My natural tendency is to be critical and cynical. Knowing that about myself, I'm trying to avoid being openly critical of others with this blog. At the same time, I want to be able to discuss things which I find fascinating.
Which brings me to "God's Great Dance Floor."
During the last session, they started playing a song titled "God's Great Dance Floor." Immediately, the song caught my attention due to it's catchy music, infectious dance beat, and solid melody. However, possibly more important than the likability of the music, was the strangeness of the lyrics and spectacle. While the song only contains two verses, a chorus, and a bridge, this live performance goes on for 8 minutes. Throughout the video, all of the singers are jumping up and down with excitement. The last four minutes simply repeat the same line over and over, but it's briefly interrupted by a literally a mariachi walking up to a microphone and playing a trumpet solo. You can watch the video here.
In Martin Smith's version of the song, the verses contain the same melody and chord progression as Tomlin's but, lyrically, it's very different. Each of the two verses are supplications to God for rescue.
Up to this point the music, has been very light and subtle. At around 3 minutes and 30 seconds, the song transitions to the bridge. The music begins to swell and build up while the lyrically it shifts to to present tense verbs:
The song ends by repeating:
It's a lyrically and musically consistent song which is rather powerful. It starts at a place of longing for a change. Then, it spends time in present tense action returning home. Finally, we arrive at a new destination.
I don't want to get into too much speculation, but there aren't very many explanations for why Tomlin would change the lyrics and arrangement. The most obvious reason is that he wanted to make a more streamlined and mainstream song that people can dance to. If it takes 5 minutes to get to the dance section, that's not much of an upbeat dancing song. But if we get to upbeat parts in 45 seconds, that's a dance song. But why not just write another dance song? Why cannibalize your own song and sacrifice it's integrity?
Catchy Without Being Worth Being Caught
Back in January, I was watching the live stream of Passion 2013
(ironically, when you click on that link, "God's Great Dance Floor" will begin to play). My wife and I actually attended Passion 2007 as the second half of our Honeymoon. Thus, Passion has a unique place in my life, and I like to try and check out their live streams each year.
(ironically, when you click on that link, "God's Great Dance Floor" will begin to play). My wife and I actually attended Passion 2007 as the second half of our Honeymoon. Thus, Passion has a unique place in my life, and I like to try and check out their live streams each year. During the last session, they started playing a song titled "God's Great Dance Floor." Immediately, the song caught my attention due to it's catchy music, infectious dance beat, and solid melody. However, possibly more important than the likability of the music, was the strangeness of the lyrics and spectacle. While the song only contains two verses, a chorus, and a bridge, this live performance goes on for 8 minutes. Throughout the video, all of the singers are jumping up and down with excitement. The last four minutes simply repeat the same line over and over, but it's briefly interrupted by a literally a mariachi walking up to a microphone and playing a trumpet solo. You can watch the video here.
Lyrically, there didn't seem to be any specific theme. The verses speak of "coming back," using multiple words. The pre-chorus is a series of worship song cliches strung together (i.e. "I surrender" or "take me"). The chorus changes direction again, and speaks of God's love for us, and ends with the confusing catch phrase "Let the future begin." Eventually, this all leads into the bridge that simply repeats, "I feel alive. I come alive. I am alive on God's great dance floor." Once again, these are worship song cliches ending with a strange overly clever catch phrase. It's particularly odd because it rhymes a word with itself. In the live version, this line is repeated for like 4 minutes straight.
All in all, it looked like it was a great time for all in attendance. The song is catchy and fun. However, it was a bit unsettling for me because it set somewhat of an unhealthy precedent. What leaders do in moderation, followers do in excess. Given that Chris Tomlin was leading and wrote the song, he's setting a precedent for future song writers and all worship leaders. That is to say, it's okay to just have fun with a song which has little meaning. Upbeat songs don't need to be lyrically deep.
When I first heard the song, I literally told someone, "I would like this song so much more if the lyrics made sense."
