This was the one and only album from Zion though there was a release in 2007 by Retroactive Records that I know nothing about. The band seemed to revolve around Rex Scott who joined X-Sinner after this project. This album really dances back and forth between Heavy Metal, Arena Rock, and Hard Rock. This dance however does not hurt the album. It is actually quite good and has a nice rhythm and is a good representation of Rex Scott’s various vocal skills.
1 – Who Pulls The Strings
2 – Kick In The Gates
3 – Is It A Crime
4 – Help Me
5 – Thrillseeker
6 – Sold You A Lie
7 – Roll The Rock
8 – Less Of Me
9 – He Loves You
Produced At – Extra Sensory Productions
Recorded At – Extra Sensory Productions
Produced At – MacDonald Recording
Mastered At – Motown Recording Studios
Copyright (c) – Image Records (11)
Copyright (c) – Rock For Eternity Music
Manufactured By – American Helix – E6726
Arranged By, Guitar, Vocals – Rex Scott
Art Direction, Design – Alex Van Amerongen
Bass – Jeff Johnson (tracks: 1 to 6, 9)
Bass, Backing Vocals – Marlin Saner
Drums – Tommy ”Gun” Bozung
Edited By [Digitally] – Jason Brown
Engineer, Orchestrated By – Charles Meserole
Executive Producer – Dorn Reppert, George Peper III
Lead Guitar, Backing Vocals – David Moore
Mastered By – John Matousek
Other [Additional Backing Vocals] – David Schueller, Joe Bolock Jr., Joe Bolock Sr., Paula Meserole
Photography By – Doug Reichert
Producer, Arranged By – David Zaffiro
You would swear this was going to be David’s pivot into a comedy career. David is a great entertainer, and as talented as he is musically he obviously loves to tell stories.
This is his 6th of 12 albums and it is an enduring one just for the fun it comes with. The epic story of “Mother, Muffler, Mozart & The Beatles” was one I heard at more than 1 or 2 youth group nights.
Even with all the story telling and entertaining, he manages to fit in 8 of his biggest songs up to that point. The live energy he brings to this performance brings all of them to an even higher level than the original studio recordings.
Track Listing: Heaven Knows 2:35 Jesus 4:31 Rattle Me, Shake Me 4:30 Mother, Muffler, Mozart & The Beatles (6:28) (Mozart Sonata A Minor 1st Movement) (Sgt. Peppers Lonely Hearts Club Band) All The Time 4:14 Never Gonna Serve Anyone Else But You 2:40 Gospel Train 3:05 Comin’ Back 3:12 Crucifixion (15:56) (There Once Lived A Man) (Intermezzo) (Ten Thousand Angels) (The Bystander) (Were You There) (We Are The Reason)
Credits Backing Vocals – Donna McElroy, Glenda Smith White, Kim Flemming Bass – Craig Nelson Design [Album Design] – Barnes & Company Drums – Keith Edwards Engineer – Jack Joseph Puig Engineer [Remix Engineer] – Bob Clark Executive-Producer – Mike Blanton Guitar – Brent Rowan, Jon Goin Horns – Billy Puett, Buddy Skipper, Dennis Solee, George Tidwell, The Nashville Hornworks, Roger Bissell Keyboards, Synthesizer – Shane Keisten Percussion – Farrell Morris, Mark Morris Photography By – Larry Dixon Piano – David Meece Producer – Brown Bannister Recorded By – Malcolm Harper
Phonographic Copyright (p) – Word, Inc.
Copyright (c) – Word, Inc.
Published By – Duchess Music Corp.
Published By – Word Music (2)
Published By – Maclen Music, Inc.
Published By – Lillenas Publishing Company, Inc.
Recorded At – Lincoln Center, Fort Collins, CO
Remixed At – Great Circle Sound
Mastered At – Masterfonics
Pressed By – Monarch Record Mfg. Co.
Not only did they change the name from “Lifesavors” to “Lifesavers” on this one, but the band took a sudden turn with this album, sounding a lot more like Flock of Seagulls than like a Cali-punk band.
