Chords for Origins of Rez Band

[Eb] So a very special guest joining us here [G] today in the Junction Center and a guy that's been
around for a very [Eb] long time, singer, songwriter, guitarist, author, [C] pastor, frontman for the
Resurrection Band for quite a long time.
Did I miss anything, Glenn?
_ [D]
Glenn Kreider Uh, Grandpa.
Darrell Bock Grandpa, I missed Grandpa.
Darrell Bock That's right, Glenn Kaiser is joining us here
in [Db] the studios today.
Glenn, it's such a treat to have you here.
Thanks for joining us.
Glenn Kreider Oh, pleasure, Terry.
Darrell Bock Back in 1971, hard rock [G] gospel music was
virtually [Gb] unheard of.
You could just about come in one hand.
The [Fm] folks that did that type of music, how did you [G] folks wind up [F] going in that direction?
Glenn Kreider Well, that's where I came from.
[C] I mean, [Bb] you know, I was like two weeks before [Db] my 18th birthday when I came to [Bb] ask Jesus
into my life.
And [D] it was really the beginning of [C] the end of my own addictions.
For about six years, I did every drug you could do except [Eb] shoot, [Db] you know, run up needles.
[C] And right on [B] the edge of full [Bb]-blown alcoholism at that point as well.
And _
_ [F] [D] so [Eb] the [Bm] bands that I had played in up until that time, you know, I started in blues, [B] like
I said, R&B, a bit of soul music and so on for quite [Bb] a while.
Discovered [Db] Hendrix, morphed [Cm] into really intense, [B] what was then called acid rock, [Bb] you know,
really intense rock, early heavy metal, you know, and hard, hard rock, [B] all blues-based
all the time.
[Bb] That's kind of where I was coming [D] from.
[Eb] And then here [Gb]
[C] I am, you know, some months later, [E] my life's [Bb] been changed, right?
And [B] I'm thinking there are other people out there that are still just trying to figure
out [Bb] why they're on the planet, you know, and caught up in some of the same addictions and stuff.
And the punchline for me was, [A] you know, Jesus says, out of the abundance of the heart, the [D] mouth speaks.
What's inside is going to come [B] out eventually.
And so what am [Ab] I going to do?
_ [C] And there were [Eb] some needs [Ebm] in that community among the students, [C] up in the Milwaukee area,
throughout [B] Chicago, the Midwest, so many doors open for [E] concerts and stuff, and people had
heard where I'd come [Bb] from.
[Db] I didn't join the fellowship as a musician.
I just showed [Bb] up because I needed help and I needed to get healed, you know.
And it was a little bit of a tag, you're it [Eb] thing, you know.
So I started doing acoustic [E] stuff because I didn't know what else to do.
They asked me [Bb] to sing here, sing there, do this in a coffee house, this [Eb] and that.
And I [Cm] realized that the average kid in the street could [Abm] care less about this kind of
music, you know.
It's just way [Bbm] too mellow.
[C] _
[D] And so we talked and prayed [C] about it.
And, [Bb] _ _
[E] you know, Petra, early [Cm] days for Petra, there was a three [Bbm]-piece group that was, _ [D] [C] frankly,
I don't [Bb] think they were that great, but what they did was [Db] amazing, called [Ab] Agape.
And I think they might have [Cm] pronounced it Agape, you know, out in the San Francisco
Bay Area, kind of a Hendrix-y kind of [Eb] vibe.
But there were, [C] and Wilson McKinley, that were Pacific [Bb] Northwest up by Seattle,
Spokane [D] area, there were only a [C] handful of [B] Christians doing [F] [Gb] authentic rock.
[Db] [Bb] And of course, you know, [D] look, [Cm] I've come out of [E] Zeppelin at that [Am] point, right,
and [C] Sabbath and [G] what was [Bb] then the heaviest stuff [Ab] going.
[Bbm] _ [Eb] And [C] it just made sense.
[Bb] _ That's, I can, [Cm] we can do this authentically, and we can write about important things,
and we can [Eb] express love for the [Bb] Lord, but also we can talk [C] specifically about
issues that even [Bb] sometimes the church doesn't want to talk about,
that are common on the street, you know.
[Db] And so everything from the [Gbm] failure of success, _ [Bb] _ [C] as I said, apartheid,
you know, [Db] songs about racism.
I wrote a song called The Chair about a guy [B] confined to a wheelchair,
and how people look down their nose at him and [E] almost don't want to be around him
because they're afraid they [Eb] might catch what he's got.
You know, _ very different sorts of writing.
[Bbm] And of course, reading through the [D] Psalms, man, a lament is the biggest category
[Eb] in the book of Psalms.
Fifty-seven of the 150 Psalms are Psalms of lament.
So struggle, temptation, _ enemies, battles, you know, the real world.
_ _ [C] _ So writing those sorts of songs in a really [B] aggressive rock,
blues-based, you know, hard, hard rock [E] format,
_ [Db] it was just amazing how people [E] just,
plus they either paid attention or left, you know what I mean?
You get Marshall Stax and you're hitting a, whatever, [Db] 280 dB,
I mean, either you listen or you leave kind of thing.
So we did a lot of outdoor shows, and I just, you name it,