Spoken by Larry]

And, um, do you think, do you think some of the soul has been lost in music because of that? [Spoken by interviewer]

Oh yeah. I mean, there's this very soulless quality about some of these schools. They're teaching you technicalities, but they don't really teach you the art [Spoken by Larry]

Mm-hmm [Spoken by interviewer]

It used to be that the, somebody wanted to be in the music business as an engineer they'd start off at a studio as a tea boy. That's all they'd do is make sandwiches, you know, and, and tea, serve everybody, go out for errands. They were a gopher. Th', then uh, they would move up to what they called a tape op, where they would just uh, reel, you know, spin the uh, thread that, the, the reels onto the machines so the engineer didn't have to get up out of his seat, he could still be talking to the producer or to the band

They, then they worked their way up to an assistant, which was a little bit more because you could actually uh, do some of the EQs and go out and set up the microphones and, and, you know, eventually you worked up to, with a real, real education on all the variables. Guys that go to school, they have no real practical sense of all that can go wrong, all the gerrymandering that has to be done to make a session work instead of saying, well, we gotta stop now 'cause this, you know, this isn't working so sorry everybody, go home [Spoken by Larry]

Hm [Spoken by interviewer]

So there was, there's just a lot of on the, you know, spur of the moment, um, invention that went on and because you had so much history in the studio, it, you began to think in a, in a, in a, in a, a special way. Studio think [Spoken by Larry]

Mm-hmm [Spoken by interviewer]

Instead of school think [Spoken by Larry]

So it's a lot of problem solving and create, being creative [Spoken by interviewer]

Right, right. I mean, multitrack was invented by Les Paul because he wanted to overdub and there was no such thing as overdubbing back in the days when it was just mono or simple two track stereo. So in his garage he built a whole system of uh, recorders that all linked together. Yeah. And um, yeah, it's just, you know, it surprises me how much I knew when I was eighteen years old and how much, how many things I could come up with that, that hadn't been done before, you know [Spoken by Larry]

interview

I was just listening to Walking Backwards Down The Stairs and um, I really, really like the string parts, you know on there, the string quartet [Spoken by interviewer]

Ah-ha [Spoken by Larry]

Um, I've often wondered um, were string players uh, did they kind of like, you know, turn up their noses at, at a rock musician wanting to put strings on a, on a record? I mean, that wasn't really done all that much back then, you know was there like a certain snob factor? [Spoken by interviewer]

Yeah with some people. There was some, there, there were some orchestra leaders that you'd call up that didn't have a problem [Spoken by Larry]

Mm-hmm [Spoken by interviewer]

Like Sid Sharp, Sid did all kinds of stuff. I mean, he did Sinatra but he also would do rock and roll. And he was very friendly. He would work with you and he was very patient if the, if there was something going wrong in the studio and he worked with, you know, he might have a forty piece orchestra. And so he was the fixer. You'd call him up [Spoken by Larry]

Hmm [Spoken by interviewer]

Dude, can you fix me up for a session uh, in two weeks at Capitol, the A studio? I want a thirty piece orchestra. I don't want any eh, gongs, I don't want any timpani, I, you know, you'd tell him and he'd fix it up and they all show up for it on time. And uh, he's very patient. Other people, yeah, it was a hassle. They'd get really mad if the, if, if it was discovered there was a mistake in the charts and they had to all get out their pencils and rewrite, you know, a couple measures themself, they were kind of miffed. See, some of these people were resentful because their way of life was also being destroyed, and the kind of music that was now selling on the radio was eliminating their weekly paycheck because they used to play maybe every day on somebody's session and now. You know there was still Frank Sinatra, but there just wasn't a lot of artists that we can't even remember the names of anymore to, to play for us

So they were resentful, I mean, Sinatra was so mad at the Beatles when they came on the scene. He was vulgar about it, you know, and uh, and it was just a few years later that he recorded George Harrison's Something and said it was the greatest song ever written. I don't think he actually believed that, but I think it was a way of apologising without confessing [Spoken by Larry]

Hmm [Spoken by interviewer]

He didn't want to admit that, yeah I was wrong about the Beatles, actually they've done a lot of good stuff, you know. Yeah, so there was a lot of resentment [Spoken by Larry]