A SECOND CHANCE
Then something strange happened a couple weeks ago.
I was searching around iTunes to discover some new music, and noticed a new album titled, "God's Great Dance Floor" by Martin Smith (formerly of Delirious). My cynical side led me to check it out, hoping to find something equally as over the top as the video I saw before. What I discovered instead was an entirely different take on the song. The first thing that jumped out at me was that the lyrics were all different. As the 90 second preview ended, the infectious dance beats also never kicked in. I was intrigued.
After doing just a little bit of research I discovered the full version of the song on YouTube.
To be brief (...in this already overly long rant):
To be brief (...in this already overly long rant):
- The lyrics are 75% different
- The odd lyrics are used in a different context and make sense
- The song has a very clear theme
- The structure of the song is entirely different
- The song feels like a lyrical and musical journey
In Martin Smith's version of the song, the verses contain the same melody and chord progression as Tomlin's but, lyrically, it's very different. Each of the two verses are supplications to God for rescue.
Waiting for You Be my rescue Find me and bring me out alive I will surrenderThe simple chorus, which is slightly musically different than Tomlin's, goes like this:
Back to the start where You found me I give You my heart again Take everything I'm all I can bring I'm coming home againThe lyrics make subtle references to the parable of the prodigal son. At the start of the song, the lyrics are from the perspective of a prodigal who is at a point of brokeness with nothing to offer. The person is broken and waiting for God's rescue.
Up to this point the music, has been very light and subtle. At around 3 minutes and 30 seconds, the song transitions to the bridge. The music begins to swell and build up while the lyrically it shifts to to present tense verbs:
I'm coming back To the start, to the start I'm coming back to YouBetween the lyrics and the music, we feel like we truly are on a journey back. Just before 5 minutes into the song, we reach a line which is only repeated once in Smith's version. It's the transition into the final section of the song:
You'll never stop loving us, No matter how far we run You'll never give up on us All of Heaven shouts "Let the future begin!"Given the context of the previous 5 minutes of the song, the meaning is very clear. The prodigal has returned home and he's thanking God for his never ending love. As he returns home, he realizes a new future is about to begin. At this point the music once again shifts, now to a dance beat.
The song ends by repeating:
I feel alive, I come alive I am alive on God's great dance floorBy this point in the song, we've gone on a journey from a place of total brokeness back to the life found in Christ. While I might not personally choose the metaphor, "God's great dance floor," it makes sense in the song.
It's a lyrically and musically consistent song which is rather powerful. It starts at a place of longing for a change. Then, it spends time in present tense action returning home. Finally, we arrive at a new destination.
I Don't Get It
Tomlin's version of the song borrows the catch phrases and dance beats, but misses the entire point of the song. The verses fill space until we can get to the upbeat chorus and bridge. But lyrically, the chorus and bridge aren't earned because the verses don't build up to their message. There's no future to begin. We aren't contrasting a past with a future. We haven't arrived at a new place where we come alive.I don't want to get into too much speculation, but there aren't very many explanations for why Tomlin would change the lyrics and arrangement. The most obvious reason is that he wanted to make a more streamlined and mainstream song that people can dance to. If it takes 5 minutes to get to the dance section, that's not much of an upbeat dancing song. But if we get to upbeat parts in 45 seconds, that's a dance song. But why not just write another dance song? Why cannibalize your own song and sacrifice it's integrity?
UPDATE - OCTOBER 2013
I came across a brief interview with Chris Tomlin where he explains the meaning of the song and why he loves it. In the interview he explains how his excitement for the song comes from it's ties to the story of the prodigal son. I totally understand this comparison when discussing Martin Smith's version of the song, but Tomlin's version of the song stripes away virtually all of the direct connections to the parable.
So I'm left just as confused as before. While Tomlin's words by themselves were very encouraging, but in light of his version of the song, his comments add more confusion to the mix.
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