March 2021 – Page 3 – Real 80s CCM

Phil Keaggy – Phil Keaggy And Sunday’s Child – 1988

I guess this album was the result of “if you can’t beat them, join them.” Constantly compared to Paul McCartney during his career, why not just do a Beatles album? What was actually supposed to be a possible semi-regular group, Phil Keaggy & Sunday’s Child only ever released this one album. But what an album they created! Making up the rest of “Sunday’s Child” are Rick Cua on bass, Mike Mead on drums and Lynn Nichols on guitar and vocals. It also may go down in CCM history as the single nicest group of musicians to record a record together. There is this one odd thing about many Keaggy albums. Those with great songs have a tendency to lack the guitar prowess that many clamor for, while those with great guitar work have tendency to lack quality songwriting throughout. This album is all about the songwriting and is clearly some of Keaggy’s finest work in the regard. And true to form the album is not filled with blazing and intricate guitar work, though many tasteful and enjoyable examples can be found. There album is also the most “band” sounding in his career outside of the Crimson and Blue recordings. But that band is supported by a Hall of fame list of musicians including Steve Taylor, Mark Heard, Randy Stonehill, Alwyn Wall, Derri Daugherty, Russ Taff and the always impressive and often overlooked James Hollihan on guitar. Many of the guests also provided songwriting help. The Beatles comparisons are not subtle. They were clearly the inspiration and that adds to the sheer joy of the album. In fact, according to the liner notes, Ringer Starr’s drum kit was used on the recording. Older amps, instruments and recording processes were employed to give the album the rich, analog sound.

The album kicks off with the mid-tempo rocker, “Tell me How You Feel.” This tone setter reveals what will follow with the head side bopping beat and Keaggy’s higher end vocals at times reminiscent of McCartney with abandon. But there is also a clear nod to the Byrds here and throughout. The title track, co-written with Stonehill, was a hit, and for good reason. This song is memorable and smart at the same time. I believe I hear Stonehill’s vocals in there as well. The two released a wonderful album a year or so ago that employed some of the same musical stylings. A personal favorite, and one of the better rockers on the album is “I Always Do.” Starting slow before kicking halfway through the verse into a killer rocker that is more reminiscent of Glass Harp’s poppier side. The song also features one of the more upfront guitar solos and the best hook on the entire album. Without blazing fingers and extended riffs, Keaggy here shows the power of a well controlled, melodic and tasteful rock solo. It should be noted this is a Mark heard penned tune. “I’m Gonna Get You Now” is more early 70’s rock and sounds the least like the Beatles as any on the record, excepting the song that follows. But it should be noted that it also provides some of Keaggy’s best rock vocals. Co-written by Lynn Nichols, the songs edge gives Keaggy the change to explore some vocal styles he hadn’t previously. If someone mentioned that Steve Taylor co-wrote one of the songs, my guess would immediately be “Bless Be the Ties,” and that would be correct. More psychedelic than the rest of the album, this slower, dare I say darker (?) song remains one of the best as well. This Could Be the Moment” returns to the more fun rock and roll. This is a good old-fashioned, put the top down on the convertible and hit Pacific Highway. The chorus is a monster with some great harmonies. The instrumental break just pounds with Mead’s great driving beat and Keaggy’s subtle and building guitar work. Even Cua gets a short solo here! This was a great song live I should add as it was extended to include solos from everyone. Side Two kicks off with the loudest guitars and a song co-written by Stonehill called “Ain’t Got No.” But this Stonehill is Sandi, the then wife of Randy. Oddly enough, it sounds like something randy would have recorded himself. It’s hard to decide which song stands out as the “best” on such a great album, but “Somebody Loves You” would have to receive recognition. The acoustic driven rock song is pure Keaggy and one of the songs Keaggy penned entirely by himself. Keaggy here shows his guitar prowess is not just limited to electric and solo, but tasteful and smart acoustic rhythm work as well. This alone gives it more of a Byrds feel. Another of the darker feeling songs follows with “Big Eraser.” Another Nichols co-written tune, it is perfect fit for something on the Chagall Guevara debut. The vocals are clouded amongst a large rock vibe and huge drum sound. This would make sense given Nichols involvement with the group. The Mark Heard penned “Everything is Alright” is a true dichotomy. A dark and almost atmospheric verse structure followed by a pop and memorable hook driven chorus. This is also around the time of Ideola, and the style shows through. “I’ve Just Begun (Again)” brings the album back to the joyful musical expressions that dominate the vast majority of the album, while the following “Walk In Two Worlds” represents the darker, rougher edge. One would have hoped future releases would expand upon this sound as it worked so incredible well here. The album closes with a wonderful version of the traditional spiritual “Talk About Suffering.” Staring nearly in an acapella (drums only) before adding the band, this version is both beautiful and unforgettable. A fitting ending to a great album. This may be Keaggy’s finest hour as a songwriter, though another album of his will appear much later in the countdown, it is a real shame this ended up being only a one-off and no further collaborations between these men exists in this format.