Yeah [Spoken by interviewer]

And then there's people that was cool. And I've done sessions where the orchestra was not working for the union. They were rock orchestra. So you, you'd, they'd come in. And it wasn't illegal. The union had totally lost its, its control of the music business. But they also did some union gigs and there was still a rule in the books said if you do non-union gigs you can't do union gigs. So they'd come in and you'd pay 'em in cash after the three hour session was over. And then they'd sign a receipt for the money and they'd, they'd sign it Ludwig Beethoven, you know. [Both chuckle]. Nobody signed their right name, and you had to pay 'em in cash, and you had to lock the doors, so that no union men could just happen to drop by a', and ask the, the studio owner, got any, got any union gigs coming up? You know, he couldn't even get in the building

So that was kind of a. But the Beatles had done that when they used Mellotron. Mellotron used to be illegal. You know, let me take you down 'cause I'm going to woop doop-n doop-n doo, that, that instrument. It's a mellotron. I, I had that on eh So Long Ago The Garden [Spoken by Larry]

Mm-hmm [Spoken by interviewer]

And we had to lock the doors 'cause it's illegal [Spoken by Larry]

Mm-hmm [Spoken by interviewer]

It's on', something's only illegal if people say it's illegal [Spoken by Larry]

Mm-hmm [Spoken by interviewer]

Some things are immoral. Using a mellotron is merely illegal. But it was funny, we used to have to be clandestine, lock the doors and, and sometimes sit somebody out there with the chair to make sure nobody even, you know, came in by, like the tea lady comes in and then forgets to lock the door and somebody walks in afterwards and you're busted, so yeah, the [Churckles] [Spoken by Larry]

That's great [Spoken by interviewer]

The 2003 CD was distributed to stores. It is sourced from the 2002 CD but with the silence at the end of You Can't Take Away The Lord shortened and a one second silence erroneously added to the end of Nothing Really Changes. The bonus tracks - You Can't Take Away The Lord and Ha Ha World demos - are also sourced from the 2002 CD

Kingsway KMCD2101
[1989, UK]

4 page booklet

Kode: UTR-UK7

Note that at least some copies have a reversed stereo image

Matrix: 'INTERPRESS KMCD-2101', '11', 'MASTERED BY DADC AUSTRIA'

Kingsway KMCD2101
[1989, UK]

4 page booklet

Kode: UTR-UK13

Matrix: 'INTERPRESS KMCD-2101', '11', 'MASTERED BY DADC AUSTRIA'
Same matrix as UTR-UK7 but also has embossed mould text: ‘INTERPRESS COMPACT DISC’, ‘MADE IN W. GERMANY’

Solid Rock Records, uncatalogued "radio promo cd" [1998, USA]

Double sided insert

Kode: UTR-US19

Matrix: '26204 2 6 <8011> UPONTHISROCK WAVELENGTH', 'IFPI L487'. Mould code on rear: 'IFPI8151'

Kode: UTR-US35

Matrix: '26204 2 6 <8011> UPONTHISROCK WAVELENGTH', 'IFPI L487'. Mould code on rear: 'IFPI2S09'

Solid Rock Records, uncatalogued Illegal Noise Series [2001, USA, CDR]

[Red] Kode: UTR-US20
[Blue] Kode: UTR-US21

There are "red" and "blue" versions, signified by the colour of the text "Illegal Noise Series". It's quite probable that copies exist with a combination of both colours - red disc with blue artwork and vice versa

Double sided insert

Solid Rock Records SRD-969 [2002, USA]

28 page booklet, includes lyrics and extensive write up

Matrix disc one: 'OPTIDISC SOLUTIONS STAMPER 362671D1', 'IFPI LM26'. Mould code 'IFPI KN08'
Matrix disc two: 'OPTIDISC SOLUTIONS STAMPER 362672D5', 'IFPI LM26'. Mould code 'IFPI KN05'

Matrix disc one: 'OPTIDISC SOLUTIONS STAMPER 362674D2', 'IFPI LM26'. Mould code 'IFPI KN08'
Matrix disc two: 'OPTIDISC SOLUTIONS STAMPER 362672D5', 'IFPI LM26'. Mould code 'IFPI KN08'