Smooth production, serious looking photography, and a clean sound make this a pop album. Subsequent releases from Lifesavers all share this mature style but some of them manage to bring the edge back rather than the adult contemporary sound of 80s oldies.
Throughout, they manage to keep thoughtful lyrics and passionate delivery.
The band’s energy comes through again on songs like “Choose To Be True,” a truly catch tune. The classic “Turn Turn Turn” also makes an appearance on this album. It seems to be more an homage to Ecclesiastes than to Pete Seger or The Byrds though.
1 – She’s On Fire – 3:39
2 – I Pray You Pray – 3:34
3 – I Can’t Wait – 3:42
4 – Choose To Be True – 2:28
5 – Highway To Zion – 3:02
6 – Dreamin – 4:20
7 – Love Boy Love Girl – 3:13
8 – Turn, Turn, Turn – 3:39
9 – We Live For The Sun – 3:44
10 – Free Her – 3:18
11 – See Me Fall – 4:48
Distributed By – The Benson Company, Inc.
Copyright (c) – Frontline Records
Phonographic Copyright (p) – Frontline Records
Copyright (c) – Broken Songs
Acoustic Guitar – Michael Knott
Art Direction – Ed McTaggart
Backing Vocals – Kenny Samuels
Bass Guitar – Brian Doidge
Drums – Kevin Lee
Electric Guitar – Doug Doyle, Michael Knott
Engineer – Doug Doyle
Keyboards – Doug Doyle, Michael Knott
Layout – Ed McTaggart
Liner Notes – Craig A.J. Keyzers
Percussion – Kevin Lee, Michael Knott
Photography By – Brian Ray
Producer – Doug Doyle
Saxophone – Allen Palmer
Vocals – Michael Knott
Written-By – Bill Robinson (tracks: 2), Chris Lizotte (tracks: 2), Jim Akin (tracks: 2), Michael Gerard Knott (tracks: 1 to 6, 7, 9 to 11), Pete Seger (tracks: 2)
Servant went through a series of musical changes between their 1979 debut and this 1985 release. They were searching for the new wave sound and look, finding it in what looks like borrowed clothes on the album cover, complete with beret, sweaters, skinny tie and big hair.
The musical sound is the 1985 radio-friendly stuff of Starship and softer Tears for Fears sounds.
This doesn’t take anything away from them lyrically or musically but it is a noticeable change from the simple rock reachings of Fly Away and Suburban Josephine.
1 – Power – 4:48
2 – The Dance – 3:53
3 – Timeless Love – 3:44
4 – Look Through His Eyes – 4:05
5 – Human Heart – 3:57
6 – I Will – 3:27
7 – Harder To Finish – 3:40
8 – Million – 4:04
9 – Love Never Fails – 3:44
Recorded At – Grand Slam Studios
Recorded At – Quad Recording Studios
Mixed At – Quad Recording Studios
Art Direction – Joan Tankersley
Bass – Rob Martens (2)
Design – Joan Tankersley
Drums – David Holmes (18)
Engineer – David Schober
Engineer [Assistant] – Jay Healey, John Jenkinson
Executive-Producer – Lynn Nichols
Graphics – Lori Cooper
Guitar – Dave Perkins
Keyboards – Matt Spransy
Lead Guitar – Bruce Wright
Lighting Director – Lori Martens
Photography By – Chris Callis
Producer – Dave Perkins
Rhythm Guitar – Owen Brock
Vocals – Sandie Brock
Vocals, Acoustic Guitar – Eric Odell
911 was a band formed in Las Vegas in the late 70’s by Cathi Demman, her husband at the time, her brother and sister, and Brother in Law. Yes it was a real family affair. They originally used the name “Son Song Band” but changed their name to 911 relatively quickly. This is their one and only album which was well received but not well enough for Exile Records to record a second album.
