Showing posts with label Queen. Show all posts
Showing posts with label Queen. Show all posts

Saturday, December 21, 2019

Marc Martel, The Impersonator


Marc Martel is one of those guys for whom I have the greatest of respect. He is talented beyond the level of many in the music industry and has made music with a diverse group of people. This Christmas, I am glad to see him making music with Michael W. Smith and Amy Grant. They have put together a Christmas album and are following it up with a limited tour in support of the album.

Of course, Martel has made music with many other artists including Jason Gray, Buddy Greene, Plumb, Scott Mulvahill, and Ron Block of Alison Krauss & Union Station. But beyond collaboration and Christmas music, Marc Martel was formerly the front man for CCM band downhere and leads his own Ultimate Queen Celebration, where he impersonates Freddie Mercury with great panache.

His first solo album: Impersonator contains the following title song. The entire album is filled with great original songs that speak of life on the road and the challenges of sounding like (and even looking like) another famous singer. Perhaps the most tragic song on the album is this title song. In it, he recognizes the value of impersonation but also laments that his own voice and personality gets lost in the music. And he finds himself saying that, “you would not have me any other way.” Read and listen to the words below.

Marc Martel – Impersonator

I wonder if my own eyes would recognize
Whatever I become when I live your lies
I should've made a break, for the fire escape – warning signs I didn't take
And all the things you bought – just to break

But I am the impersonator
You can be the reason for my insanity
I am the impersonator
I give you everything you want from me
Whatever makes you happy

What's done is done, this is what I become
And now you would not have me any other way – so why stay?
Let me go on, like nothing's wrong, just to keep you holding on
A flash before my eyes as I fade away – and I fade away

I am the impersonator
You can be the reason for my insanity
I am the impersonator
I give you everything you want from me
Whatever makes you happy

And so I, I put on my show with my life
I wear the weight of my disguise, to drown out the silence
So you never read the signs
I lose myself to have you, and you don't even have a clue
I am the shadow, who keeps you in the light

And I am the impersonator
You can be the reason for my insanity
I am the impersonator
I give you anything you want from me, but you know
I'll never make you happy
Whatever makes you happy.

Songwriters: John Randall Fields / Lily Kershaw / Marc Martel; © Strawberrius Music.

Sunday, March 4, 2018

Billy Graham and Forgiveness


In light of the recent passing of Billy Graham, a reprint of a previous blog is in order.

The Crown, Season 2, Episode 6: Vergangenheit

Written by Peter Morgan
Directed by Philippa Lowthorpe

This post contains numerous spoilers and explanations of a current episode of The Crown. You may want to watch the episode before reading this article.

The German word, vergangenheit, has many uses [1] in the German language. Its simplest meaning is “the past.” In some contexts, this can be a “time that has elapsed,” a “forgotten past,” a “past with which some have not yet come to terms,” or a “past that needs to be forgiven.” This is the word the producers and writers chose for Season 2, Episode 6 of the Netflix series, The Crown.

The episode opens with the uncovering of secret Nazi documents which reveal the plans and thought processes of the senior Nazi leadership and their collusion with European leaders prior to and during World War II. Most of the documents are translated and published, while the Marburg papers are labelled confidential and stored away in secret so that the embarrassing contents might never be revealed.

The scene quickly shifts to King George, who, on discovering the contents of the Marburg papers, says that the people of the world must never discover the contents. He says, “Our people would rightfully never forgive us.”

Although most will see the story as a depiction of what to do with a former King (Edward VIII) who wants to rehabilitate his image, the interesting part of this British drama is the question of “forgiveness.” If one notices how many times the word is used in this script, they will get the sense that the discussions between the Head of the Church of England (Queen Elizabeth II) and the unofficial Head of Evangelical Christianity in America (Reverend Billy Graham) are much more than peripheral to the overall development of the episode.