Matrix disc one: 'CDDC/CA - LARRY NORMAN - 3734', 'CD-0730-3458', 'IFPI WA'. Mould code 'IFPI 4Q10'
Matrix disc two: 'CDDC/CA - TOP ROCK - 3735', 'CD-0730-3459', 'IFPI WA'

Kode: UTR-US22

Kode: UTR-US27

Kode: UTR-US28

Solid Rock Records SRD-969 [2003, USA]

16 page booklet, includes lyrics and write up

Kode: UTR-US23

Matrix: 'CDDC/CA - UPON THIS ROCK - 4081', 'CD-1001-4685', 'IFPI WA'. Mould code: 'IFPI 4Q10'

Solid Rock Records SRDX-001 [2008, USA]

12 page booklet, includes lyrics and write up

Matrix: 'CA/ - Upon This Rock 2008 - 30518', 'IFPI VL02'
Matrix: 'CA/ - Upon This Rock 2008 - 30518'

Kode: UTR-US24
Kode: UTR-US29

Solid Rock Records Uncatalogued [2021, USA, CDR]

Kode: UTR-US32

Gatefold cardboard sleeve. Thanks to Stephen Johns for providing images

Capitol used several different factories to press their records. Pressings from each can be identified by symbols etched in the matrix area:

Jacksonville, Florida - signified by the letter O, which sometimes looks like an octagon, and a 1.5" diameter pressing ring
Los Angeles, California - signified by what looks like the petals of a flower / an asterisk, and a 1 9/16" diameter pressing ring
Scranton, Pennsylvania - signified by the letters I AM inside a triangle. Some pressings also had an & symbol, indicating that the lacquers were stereo
Winchester, Virginia - signified by a line that branches into a triangle. The symbol looks like a long stemmed wine glass, and is intended to represent a Winchester rifle. Winchester pressings have a 1.390625" diameter pressing ring. Side 1 also had a 0.34375" ring and side 2 a 0.53125" ring

Capitol Records Test Pressing [1969, USA]

Kode: UTR-US1

Larry's personal copy with alternate track list and possibly alternate mixes

Capitol Records Test Pressing [1970, USA]

Kode: UTR-US2

Test pressing of regular Capitol release

Capitol Records, SKAO-446 / ST-446 [1970, USA]

Kode: UTR-US3
Kode: UTR-US4
Kode: UTR-US26

Matrix, etched, side one: 'SKAO1-446-W1'. Side two: 'SKAO2-446-X2 #2'. Scranton plant symbol on both sides
Matrix: SKAO1-446-P6 #2 / SKAO2-446-W1. Scranton plant symbol on both sides
Matrix, etched, side one: 'SKAO1-446-P6'. Side two: 'SKAO2-446-X2'. Scranton plant symbol on both sides

Note: Initial copies of the album used the ST-446 sleeve but had catalogue number SKAO-446 printed on the labels. S=stereo, K=price code, A=one LP, O=special packaging of some sort - possibly indicating a gatefold sleeve or an insert. It appears that Capitol changed their minds on both pricing ('T' reflected a different price code) and packaging very soon after initial LPs were pressed
Thanks to Mike Rohlinger for advising of UTR-US4

Capitol Records ST-446 [1970, USA]

Kode: UTR-US5

Kode: UTR-US6
Kode: UTR-US7
Kode: UTR-US8
Kode: UTR-US9
Kode: UTR-US10

Matrix, etched, side one: 'ST-SKAO-1-446-A-3·'. Side two: 'ST-SKAO-2-446-A-3·'. Both sides have an LA plant symbol and what looks like a stamped '1' on its side. Note, 'SKAO' is scored out on both sides
Matrix: ST-1-446-B2 #1 / SKAO-2-B4 #1 [SKAO not scored out]
Matrix: ST-1-446-X4 / ST-2-446-X4
Matrix: ST-1-446-X4 / ST-2-446-W3
Matrix: ST-1-446-W3 / ST-2-446-W3
Matrix: ST-1-446-W3 / ST-2-446-X4 [Winchester plant]. Thanks to Mike Rohlinger for advising of this variant