1 – Time Will Tell – 3:45
2 – Do You? – 3:22
3 – Believe – 2:48
4 – Is It Any Wonder? – 2:12
5 – A Memory – 3:41
6 – Where Are You Now? – 4:01
7 – Too Cool – 3:23
8 – Pick Me Up – 2:57
9 – East From West – 4:30
10 – Are You Willing? – 3:25
Jeff Lams: Arranger, Keyboards, Synthesizers
Mark Wiegand: Vocal Arranger, Songwriter, Keyboards
Cathi Demman: Songwriter, Lead and Background Vocals
Cristina Stretz: Lead and Background Vocals
Kiko Campo: Lead and Background Vocals
Hap Smith: Guitar
John Klingbiel: Bass
Brian Hicks: Keyboards, Synthesizers
Nelson Kole: Keyboards, Synthesizers
Eric Stretz: Songwriter, Drums
This 1975 Myrrh Records sampler had some of the early 70’s best Jesus Music. Strangely, it had the exact same name (Including the exclamation mark) of an album released the same time from The Kingsmen. The album only had one unreleased track, Larry Norman – Dear Malcolm, Dear Alwyn. Larry did finally release the track in 1993 on the So Long Ago The Garden re-release as a bonus track.
Include below is the info on which album the songs were released on
1 – Barry McGuire – Enter In – 5:35 – Seeds
2 – Lamb – The Sacrifice Lamb – 5:09 – Lamb
3 – The Sonlight Orchestra – Easter Song – 2:45 – Love Songs And Other Greats
4 – Randy Matthews – Johnny – 3:30 – All I Am Is What You See…
5 – Petra – Back Sliding Blues – 4:31 – Petra
6 – Walt Mills – You Got The Power – 2:55 – Sincerely, Walt Mills
7 – Ron Salsbury And J.C. Power Outlet – I Choose To Follow You – 5:15 – Forgiven…
8 – Evie – Clean Before My Lord – 3:05 – Evie Again
9 – Parchment – Light Of The World – 4:00 – Light Up The Fire
10 – The Pat Terry Group – I Can’t Wait – 3:42 – The Pat Terry Group
11 – 2nd Chapter Of Acts – I Fall In Love/Change – 4:22 – With Footnotes
12 – Ray Hildebrand – Didn’t He – 5:08 – Special Kind Of Man
13 – Honeytree – Heaven’s Gonna Be A Blast – 2:22 – The Way I Feel
14 – Aleksander John – Days Go By – 3:15 – Days Go By
15 – Love Song – A Love Song – 1:46 – Love Song
16 – Larry Norman – Dear Malcolm, Dear Alwyn – 2:36 – Unreleased until 1993
17 – Malcolm & Alwyn – Tomorrow’s News – 3:30 – Fool’s Wisdom
18 – Ken Medema – Come Let Us Reason Together – 3:35 – Fork In The Road
19 – Chuck Girard & Love Song – Think About What Jesus Said – 4:54 – Final Touch
20 – Marijohn – Where I’m Going – 3:58 – Where I’m Going
Torn Flesh was a thrash metal band out of Chesapeake, Ohio. I searched my memory banks and can say this is the only band I have ever heard of from there secular or Christian. The members of this band had started an organization called “Psalms 150 Ministry” and were ministered on the streets of Huntington, WV (Just across the river from Chesapeake) and were getting a lot of recognition for their successful efforts. At some point they decided that starting a thrash metal band would be a great help in their proselytizing. This album was a result of that effort. The album had some success, but it appears not enough for a second album.
1 – Torn Flesh (Crux Of The Mosh)
2 – End The Fight
3 – World Pollution
4 – Dead To The World
5 – Fire Escape
6 – Happy Birthday
7 – Kill The Dead
8 – Gay Rights?
9 – Man’s Best Friend
10 – Innocent Eyes
11 – Hollywood Heaven
12 – The Ultimate Finale
Phonographic Copyright (p) – Narrowpath Records
Copyright (c) – Narrowpath Records
Distributed By – Pure Metal
Bass – Mike Holbroo
Drums – Jim Brown
Guitar – Aaron Brown, Jason Matthews
Vocals – Greg Hudson
This is the first solo Christian album from Chuck Girard. He had a successful secular career in the 60’s playing with the Castells and later the Hondells and sang lead on the Hondells single “Little Honda”. However, in the 70’s Chuck was looking for something a little more satisfying. He was a part of the Jesus music era and was in a band called Love Song until 1974. He then released this album and it did well for the time. Most believe his song from this album “Sometimes Alleluia” to be his best song ever.
