77. Darn Floor, Big Bite – Daniel Amos (Da)

DARN FLOOR, BIG BITE (1987)

Daniel Amos (Da)

The famous gorilla Koko was trained to speak in sign language on a limited basis, After experiencing an earthquake the gorilla signed the words, “Darn Floor – Big Bite” to describe the incident. The gorilla’s limited expressions and inability to fully communicate the response is compared to man’s inability to express the wonders of God and the way life is lived with its many facets and expressions on one of Daniel Amos’ most constantly impressive albums of the same name.

After finally completing the four album tour de force known as the “Alarma Chronicles,” (on four separate labels mind you), the band released its second album for Frontline Records. Now without keyboardist Rob Watson and featuring an increase involvement of the ever impressive Greg Flesch, the album was less atmospheric and surreal and more earthy and rock driven. It is a brilliant, rather accessible and stunning album that would remain one of the least successful projects in the band’s history.

(Well, they did use the word “darn” in the title, so what did they expect?)

I almost dread reviewing anything Terry Taylor does, especially what is found under the moniker Daniel Amos for fear of fans decrying a lack of understanding on my part as to what the band and Terry were attempting to create. Quite frankly a quick perusing of Daniel Amos websites and chat boards reveal that the only acceptable Christian Music Top 10 would look something like this:

1. Alarma – Daniel Amos

2. Horrendous Disc – Daniel Amos

3. Mr. Beuchner’s dream – Daniel Amos

4. Outdoor Elvis – The Swirling Eddies

5. Bibleland – Daniel Amos

6. A Briefing for the Ascent – Terry Taylor

7. Shotgun Angel – Daniel Amos

8. Doppelganger – Daniel Amos

9. Let’s Spin – The Swirling Eddies

10. Fearful Symmetry – Daniel Amos

and so on…

There is no fan base in Christian music that comes anywhere close to the passion and obsession that accompanies the fans of this amazing band. Myopic and intolerant of dissent, they know more about every little release Taylor and Co. have even been involved with and to speak with any authority on the subject without prior approval and the express written consent of Major League baseball is strictly prohibited.

So, walk softly and carry a very approving stick!

The other problem is that, quite often, I have no idea what a song may be about. Taylor may be one of the best read songwriters in CCM (or anywhere for that matter) and his references to obscure writers and events can leave a puzzled look on many a face. That’s not a Taylor problem, but rather a listener problem; but it also can cause some severe confusion on the listener’s part.

But despite the limited success of the album and it, sometimes, obscure content, it remains one of the best of the band’s career and has a cool freshness even as I listen over and over to it in writing this review.

As mentioned previously, the guitar makes a pleasant and obvious return with the departure of Rob Watson and Greg Flesch’s significantly increased contribution. This is immediately evident with “Return of the Beat Menace.” Jerry Chamberlain possessed a quirky and unique style why Flesch employs a wider and more diverse musical palette. Here we see some of the old Chamberlain influenced touches with a the off-center solo, but with Flesch’s more crunchy/post punk rhythm style. This combination works well as Flesch displays a depth of new guitar sounds while not completely eliminating the signature sound that band had been known for.

I should point here that the drums sounds are “louder” and more “up front” than on  many DA albums. I would also think it is time to note that all but one song was written by Taylor, Chandler and Flesch musically. This creates a much more “band” feel.

“Strange Animals” continue with the more rock driven sound, focusing on melody and rhythm over atmosphere. The complexity of trying to describe the nature of God is a common theme and introduced here. The difficulty lies in the transcendent nature of those things of which we are not a member of the species. How can man adequately describe, in essence, that which he is not privy to the thoughts, presence and soul of?

The theme takes on a much clearer reality on the title track. Like the gorilla’s story by which the song receives its name, man is at an utter loss to adequately describe God. Attempts are futile and the best we can hope for is a limited and vague understanding. Of course, Taylor puts it in a much more dramatic and stunning context. The Talking Heads like groove drives the song with a funky cool swing that is, at times, reminiscent of the music on Vox Humana.

The softer and more ethereal “Earth Household” sounds the closest to “Fear Symmetry” as any song on the album. More keyboard focused, while a bit lighter and more positive than the previous release. Taylor has never been an artists who is afraid to address the sheer mystery of God and admit the reality is filled with unknowing.

Wall of Voodoo and Guadalcanal Diary are two of the great unheralded bands of the early and mid-80’s (along with the previously discussed Violent Femmes) and with “Safety Net” there are touches of all three. A nearly cowboy driven beat mixed with descant guitar rhythms and Taylor’s most edgy vocals on the album. Grace is a scary thing when one plays with their sin in careless ways.

“Pictures of the Gone World” actually sounds like a song left off of Alarma or Doppelganger. The verse structure harkens back to those two albums with its quirky, pop punk delivery with a hook oriented chorus and wild, off-key (almost) guitar solo.

Digging even deeper to a musical influence, “Divine Instant” reminds the listener of the Beach Boys and Beatles influences first really delivered on Horrendous Disc. The Polynesian rhythm of the verse structure shifts to a much more 60’s influenced rock chorus.

Ok, so just how many artists in CCM could write a song with the title, “Half Light, Epoch and Phase?” Borrowing from 1 Corinthians 13, the theme of attempting to understand the mysterious and unfathomable nature of God is continued. here we see through a  glass darkly and only have “cracks in the floor.” The admitted struggle between doubt and faith are juxtaposed against a resolve to allow faith to continue without demanding God explain everything.

“The Uttainable Earth” musically points to the direction the band would take over the next several albums. Thinking man’s rock with strong melody and piercing focus. This song always reminds me of T-Rex and later Rick Altizer.

The album closes with a three and half-minute song that could have lasted twice that length. The beautiful and melodic worshipful tune is what great music is meant to be. A choir featuring everyone who ever dropped by the Green Room studio and an unforgettable melody. There is a touch of Taylor’s first two solo projects to be found here. A stunning song of grace and hope, it is the perfect ending to the album.

It is really a shame that this album never received the attention and recognition it deserved. Some of Taylor’s finest band oriented music is lost to all too many. But, this too is a common theme!