American Forces Radio and Television Service (AFRTS) RL 44-0 [1970, USA - release year assumed]

Very rare plain sleeved LP that was pressed for use on US military base radio stations

Features selected tracks from the album Deja Vu by Crosby, Still, Nash & Young on one side and Upon This Rock (Capitol version) on the other

The opening track is titled Prelude here, as it was on the sleeve of the Capitol LP. The Capitol labels listed it as Overture

Also, the correct duration for I Wish We'd All Been Ready is given, whereas the Capitol timing was a minute out

The "Larry Norman" version was pressed many times, though fundamentally only from two different master stampers. The earliest examples have the "Jesus loves you" matrix like UTR-US30. Pressings from 1972/3 onwards have the "3121" matrix, like UTR-US15

The "3121" copies have a longer gap between The Last Supper and I Wish We'd All Been Ready than was probably intended. The "Jesus loves you" copies have a much shorter gap here, resulting in an overall run time for the album of about ten seconds less

Impact HWS 3121 [1971, USA]

Kode: UTR-US30

Matrix: Etched, side one: ‘9074’, Artisan Sound Recorders symbol, ‘JESUS LOVES YOU’, ‘RECEIVE YE THE HOLY SPIRIT’. Side two: 9075’, Artisan Sound Recorders symbol, ‘TO ELIZABETH’. Both sides also have additional etched symbols. Fourth Avenue addressed labels
Thanks to Robert Termorshuizen for providing images

Impact HWS 3121 [1971, USA]

Kode: UTR-US34

Same matrix as UTR-US30
This pressing has a Broadway addressed label on side one and a Fourth Avenue label on side two. Thanks to Mike Rohlinger for advising of this variant and for providing label images

Impact HWS 3121 [1971, USA]

Kode: UTR-US16

No images at present
Same matrix as UTR-US30, but with black Broadway addressed labels. This pressing has a single large diameter pressing ring only

Impact HWS 3121 [1971, USA]

Kode: UTR-US31

Kode: UTR-US15

Same matrix as UTR-US30, but with Broadway addressed labels
Thanks to Mike Rohlinger for advising of this variant, which has a single small diameter pressing ring only

Matrix, etched, side one: 'R-3121A'. Side two: 'R-3121B'. Both sides also have a smaller etched 'GB'
This variant dates from 1972 most likely

Key Records KL010 [1972, UK]

Kode: UTR-UK1
Kode: UTR-UK8
Kode: UTR-UK9
Kode: UTR-UK12
Kode: UTR-UK16

Matrix: Etched, side one: 'KL 010 A3', 'K'. Side two: 'KL 010 B3', 'J'
Matrix: Etched, side one: 'KL 010 A3', 'H'. Side two: 'KL 010 B3', 'I'
Matrix: Etched, side one: 'KL 010 A3', 'M'. Side two: 'KL 010 B3', 'Q'
Matrix: Etched, side one: 'KL 010 A3', 'R'. Side two: 'KL 010 B3', 'O'
Matrix: Etched, side one: 'KL 010 A3', 'C'. Side two: 'KL 010 B3', 'C'

All matrixes have additional etched text and symbol markings. The text is: 'JESUS LOVES YOU' and 'RECEIVE YE THE HOLY SPIRIT' on side one, and 'TO ELIZABETH' on side two. Both sides also have a short line, which could be a dash, a sideways 1 or lower case L, and both sides have a letter on its side, denoting the slave stamper
Thanks to Mike Rohlinger for advising the existence of UTR-UK9 and to Robert Termorshuizen for UTR-UK12

Kode: UTR-UK17

Matrix: Etched, side one: 'KL 010 A3', 'Q'. Side two: 'KL 010 B3', 'M'. (Otherwise same as UTR-UK1 etc)
Also has a sticker placed over the credit/copyright text, with the same information other than published by being changed to 'Cyril Shane Music Ltd'

Kode: UTR-UK18

Matrix: Etched, side one: 'KL 010 A3', 'S'. Side two: 'KL 010 B3', 'P'. (Otherwise same as UTR-UK1 etc)
Also has updated credit/copyright text, with published by denoting 'Cyril Shane Music Ltd'. Unlike UTR-UK17, this is properly printed on the sleeve, though it can be seen that a sticker was placed and then the sleeve reproduced

