since July 7, 2004.While Mel Gibson’s "The Passion of the Christ" has sparked – and is continuing to spark – serious religious controversy in the film industry, many religion-centered tunes have not generated such notoriety and have instead been embraced (or overlooked and ignored) by fans, if not the critics themselves. Here’s a sample of religious-themed or influenced songs:
The Byrds – "Turn, Turn, Turn (To Everything There’s a Season)": Adapted by folkie Pete Seeger, from the book of Ecclesiastics, this song is one of the most memorable hits of the late 1960s, forever ingraining the following into pop culture history: "A time to be born/a time to die/a time to plan/a time to reap/a time to kill/a time to heal/a time to laugh/a time to weep."
Janis Joplin – "Work Me, Lord": Written by Electric Flag songwriter Nick Gravenites, this tune closed out Janis’ first solo effort, titled I Got Dem ol’ Kozmic Blues Again, Mama. Although deemed a too soulful digression from her [beginnings with Big Brother and the Holding Company, this song – like many others – emphasized Janis’ vulnerability and ability to immerse herself in her music: "Please don’t you leave me/I feel so useless down here/with no one to love/though I’ve looked everywhere/and I can’t find me anybody to love/to feel my pain" and "But I don’t think you’re going to find anybody, not anybody/who can say that they’ve tried like I’ve tried/the worst you can say all about me/is I’m never satisfi-ied oh-whoa oh-whoa."
Joan Osborne – "One of Us": It’s the song that asks the curious questions about the proverbial dude upstairs: "what if God was one of us/just a slob like one of us/just a stranger on the bus/trying to make his way home." (There's a parody, too, that one of the CPJ copy editors sang to me: "What if God smoked cannibis/drove a tie-dye minibus/listenin' to Rolling Stones.") Though it was Joan (or John, as Christopher Walken called her on "Saturday Night Live") Osborne’s only hit, it is now gaining new popularity as the theme to CBS’ series "Joan of Arcadia."
Don Henley – "Little Tin God": From his Granny-winning The End of the Innocence, this song addresses the hypocrisy of religion in that love-him-or-hate-him Henley matter: "Some shaky modern saviors/have now been resurrected/in all this excitement/you may have been misled/people want a miracle/they say 'oh lord, can’t you see us?/we’re tryin’ to make a livin’ down here/and keep the children fed'/but, from little dark motel rooms/to 'six flags over Jesus'/'how are the mighty fallen'."
George Harrison – "My Sweet Lord": The first post-Beatles solo effort (single, not album; Paul had that distinction) to hit number one, this tune’s deep, driving acoustics grab you instantly and acknowledges a variety of religious icons in the vocal harmonies, which George reemphasizes in simple terms: "I really want to know you/really want to go with you/really want to show you, Lord/that it won’t take long, my Lord."
Whether it’s modern, psychedelic or otherwise, rock and religion have, and will likely, continue their symbionic relationship – regardless of the music’s popularity, criticism or longevity – so long as Mel Gibson doesn’t release "The Passion of the Christ – The Musical," complete with its (so-called) anti-semitic soundtrack. (Cringe!)
Copyright © 2004, Talia M. Wilson
published in Cooper Point Journal, April 29, 2004
since July 7, 2004.