The illustrious career of singer/songwriter John Schlitt has been filled with many unexpected twists and turns. Though he first found fame as a member of secular superstars Head East, the classic rock legend later became a born again Christian and jointed the pre-existing Petra lineup as front man in 1986. He continued that highly sought after position through the band’s break-up in 2006, amassing four Grammy Awards, countless Doves, two gold albums (Beyond Belief and Petra Praise: The Rock Cries Out), plus sold out tours from coast to coast.
All the while, the versatile vocalist also engaged a solo career, starting with 1995’s Shake and the following year’s Unfit For Swine, backed by occasional shows when he wasn’t tied up with group duties. He chalks up the dozen year gap between that last project and the new The Grafting to the band’s ongoing popularity on the road, though there’s much more free time these days in the wake of Petra’s retirement.
“It’s funny because I played the new project to a record executive friend of mine, and he said, ‘John, I hear hints of Head East, hints of Petra and you singing in styles you haven’t done in a long time,’” says Schlitt via phone from his home in Nashville. “He went on to say it was very fresh sounding but recognizable at the same time, and I took that as the ultimate compliment! It’s, of course, gonna sound a little Petra-ish no matter what, but the production brought out different styles as well.”
Schlitt had his son-in-law, Dan Needham, behind the boards. Needham’s a major name in country music, plus a session player with Amy Grant. The result of their collaboration yields a mixed bag of refined rockers, acoustic expressions and contemporary ballads, bathed in a lyrical framework that finds the former front man exactly in the present tense.
“I realized I’m not 16 anymore, and I wanted this record to relate to where I’m at right now in my life,” he offers with a laugh. “My family is my life, and the fact that I now have five grandkids—all of whom are adopted—is a real celebration. So one of the topics I talk about is adoption instead of the abortion cycle, which is addressed in the title cut as a tribute to the brave women who choose life over death.”
Other topics tackled include divorce (“Stand”) and the power of forgiveness in the aftermath of that unfortunate occurrence, along with reaching out to the less fortunate (“Face of God”). Schlitt makes even bolder social statements on “Only Men,” which discusses God’s fading presence within a secular society and our need to defend Him at all costs. Not only does that varied topical base cover remarkably fresh ground, but Schlitt also credits the extended gap in-between solo recordings as a sonic asset as well.
“I actually saw the 12-year distance in between albums as an advantage because of the different perspectives it’s given me on life,” he confirms. “After so much time, this project doesn’t sound like the first two, either in subject or style, but it catches people up with my thoughts and tastes now that I’m older.”
Even though he’s locked in today, a conversation with the living legend can’t be complete without asking about his fondest memories of Petra, which surprisingly have nothing to do with the accolades or attention garnered throughout two influential decades. Sure, there were secular events, like performing at Farm Aid and getting video airplay on the MTV equivalent of Canada, but it’s always been about ministry for the entertainer.
“I will probably say touring with Josh McDowell [throughout the late ’80s and early ’90s] because of all the outreach that took place,” he ponders. “I remember playing a venue in California that had unusually wide aisles with about 6,000 people in the seats, but after Josh gave an altar call as we were standing behind him, every square inch of the placed was packed! So we and all the prayer warriors who volunteered ministered to them. Those are the kinds of things that get stuck in your head!”
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All the while, the versatile vocalist also engaged a solo career, starting with 1995’s Shake and the following year’s Unfit For Swine, backed by occasional shows when he wasn’t tied up with group duties. He chalks up the dozen year gap between that last project and the new The Grafting to the band’s ongoing popularity on the road, though there’s much more free time these days in the wake of Petra’s retirement.
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“It’s funny because I played the new project to a record executive friend of mine, and he said, ‘John, I hear hints of Head East, hints of Petra and you singing in styles you haven’t done in a long time,’” says Schlitt via phone from his home in Nashville. “He went on to say it was very fresh sounding but recognizable at the same time, and I took that as the ultimate compliment! It’s, of course, gonna sound a little Petra-ish no matter what, but the production brought out different styles as well.”
Schlitt had his son-in-law, Dan Needham, behind the boards. Needham’s a major name in country music, plus a session player with Amy Grant. The result of their collaboration yields a mixed bag of refined rockers, acoustic expressions and contemporary ballads, bathed in a lyrical framework that finds the former front man exactly in the present tense.
“I realized I’m not 16 anymore, and I wanted this record to relate to where I’m at right now in my life,” he offers with a laugh. “My family is my life, and the fact that I now have five grandkids—all of whom are adopted—is a real celebration. So one of the topics I talk about is adoption instead of the abortion cycle, which is addressed in the title cut as a tribute to the brave women who choose life over death.”
Other topics tackled include divorce (“Stand”) and the power of forgiveness in the aftermath of that unfortunate occurrence, along with reaching out to the less fortunate (“Face of God”). Schlitt makes even bolder social statements on “Only Men,” which discusses God’s fading presence within a secular society and our need to defend Him at all costs. Not only does that varied topical base cover remarkably fresh ground, but Schlitt also credits the extended gap in-between solo recordings as a sonic asset as well.
“I actually saw the 12-year distance in between albums as an advantage because of the different perspectives it’s given me on life,” he confirms. “After so much time, this project doesn’t sound like the first two, either in subject or style, but it catches people up with my thoughts and tastes now that I’m older.”
Even though he’s locked in today, a conversation with the living legend can’t be complete without asking about his fondest memories of Petra, which surprisingly have nothing to do with the accolades or attention garnered throughout two influential decades. Sure, there were secular events, like performing at Farm Aid and getting video airplay on the MTV equivalent of Canada, but it’s always been about ministry for the entertainer.
“I will probably say touring with Josh McDowell [throughout the late ’80s and early ’90s] because of all the outreach that took place,” he ponders. “I remember playing a venue in California that had unusually wide aisles with about 6,000 people in the seats, but after Josh gave an altar call as we were standing behind him, every square inch of the placed was packed! So we and all the prayer warriors who volunteered ministered to them. Those are the kinds of things that get stuck in your head!”
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