Impact HWS 3121 [1972, USA]

Kode: UTR-US14

Same matrix and labels as UTR-US15, but with two pressing rings

Impact HWS 3121 [1973 or later, USA]

Kode: UTR-US13

Same matrix as UTR-US15
Evidence suggests the red Impact labels were introduced in 1973. Note that the sleeve was not changed, so the artwork denotes catalog number HWS 3121, whereas the labels omit 'HWS'

Heart Warming Records R 3121 [1973, USA]

Kode: UTR-US17

Same matrix as UTR-US15. Note that the sleeve was not changed, so the artwork denotes catalog number HWS 3121
Note that the from and rear cover are noticeably lighter in colour and of poorer print quality, plus the spine is white. This is because the artwork is printed directly onto the cardboard sleeve as opposed to a glued on slip

Heart Warming Records R 3121 [1973, USA]

Kode: UTR-US36

Same as UTR-US17, but with a Heart Warming sticker placed over the Impact logo on the front cover. Same matrix as UTR-US15

Heart Warming / Concorde Productions HWS 3121 [1973, New Zealand]

Kode: UTR-NZ1

Same matrix as UTR-US15. The Heart Warming logo on the front cover is a sticker placed over the Impact logo. The Concorde details on the rear cover is also a sticker. Note that the disc labels are the same colour / shade - my camera exposed them differently as the sun briefly broke through the clouds when I photographed side 2! The side 1 image is closer to the actual shade

Heart Warming / Concorde Productions HWS 3121 [1973, New Zealand]

Kode: UTR-NZ3

Same matrix as UTR-US15. This variant is almost identical to UTR-NZ1, except for the absence of a second pressing ring on side one. Thanks to Robert Termorshuizen for advising the existence of this, and for providing images

Impact HWS 3121 [1974, USA]

Kode: UTR-US25

Same matrix as UTR-US15
This mispressing is similar to UTR-US12, with two pressing rings. However, side one has a Great Circle Road label and side two a Broadway one. Thanks to Mike Rohlinger for advising of this variant. Evidence suggests that the Great Circle Road address applied from 1974

Impact HWS 3121 [1974, USA]

Kode: UTR-US33

Same matrix as UTR-US15
This mispressing is similar to UTR-US25, but with the mixed label addresses the other way round

Impact HWS 3121 [1974, USA]

Kode: UTR-US12

Same matrix as UTR-US15

Impact HWS 3121 [1974, USA]

Kode: UTR-US11

Same matrix as UTR-US15. Note the single small diameter pressing ring, as opposed to the two rings of UTR-US12

Impact 3121 [1974, Canada]

Kode: UTR-CA1

Same matrix as UTR-US15

Impact 3121 [1974, Canada]

Kode: UTR-CA5

Same matrix as UTR-US15. Thanks to Mike Rohlinger for advising of this variant and for providing label images

Impact HWS 3121 [Unknown year, Canada]

Kode: UTR-CA4

Matrix, etched, side one: 'HWS-3121-A'. Side two: 'HWS-3121-B'. Both sides also have an etched 'TR'
Manufactured and distributed by Praise Records. Thanks to Robert Termorshuizen for providing images

Heart Warming Records HWS 3121 [Unknown year, Canada]

Kode: UTR-CA2

Same matrix as UTR-CA4. Manufactured and distributed by Praise Records

Heart Warming Records HWS 3121 [Unknown year, Canada]

Kode: UTR-CA3

Same matrix as UTR-CA4. Manufactured and distributed by Praise Records. Note the absence of 'Made. in Canada' text on the rear sleeve

Impact HWS 3121 [Unknown Year, South Africa]

Kode: UTR-SA1

Matrix, etched, side one: 'R3121-A'. Side two: 'R3121-B'. The catalogue number text 'STEREO HWS 3121' on the front cover is obscured by a sticker in the above image

Dove / Kingsway Music Dove 64 [1979, UK]