1 – Rock ‘N’ Roll Preacher – 2:44
2 – You Ask Me Why – 3:14
3 – Evermore – 3:26
4 – Quiet Hour – 3:27
5 – Everybody Knows For Sure – 4:30
6 – Galilee – 3:19
7 – Tinagera – 3:47
8 – Lay Your Burden Down – 5:18
9 – Slow Down – 4:08
10 – Sometimes Alleluia – 5:28
Bass – Joe Osborne, Joe Puerta
Drums – Burleigh Drummond, Jim Keltner
Guitar – David Pack, Dean Parks
Harmonica – Tommy Morgan
Piano – Christopher North, David Paich
Producer – Chuck Girard
This follow-up to 1980’s The Sky Is Falling was a much more refined studio approach. Randy recruited a lot of top CCM artists to help out.
Producer Terry Taylor (of Daniel Amos) recruited his entire band to play on the album along with, Tom Howard, another Larry Norman and Solid Rock Records protege.
The result is a tight band performing Randy’s songs in the studio, giving a much more polished sound than we were used to getting from him up to this point.
The song “Die Young” is an example of Randy’s cynical but honest approach, calling out the typical Western lifestyle centered around short term thinking. His combination of humour and truth-telling was present throughout his career.
“Christine” is one of Randy’s reaches out to a lonely and desperate person. It has a significant parallel to the song Christmas at Denny’s, which we get many years later on the Return To Paradise album.
This album established Randy’s ability to move beyond performing as a singer-songwriter.
1 – The Glory And The Flame – 3:10
2 – Die Young – 3:15
3 – Fifth Avenue Breakdown – 2:50
4 – Granfather’s Song – 3:24
5 – Find Your Way To Me – 3:42
6 – Christine – 3:29
7 – Rainbow – 3:49
8 – Givin’ It Up For Love – 4:13
9 – Letter To My Family – 4:58
10 – Farther On – 2:56
Record Company – Word, Inc.
Phonographic Copyright (p) – Word, Inc.
Copyright (c) – Word, Inc.
Produced For – Rebel Base Productions
Recorded At – Whitefield Studios
Mixed At – Whitefield Studios
Published By – Prime Cut Publishing
Published By – CanaanLand Music
Published By – Tong Songs Music
Published By – Joyful Road Music
Guitars, Background Vocals – Jerry Chamberlain
Bass – Marty Dieckmeyer
Background Vocals, Songwriter, Synthesizer String Arranger, Piano, Harmonium, Acoustic Guitar – Tom Howard
Percussion – Alex MacDougall
Drums, Percussion – Ed McTaggart
Engineer – Thom Roy
Producer, Songwriter, Guitars, Percussion, Vocals – Randy Stonehill
Producer, Slide Guitar – Terry Scott Taylor
Phil had released a number of albums by this point, and with this one he switched to a new label, New Song Records. It’s all instrumental and has a pleasant jazz sound emanating from his intricate guitar work.
The album comes with a story in the liner notes, and it is a must-read while you listen to this album. Press play and keep reading.
Music, especially instrumental music, evokes many images in the mind of an attentive listener. I have set below an account of the images which have been called up for me by The Master and the Musician, not as any final word on meaning or intent, but as a vantage point, if you will – a place from which you may consider this series of musical pieces before you do some exploration on your own.
We begin by listening to a dream, for at first the sounds are clearer than the sights. A young man’s voice, distinct and persistent. Then that of an older man, measured, balanced tones. Now they come into view: The seated old man leans against his high-backed chair, listening attentively. His eyes crinkle with hidden amusement at the young man’s insistence. Heavy, white eyebrows are occasionally raised as his eyes widen, echoing his initial surprise at the young man’s visit. A slender, long-fingered hand is brought to the side of his face. His fingers frame an eye, as one hand rests against his cheek, his clear eyes never straying from the face of the man across from him.
