Description
Ten Thousand Days is the sophomore album by the American singer and songwriter Bebo Norman, released on Watershed Records in September 1999, a division of Essential Records, manufactured and distributed by Provident Music Distribution in the US. Also manufactured and distributed in Europe by GMI Music Partners. The album was recorded by David Henson, assisted by Tim Eaton and Joe Kuhlmann, at Studio East in Charlotte, North Carolina; and was produced by Ed Cash with Bebo Norman co-producing. Also recorded by Ed Cash at The Farm in Marvin, North Carolina; with additional recording and overdubs recorded by Shane D. Wilson and Russ Long at The Castle Recording Studios in Franklin, Tennessee. Mixed by Ben Wisch. All songs written by Bebo Norman.
Much like Dave Matthews, Ani DiFranco or Hootie & the Blowfish, 26-year-old Bebo Norman has built a fanatical following without major label help. The Columbus, Ga., native has sold more than 35,000 copies of his indie album The Fabric of Verse. Now, as the first artist signed to Watershed Records (founded by Cliff Young of Caedmon’s Call), Norman stands to take his intimate folk to a wider audience. Chris Rice and Billy Crockett fans will likely enjoy Norman’s music, which radiates a healing tenderness.
But tender does not imply boring. Norman knows how to steer his acoustic folk through various turns, from country («Selwood Farm») to strident rock shuffle («Stand») to the strings-piano-and-clarinet balladry of the delicate «Deeper Still». Ed Cash’s spare production keeps things honest – no reverb-drenched sentimentality here. Norman’s husky baritone rings with sincerity, pleasantly recalling David Wilcox and Marc Cohn (two artists Norman cites as influences).
Norman’s lyrics don’t always match Cohn’s for visual detail and storytelling tension, but there’s no denying his formidable gifts. His melodic craftsmanship, supple voice and instinctive feel for dynamics allow him to cast quite the spell. Here’s to Ten Thousand Days, and then some. [Lou Carlozo, CCM, November 1999]
After completing his undergraduate studies, Bebo Norman decided to wait a year before entering Medical School to study to be a doctor. He recorded an independent solo project and went on the road. Somehow it doesn’t look as if we’ll ever have a Dr Norman! In his one-year sabbatical he made friends with Caedmon’s Call and following their rootsy approach to making an impact, especially with college students, he’s continued on the road and has now released a second album, this time signed to Watershed Records, a label established by Cliff Young from Caedmon’s. The grassroots buzz on this album is huge – at one point it was the highest selling album on the Internet {outselling every mainstream artist) and listening to it, it isn’t hard to reason why. Bebo’s song-writing and performances have a charm so that it’s impossible not to be intrigued, moved and drawn into the warmth of his music. There are so many standout cuts here that I’ll just tell you about my two favourites! The poppy «Stand» is an infectious little piece of pop about the freedom of God taking the burdens away, whilst the introspective «The Hammer Holds» only highlights the work of God’s hand on a life as he uses circumstances to pound us into the likeness of Christ. Elsewhere, Bebo has the skill to pen songs that examine the human condition and the grace that can be discovered in the midst of broken-ness. There is healing and insight; truth in the midst of pain and plenty of grace emerging from struggle captured in these songs and they’re delivered with a light rootsy musical touch built around Bebo’s guitar. ‘Ten Thousand Days’ is a stunning understated introduction to Bebo’s sensitive, vivid songwriting. Absolutely excellent. [Mike Rimmer, Cross Rhythms, February 2000]
Bebo Norman has a warm voice. It’s as clear as your next door neighbor. Listening to him could also be likened to talking to your neighbor. His voice sounds a bit like Chris Rice, and his entire album is mostly just him and his guitar at the tempo of Phil Keaggy’s ‘Beyond Nature‘. In concert, he even seems like your next-door neighbor. He is approachable – at one of his concerts he walked up to me and told me he liked my beard. He is a nice guy and there are too few of those in the world.
All types of music, some more than others, conjure images in the mind. The sound of Norman’s simple rhythm, moaning steel guitar and one song’s washboard brings to mind an early fall sunrise on a porch in some dewy rose garden in the Carolinas – Norman’s home. His music seems to be influenced more by southern gentility than rowdy rebellion, yet that doesn’t rob him of the edge in his voice – he’s certainly more skilled folk than soft rock.
His opening song, «Walk Down This Mountain», is the fastest paced and has a definite rock hook to it – more of one than the rest of the album. If only the rest could have snagged me with that hook. As it is, the next 11 songs diminish to a virtual hush, with few of the catchy dynamics in the first song.
On the bright side, docile and relaxing music is still an important genre, especially when it contains as meaningful lyrics as this album. His lyrics have a healing quality and an authenticity uncommon in this kind of folk music. His voice has a healing, melancholy and often tearful quality to it. In fact, one of his songs is appropriately called «Healing Song», touching each of us in those times in our lives when we are depressed and emotionally fragile.
Emotionally painful experiences are not best musically represented by aggressive musical styles like rock ‘n’ roll. Norman’s topics, from surrender to God, to a wedding day, to death, are best represented in the ballad forms he uses. One particular heart-wrenching song, «Rita» is about the death of a friend. It is a beautiful and haunting eulogy that can spread chills through the empathetic listener who has lost a love one. The lyrics speak for themselves.
Your broken body cannot weather the years your youth longs to spend
So go down graceful
Sleep with the angels, and wake up whole again
‘It’s was not your time’
That’s a useless line
A fallen world took your life
But the God that sometimes can’t be found will wrap himself around
So lay down sister, lay down … lay down Rita … lay down.This album is for the fan of quiet, contemplative, Phil Keaggy-tempo-meets-Chris-Rice-vocals music. It isn’t for everyone, but it is an album that needed to be produced in the folk genre, and it shows Norman has skill and promise in his particular genre. [Israel Kloss, The Phantom Tollbooth, 1/11/2000]
> iTunes (https://music.apple.com/us/album/ten-thousand-days/359323295)
CD tracklist:
01. Walk Down This Mountain – 4:18
02. Stand – 3:57
03. The Hammer Holds – 5:22
04. I’m Alright – 4:41
05. Deeper Still – 4:12
06. Where the Angels Sleep – 4:36
07. The Man Inside – 3:08
08. Healing Song – 6:10
09. In Your Hands – 4:06
10. A Page Is Turned – 5:20
11. Selwood Farm – 4:17
12. Rita – 4:39
Note: Simultaneously released on cassette and CD by Watershed Records.
A full-page sized Album and Tour advertisement for Bebo Norman was featured in the October 1999 issue of CCM Magazine.
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