Kode: UTR-UK19
Kode: UTR-UK2

Kode: UTR-UK11
Kode: UTR-UK20

Matrix: Etched, side one: 'DOVE 64 A3', 'AB'. Side two: 'DOVE 64 B3', 'V'.
Matrix: Etched, side one: 'DOVE 64 A3', 'AH'. Side two: 'DOVE 64 B3', 'Y'. Note that the 'AH' on side one is etched twice, but one set was evidently laid out incorrectly and is scored out
Matrix: Etched, side one: 'DOVE 64 A3', 'AF'. Side two: 'DOVE 64 B3', 'M'.
Matrix: Etched, side one: 'DOVE 64 A3', 'AH'. Side two: 'DOVE 64 B3', 'Z'. Note that the 'AH' on side one is etched twice, but one set was evidently laid out incorrectly and is scored out

This pressing uses the same master stamper as the 1972 Key Records release, UTR-UK1. As such the matrixes have additional etched text and symbol markings. The text is: 'JESUS LOVES YOU' and 'RECEIVE YE THE HOLY SPIRIT' on side one, and 'TO ELIZABETH' on side two. Both sides also have a short line, which could be a sideways 1 or lower case L, and both sides have letter/s on their side, denoting the slave stamper. Note that the catalogue numbers were created by scoring out 'KL 010' and etching 'DOVE 64' before it
Thanks to Mike Rohlinger for advising the existence of UTR-UK11

Bet-El Gospel Recordings BE 2015 [1981, South Africa]

Kode: UTR-SA2

Thanks to Robert Termorshuizen for advising the existence of this, and for providing images

Dove / Kingsway Publications Dove 64 [1983, UK]

Kode: UTR-UK4
Kode: UTR-UK10

Matrix: Etched, side one: 'DOVE 64 A3', 'C'. Side two: 'DOVE 64 B3', 'C'
Matrix: Etched, side one: 'DOVE 64 A3', 'A'. Side two: 'DOVE 64 B3', 'B'

This pressing uses the same master stamper as the 1972 Key Records release, UTR-UK1. As such the matrixes have additional etched text and symbol markings. The text is: 'JESUS LOVES YOU' and 'RECEIVE YE THE HOLY SPIRIT' on side one, and 'TO ELIZABETH' on side two. Both sides also have a short line, which could be a dash, a sideways 1 or lower case L, and both sides have an upside down letter denoting the slave stamper. Note that the catalogue numbers were created by scoring out 'KL 010' and etching 'DOVE 64' before it
Thanks to Mike Rohlinger for advising the existence of UTR-UK10

Impact C-9121
[Unknown Year, USA]

Kode: UTR-US18

Key Records KCS010 [Unknown year, UK]

Kode: UTR-UK3

Kingsway Music DVCS 164
[Unknown year, UK]

Kode: UTR-UK14

Black shell and paper labels with Dove symbol

Kingsway Music DVCS 164
[Unknown year, UK]

Kode: UTR-UK15

Gray shell and paper labels with K symbol

This variant is incorrectly assembled, with sides 1 and 2 swapped. It is not known whether correctly assembled copies exist

Kingsway Music DVCS 164
[Unknown year, UK]

Kode: UTR-UK5

Printed gray shell with K symbol

This variant is incorrectly assembled, with sides 1 and 2 swapped. It is not known whether correctly assembled copies exist

Kingsway Music KMC2101
[1991, UK]

Kode: UTR-UK6

Side 2 has a reversed stereo image on at least some copies

Heart Warming / Concorde Productions HWS-C 3121
[1973, New Zealand]

Kode: UTR-NZ2

Other known variants not yet koded

A Canadian LP, a US cassette, a New Zealand cassette, a US 8 track cassette and a Canadian 8 track. Images courtesy of Robert Termorshuizen

Masterphonic Sounds [197?, USA]

This 8 track release altered the song running order and oddly added Jim Ware's Blues (Why Don't You Look Into Jesus) from the album Street Level. Note that it is believed this was an illegal counterfeit - likely the very first unauthorised Larry Norman recording to be manufactured and distributed. Photographs courtesy of Randy Layton (white shell) and Gunnar Lorens Lien (black shell)

Archive Photos

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