His younger visitor leans forward again, intent on explaining a request he barely understands himself. He is a young musician, and yet he shows the strain and wear of travelling, pressed by that fame which demands strenuous performance. The old man smiles, and for a brief moment glances at the worn wooden surface of an instrument hung upon his wall. Sensing a rapport which he had never though could exist, the young man leans forward and repeats his request:
“Teach me,” said the young musician. “Old man, you have seen much. You were Master Musician in your time, playing in the great halls. Your fingers, once young and lithe, filled the hearts of kings with music which changes the soul. Where did you learn music? It is said that you have even played before He who is not to be named. Teach me,” said the young man, his eyes intent upon purpose, “I want to know that music.”
“Young man, what have you to do with me? Your gift is in the marketplace, not playing in royal halls.” The old man smiled and shook his head. “How they dance when you play! The young women sway, and their eyes dart with fiery love at your tones. To play where I have, you must leave the marketplace behind, you must cease to play in the palaces of pleasure, and find your joy in other pursuits. Are you willing? Are you able to leave all of that behind?” The young man’s lips tightened. His eyes held the old man in unwavering gaze as he softly nodded his head.
The Castle’s Call
Deep in a sun-flooded valley it stood. Beyond the outcroppings of bare rock at the summit, the wind-blown trees along the steep slope, in the midst of the small forest on the valley floor. Open ground swelled up to meet its moat. White stone, hewn long ago from the valley itself, washed by aeons of the water of pre-history, formed its battlements and towers topped with dark green slate. The early afternoon sun bathed its walls in yellow brilliance. The drawbridge was down, and smoke curled from the chimneys of the great hall.
Hidden, yet apparent, the castle in his mind’s eye drew the young musician to its entrance, and called him to an as yet uncontemplated fate.
Wedding in the Country Manor
Wedding day! The village has been polished clean. Clear summer sun and unsullied sky. Who has seen a groom like this, strong and silent, dark and light? Clear eyes flash with joy, anticipating his lady’s gentle appearance.
She walks upright and unafraid, her lace veil blowing in the summer breeze.
Her gaze is neither timid nor bold, yet it holds the strength of her lord’s without wavering.
They kiss… A brilliant jewel between them sparkles, showering the guests with light and laughter. Then silence, as the meaning makes its home.
The children, unaware of grownup solemnity, dance out joy with unencumbered feet, whirling and giggling, giggling, and whirling away their summer joy. One by one, the grownups join them, bride, groom, and guests, until all fall from exhaustion, laughing at dignity and foolishness alike.
Suite – of Reflections
“This is the room where we must begin,” the old man said, “sit down – over there. Hold your instrument so. A thousand have sat as you have. Listen.” The old man played out the story of the room, asking all the age-old questions of the entrance.
The young man sat in silence. Then answered his every question one by one – considered, unwavering, sure of what he would find. His heart soared as each question was answered, anticipating the fulfillment of the promise each one held. Now tears of joy are flowing from his cheeks. He holds his instrument away so as not to spoil the strings. The old man smiles. The younger weeps: All I have lived for is here. The joy of new beginnings settles in his mind, as the old man sets down his instrument and opens up the door: “You must meet the King,” he said, “you must meet Him face to face. No, no -” the old man answered the unasked question: “You must go alone. You won’t come to harm; I will even meet you along the way. But – for now – you must go alone.”
Golden halls to walk down; flowing, gentle gold. Everything exudes yellow light. The young man looks at himself in a mirror. The hard creases etching the lines of his worry have been smoothed over. His cheeks fill with the youth of his years – once made long from the marketplace. Forever, he thought. I have never known its meaning. I shall live here forever, in golden light.
Now that the hot lights of the pleasure palace stage glare into his eyes, He steps up to the roar of a crowd bent upon his music, and all that it has brought to them. Then silence. He sings – no, soars with joy. The crowd no longer presses forward, but holds itsbreath at music it has never heard. His fellow players stand mute.