Certainly, we cannot get away from the fact that Her Majesty is wrestling with how to, and whether or not to, forgive her uncle, the former King Edward VIII (and subsequently the Duke of Windsor), for associating and conspiring with Nazi Germany in a failed attempt to recover the throne for himself and his wife who wished to be Queen. In this version of historical-fiction, the Duke of Windsor is seen as one who wanted the throne but could not have it because of the divorced woman he chose to marry. Yet, the question of forgiveness is bigger than one act of pardon or denunciation. Forgiveness here, in the context of this well-written and well-directed program, is about forgiveness in all its forms.

It is about God forgiving individuals.
Billy Graham: “The Bible teaches that all have sinned. … God offers hope for the individual, hope for society, hope for the world.”

It is about forgiving Kings.
Duke of Windsor: “Can a former King be forgiven?”

It is about forgiving a German political movement which brought about the Nazi Party and the horrors of World War II. At one point, we hear the Duke of Windsor suggest that, “It could be argued that we were the ones that made him [Hitler] a monster.”

It is about forgiving oneself.
Billy Graham: “The solution for being unable to forgive: one asks for forgiveness for oneself … and prays for those whom one cannot forgive.”

The drama is played out with commentary provided by the private words spoken between The Reverend Billy Graham and Her Majesty, The Queen. Graham preaches a question and then answers it for the small audience in Windsor Chapel.
Billy Graham: “What is a Christian? … A person in whom Christ dwells. … it means, that you have a personal relationship with Jesus Christ.” (Here he references Colossians 1:27.)

The Queen praises Billy Graham, the evangelist, and says, “You speak with such clarity and certainty.… It is lovely to disappear and become just a simple Christian.” By that, she means that it felt good to be in chapel and not feel that she had to be the Head of the Church.

The scenes shift back and forth but we are soon taken to a scene featuring the Duke of Windsor as he writes to his wife in America. He complains that the evangelist, Billy Graham, has disturbed him and says that “all taste for prayer has evaded me.” We begin to see the Duke transformed from a bored socialite to a demon in disguise. One scene ends with a fade to black in which a menacing glint in his eyes is the last thing to fade. When the publication of the Marburg papers becomes inevitable, the Queen Mother remarks that “this was always going to come back to haunt us.”

Yet, The Queen and The Evangelist are eager to want to forgive The Duke and the sins of others, even as they admit to the difficulty of forgiving those who betray and murder their countrymen. At one point the Queen says, “It is time to discuss forgiveness for Uncle David. … Forgiveness is very important to me.” However, when she is confronted with the magnitude of David’s sins, perhaps there is even an allusion here to King David of the Bible, she speaks these harsher words to her uncle,
“We all closed our eyes and ears to what was being said about you. … But when the truth finally came out, it makes a mockery of even the central tenants of Christianity. There is no possibility of my forgiving you; the question is, how on earth can you forgive yourself?”

It is at this point that the key conversation between Billy Graham and The Queen occurs.
The Queen: “I would like to hear your views on forgiveness. Are there circumstances in which one can be a good Christian and not forgive?”
Billy Graham: “The solution for being unable to forgive [is that] one asks for forgiveness for oneself … and prays for those whom one cannot forgive.”

It is refreshing to see a historical-fiction from the UK tell a redeeming story of the power of forgiveness. The writers have truly challenged us to wrestle with the question of forgiveness for war-mongers, Nazis, attention-grasping former Kings, fair-minded Queens, and a good many other sinners. (Perhaps we might even wrestle with the contemporary issue of forgiveness for men who sexually assault or harass women.) In his time as an evangelist, Billy Graham made it clear that the Bible teaches that “all have sinned and fallen short of the glory of God” (Romans 3:23). Vergangenheit, the episode, asks us significant questions about how far the forgiveness of God could extend and leaves us wondering how we might “forgive others as God has forgiven us” (Matthew 6:14, 15 and Matthew 18:21-35). Oh Lord, “forgive us our sins, as we have forgiven those who sin against us.” (Matthew 6:12, New Living Translation).
 
