Stryper, God Damn Evil

Once upon a time, around 1986 or 1987, there were radical Stryper fans, thanks to Yellow and Black Attack and the immortal To Hell With the Devil. In fact, these fans were so radical, they wore their To Hell With the Devil t-shirts to school...and were sent home to put on another less "violent" or "religious" t-shirt.

Here we are, just over thirty years later...and Stryper is still around and making some of the rocking-est (that's the best way I can put it) righteous songs.

What's even more: it never lessens. After hearing God Damn Evil several times since its release back in April, I could talk ad infinitum about it, not the least of which is every song has a clearly relevant message. What I have in this post is the best tell-and-show (and listen) I could possibly come up with.

Remember how Stryper had a chills-worthy beginning song for Fallen, "Yahweh" ? First songs on albums have now gone to a new level for them, as well as for the lifetime followers of Stryper. "Take it to the Cross" is awesome from start to finish and everything in between. How about a minute-long introduction that keeps you waiting for more. For the first time I can recall, Stryper has written a song that has a more thrash-style guitar riff in the chorus. And I like it! What makes the ending so awesome is Michael's high vocal range that is at its highest, which I had never heard before.

They by no means let up on "Sorry," lyrically and musically. Both are equally powerful. Of course, the one-worded title gives it away. That it's one of my least favorite words when it comes to making poor choices, only makes me want to listen to it. Domestic violence, alcohol abuse, etc.; I will make no further comments.

"Lost," another great song. It seems to reinforce the limitless stimuli, the fake news, the fake social media profiles, in this modern-day society. It might be another hard four-lettered word.

The title track, loud and proud with a guitar intro, the bass drum playing quarter notes, and that effortless high note elicited by none other than Michael Sweet. All of that is only scraping the surface of this song. That's how powerful it is. It may be another thirty years before I am able to find more words for it.

"You Don't Even Know Me" speaks high volumes to me (in more ways than one, of course). It's something I wish I could say to some people. I'm thankful for Stryper, that they have written this song on my behalf, doubtless for many others. It's all I can do to not shout, myself, the title of the song. I can't and I won't. If I were to attempt that, I would fail miserably in comparison to how Michael could do it and render me a fool, a coward.

"The Valley" is a great example of not putting God in a box. Take for instance the intro: A monotone voice, Star Trek style, quoting Psalm 23:4. That it's from the King James Bible is trivial compared to the smooth and powerful delivery of the chorus. Researchers say you memorize things easier and retain it better by singing. I'd love to see people of all ages, children especially, do that as a result of listening to this song. If they do, I'll give them two check marks on their participation card. As for me, I've waited my whole life to hear these words to rock music.

Though we all know Stryper is partial to Black Sabbath and KISS, I don't think I'd ever really heard a song of their that is reminiscent of that decade. "Sea of Thieves" has a clear '70s music style to it, with some '80s to it as well, the guitar break.

Michael is at it again with his beautiful power ballads, "Beautiful" and "Can't Live Without Your Love." "Beautiful" is the "Honestly" of the 2010s. The guitar break is so reminiscent of the 80s; it made my heart go pitter-patter.

While it is a fact (in my book and others') that Stryper's music is ever-awesome, this is the first album I have listened to that has some hard, strong, convicting lyrics. Take for instance "Own Up." Add Michael's voice to it and...Need I say more?

Though it is easy to comment only on the lead guitar in any given hard rock song, you can't and must never forget the drums. I don't think I had never heard Robert play like that, especially at the beginning of a song, as heard in "The Devil Doesn't Live Here."

Of course, he doesn't. The relentless hard rock beauty of this music is telling the beast of a devil, "To hell with you!".

Having said that, I'm waiting for a teenager to wear a God Damn Evil t-shirt to school.