This is my first Greater Vision project ever. I’m just starting to get into the group, so my review may be a little different from the many others that have been posted. This is the opinion of somebody coming to GV’s music with fresh ears. Hopefully that’ll get you to read this even though everybody and his uncle has already reviewed the album. Enjoy!
One thing I did find somewhat odd is the repeated line in the chorus saying, “He could have passed by the little boy who had died, left him laying in the way.” I believe it’s meant to refer to the story of the widow’s dead son. But number one, he wasn’t a little boy, he was a young man (which is why his mother’s plight was so desperate—as a widow, she now had nobody to support her), and number two, he wasn’t just “laying in the way,” his body was being carried away for burial. However, this really is a fun song to listen to, and there are several key changes to keep the interest going.
3. No Longer Chained (Griffin): This song’s historical blooper has already been noted by Daniel Mount. It uses the Roman practice of chaining a soldier to a prisoner to create a story-song about one such soldier who was saved through Paul’s testimony (which naturally leads to a convenient double use of the phrase “no longer chained”). In the very first verse, it sets the stage by having the soldier come home and tell his wife and children about meeting Paul for the first time. The problem is that this would never have happened, because Roman soldiers weren’t allowed to marry and have families.
4. I Know a Man Who Can (Campbell/Davis): Insert wild cheers, whistles, and screams here. This is EASILY the prime cut of the CD. I am serious: Think twice about listening to this one while driving, because you could end up having a Holy Ghost moment on the road, and then, well, “Jesus take the wheel” and all that.
5. He’s the Only Way (Allman/Griffin): This is a very timely song, bringing welcome theological clarity when too many people are bringing fuzziness. It matter-of-factly brushes aside all the “many roads to heaven” nonsense and says plainly, “He’s not a good, not the best, but the only way.” And it’s heaps of fun, with a great “chicken-pickin’ ” electric guitar sound. One quibble: In the second verse, it discusses Nicodemus’ conversation with Jesus and assumes that Nicodemus walked away with a complete Christian understanding of who Jesus was and the theology of salvation. This is a bit simplistic. No doubt Nicodemus walked away intrigued, with a growing realization that Jesus was not just another prophet, but he would hardly have had all his theological ducks so neatly in a row. (Incidentally, a fascinating Old/New Testament connection was recently brought to my attention regarding that passage, which I’ll probably write a post about one of these Sundays.) But overall, great lyric, and I love the 3rd verse:
Where atoning grace is found?
All of your gains been counted as loss,
Have you laid your burdens down?
You see, perfection’s required
To stay away from the fire
So call on Jesus’ name…
6. Like I Wish I’d Lived (Griffin): This is the first of three slow songs in a row, prompting some reviewers to complain that the CD’s tempo drags too much in the middle. I do have something of the same feeling and might not sit through all three before jumping around to one of the faster ones for a break. But it doesn’t seem like a huge deal. However, I’m puzzled, along with others, that this is the album’s first radio single. Yet I hasten to add that I really like the song. It’s a very poignant, simple prayer asking God to help us make up for any regrets we may carry with us from past mistakes. Plus, it’s sung by Chris Allman, and well, what more can you say?
9. Eternity’s About to Begin (Allman): Injecting some welcome up-beat relief, this textbook toe-tapper begins with Chris Allman, Gerald Wolfe’s piano and the B-3 once again stealing the show black gospel style. It then picks up the pace and proceeds to hop along quite nicely, filled with imagery about the celebration that’s “waiting to begin.” The Imperials’ “First Morning in Heaven” (not to be confused with “First Day in Heaven”) is still my favorite song along these lines, but this one is enjoyable too. (Say, maybe Greater Vision should think about covering that Imperials song. It’s very Chris.)
11. Another Child’s Coming Home (Allman): With all the songs that have been inspired by the prodigal son, somehow the theme never really gets old. This Allman-penned closer is a quiet, understated addition to the “prodigal son catalogue.” There’s a beautiful novel called Gilead where one of the central characters is a lonely prodigal son, and that book together with its companion novel Home has caused me to hear songs like this in a new way. You constantly want to tell the character, Jack, that he is loved, that he’s not worthless, and that he needs Jesus to right all the wrong in his life. His father desperately loves him, yet Jack struggles to accept grace, even after he comes home. Even though the song is more straightforward than the books (which are more complex than your average prodigal son-inspired piece), I still think the lyrics really capture the cry of the father’s heart in the story. He stands with open arms, truly overjoyed and eager to welcome the wayward child home, for no other reason but love.
Get his room prepared, because I know he’s tired
And when he gets here, I’m sure he’ll want to rest awhile
And if you need me, I’ll be out in the road
Because another child’s coming home…
Final thoughts: You can’t get much more quintessentially southern gospel than Greater Vision, and this album reminds me why I like the music so much. Griffin and Allman are churning out solid songs, and putting Allman back on tenor has given the group a huge shot in the arm vocally. Not that Kitson wasn’t a great singer, but I think I speak for everybody when I say “WELCOME BACK, CHRIS!” This album also promises good things for the group’s future from a production standpoint. Many artists are going to miss Lari Goss’s work as he pulls back for the sake of his health in the coming years, but if Gerald Wolfe’s production on this CD is any indication, Greater Vision should manage just fine. His touch is relaxed and sure.