Follow Me Up
“Follow me up,” he cries, as they begin to understand. The marketplace reverberates with music of life. The young women, no longer dancing, cry with joy at the truth they have always known but were seeking to hide. Young men look for the source of his strength. “Follow me up,” he cries, again and again. They will remember this night forever, and never know why.
Along the castle’s golden halls, the sight of a long and narrow passage has stopped him. At the end, a single door gleams in green light: The stage door of the pleasure palace. It was unmistakable, and jarringly out of place. What music drew him down to open the door and gaze into his own face, bathed with sweat and green light, playing out the pleasures for adoring admirers? The young man in the room swayed and bent, his instrument playing out in twisted genius the stories of his lusts. The young man gazing at him drew back in disgust and horror of the truth. He slammed the door and ran back to the golden hall, his heart racing him to a finish.
Deep Calls Unto Deep
The old man sat in the great hall, his fingers resting lightly upon his instrument. One hand lifted, to silently indicate the young man’s own instrument, lying in the only other chair. The young man shook his head, no longer willing or able to play. He opened his mouth to explain, but could not speak. The old man began, as the younger stood before him in silence. The presence of He who cannot be named filled the hall. Never had he heard the old man play like this. His cheeks flamed crimson at his own inability. An unseen instrument answered the old musician, who raised his head slightly to acknowledge its presence. The younger walked as in a trance to his chair. He sat, and fingered the instrument. Unwillingly, he began to play, and himself was answered. His concentration was set upon his fingers, which played from some unrecognized but familiar depth. He never noticed the old man’s disappearance. The Presence lifted. Alone, the young man sang of a thirst quenched by water and salt.
The next room was lined in oak; leaded windows looked out over green forest at the setting sun. The young man sat in a window casement, and played down the sun to a half-remembered hymn. The sky became green and deep gold. Slowly, all turned cold – the stars came into a dark, black night. Since the old man’s disappearance, the young man had been incapable of calling back the Presence. The night turned darker, and the young one began to cry, not for loss, but lack. Oblivious to his surroundings, he bent his head and sobbed. His tears ran saltily upon his instrument, dripping from the strings. They can be spoiled now, he thought, what does it matter? I cannot play.
“I too was alone,” said a voice, “I too could no longer play the Music.” The young one bit his lip and looked up. The King was before him, not as a king, but as the young man himself, his heart empty. Royal robes hung over one arm. “Wear these,” said the king, “for they are yours.”
The King gazed at him as a bridegroom at his bride, and the young man played; joined, not by an instrument, but by the voice of the Presence itself. The King was lifted up and out of sight, golden walls illuminating His departure. Still the young man played, for the Presence was greater than ever. He sang with It, It sang with him. Voices called cross to one another; all led upward. A joy far deeper than his own emotions held him in its grasp. It would not let him go.
The high and exalted One
Who lives forever, whose Name is holy,
He dwells in a high and holy place
And with him are the lowly in spirit,
In order to revive their hearts.
A1 Pilgrim’s Flight 2:22
A2 Agora (The Markerplace) 3:26
A3 The Castle’s Call 0:47
A4 Wedding In The Country Manor 3:20
A5 Suite Of Reflections 5:45
A6 Golden Halls 5:13
B1 Mouthpiece 1:18
B2 Follow Me Up 4:05
B3 Jungle Pleasures 0:55
B4 Deep Calls Unto Deep 3:52
B5 Medley (7:05)
B6 The High And Exalted One 1:48
Classical Guitar, Acoustic Guitar, Electric Guitar, Acoustic Bass, Electric Bass, E-Bow, Synthesizer [Arp Bass], Drums, Percussion, Vocals, Producer, Arranged By, Mixed By, Composed By, Sleeve Notes – Phil Keaggy
Engineer – Gary Hedden
Engineer, Mixed By – Mal Davis
Illustration – Claude Schuyler
Lyrics By [Story Written By] – Stuart Scadron-Wattles
Photography By – Chris Maggio (3)
Vocals – Bernadette Keaggy