 

Sunday, May 3, 2015

Dead Ringer



Marc Martel has just released a new album and is presently on tour with music from the album entitled, wait for it, Impersonator. Yes, the former Freddie Mercury impersonator has something to say and he says it well. Using just his surname for this new band, he has given us twelve songs about being an Impersonator, a Dead Ringer, a Ringo Starr and several more themes. His wife thinks that he may have too many identity crisis songs on the album but he assures reporters that this is a good portion of what is happening right now.Some would say he has something to prove; that he is just another Freddie Mercury sound alike; that he is only a cover band king; that he doesn’t have his own sound; that Freddie’s memory should be left alone.

Those of us who know Martel’s music from his previous days as the lead singer and creative genius behind the band downhere have a different story. He has already proved who he is, what he sounds like, and that he is so much more than a really good “Wedding Singer.” Albums like Ending is Beginning and songs like “How Many Kings” and “Coming Back Home” were played to church youth groups and on radio stations across Canada and the USA long before he became a singer for one of the most famous bands in the world. Downhere received five Juno Awards over a ten year span and attracted a solid following of fans.

In “Dead Ringer,” Martel sings about “the face he was given when he was born” and “the sound he makes when he opens his mouth.” With great irony, “Dead Ringer” argues that he just happens to sound and look like Freddie Mercury and that he is just trying to be himself. This is the argument he sings even as he crafts and performs a song designed to mimic the lead vocals and style of Queen to a tee. Here are the lyrics and a link to the audio.

Dead Ringer (listen to it here)

Dead ringer, dead ringer, dead ringer, dead
I know you’ve seen this face before
It’s just the one they gave me when I was born
I’m not puttin’ it on make no mistake
When I open my mouth that’s the sound I make

It’s on the tip of your tongue
Gives you chills just to think about it
Though you say nothing new would get that sound
But let me tell you that that I beat you to it

Dead ringer, dead ringer, dead ringer, dead
I just try to be myself
Dead ringer, dead ringer, dead ringer, dead
Cause I can’t be no one else
Dead ringer, dead ringer, dead ringer, dead
I've got to be myself
Lord let me be myself

Bought yourself a ticket to the County Zoo
Be careful what you say cause it could happen to you
Finger in a socket and a double take
Pick your jaw off the floor; give your heads a shake

I’m on the tip of your tongue
Gives you chills just to think about it
Oh you say nothing new under the sun
Let me show you that there’s nothin’ to it

Dead ringer, dead ringer, dead ringer, dead
I try to be myself
Dead ringer, dead ringer, dead ringer, dead
Cause I can’t be no one else
Dead ringer, dead ringer, dead ringer, dead
I got to be myself
Lord let me be myself

Just like that

Dead ringer, dead ringer, dead ringer
Dead ringer, dead ringer, dead ringer
Dead ringer, dead ringer, dead ringer
Dead ringer, dead ringer, dead ringer

Anyone ever tell you you’re a

Dead ringer, dead ringer, dead ringer, dead
I just try to be myself
Dead ringer, dead ringer, dead ringer, dead
Cause I can’t be no one else
Dead ringer, dead ringer, dead ringer, dead
I got to be myself
Lord let me be myself
“Dead Ringer” is the quintessential personal identity song that works so well for Marc Martel. There are other songs on the album that are less personal and just as good. Take for example “Paradise.” It is a bluesy, rocky, electronic anthem about a world that “chews us up, spits us out, and leaves us locked up in paradise.” A song worthy of many accolades but perhaps it is enough to simply say, poetic and operatic.

The recording closes with a song that sounds more downhere than Queen; and more Marc than Freddie. “The Remake” is about how we can have “high hope” in the way in which God will do his remake and make all things new. The metaphor calls us to something higher and reminds us that there is more to life than just what we see.

So is the new Martel music deserving of a wide audience? Check it out for yourself. I would suggest buying the recording and singing along. Perhaps you too can find your own voice.
 


1 http://www.usatoday.com/story/life/music/2014/09/03/marc-martel-paradise-premiere/14996237/