Tracklist
1 – Tell Me How You Feel – 3:21
2 – Sunday’s Child – 3:57
3 – I Always Do – 4:50
4 – I’m Gonna Get You Now – 3:47
5 – Blessed Be the Ties – 3:56
6 – This Could Be the Moment – 3:48
7 – Ain’t Got No – 3:29
8 – Somebody Loves You – 4:05
9 – Big Eraser – 4:33
10 – Everything Is Alright – 4:19
11 – I’ve Just Begun (Again) – 3:00
12 – Walk In Two Worlds – 3:37
13 – Talk About Suffering – 4:50

Credits
Robbie Buchanan – Organ B3
Lenny Castro – Percussion
Rick Cua – Bass
Derri Daugherty – Vocals
Lance Demers – Songwriter
Dave Hackbarth – Mixed
Mark Heard – Songwriter, Engineer, Keyboards, Guitar, Vocals
James Hollihan – Guitar
Wade Jaynes – Mixed
Eddie Keaggy – Mixed
Phil Keaggy – Songwriter, Guitars, Bass, Percussion, Vocals
Mike Mead – Drums
Lynn Arthur Nichols – Producer, Songwriter, Guitar, Vocals
A. Palladino – Songwriter
Jack Joseph Puig – Mixed
David Schober – Engineer
Jimmie Lee Sloas – Vocals
Bart Stevens – Mixed
Randy Stonehill – Songwriter, Guitar, Vocals
Sandi Stonehill – Songwriter
Russ Taff – Vocals
Brian Tankersley – Engineer
Steve Taylor – Songwriter, Percussion
Rudy Valentine – Vocals
Alwyn Wall – Vocals

Companies, etc.
Phonographic Copyright ℗ – Word, Inc.
Copyright © – Word, Inc.
Manufactured By – Word, Inc.
Distributed By – Word, Inc.
Recorded At – Music Grinder Studios
Recorded At – Neverland Studios
Recorded At – Bill Schnee Studios
Recorded At – Fingerprint
Recorded At – The Hop
Mixed At – Bill Schnee Studios
Pressed By – U.S. Optical Disc

White Heart – Freedom – 1989

Freedom is the sixth studio album by White Heart and their last with Sparrow Records though Sparrow would continue distribution under an arrangement between the Sparrow Records and Star Song labels. This was also the last album for Tommy Sims, Gordon Kennedy and Chris McHugh. I guess you could say this album marked a end of a chapter for the band. I read a few reviews of this album and some reviewers thought this was one of their best if not their best album. I don’t really fall in that camp of reviewers. It’s a pretty good album and there’s a track or two that will make it into my rotation but their best? Not really. The album is a nice mix of CCM singles with 3 making it to the charts and “The River Will Flow” doing the best at #13 There’s also a couple power tracks that are more my style. So my final rating is pretty darn good and has enough different style to satisfy most listeners.

Tracklist
1 – Bye Bye Babylon – 4:06
2 – Sing Your Freedom – 4:59
3 – Let the Kingdom Come – 5:04
4 – Over Me – 5:19
5 – Eighth Wonder – 4:25
6 – Power Tools – 4:20
7 – Invitation – 4:53
8 – The River Will Flow – 6:55
9 – Set the Bridge on Fire – 4:31
10 – Let It Go – 4:15
11 – I’ll Meet You There – 4:22

Credits
Art Direction – Barbara Catanzaro-Hearn, Larry Vigon
Backing Vocals – White Heart
Band [White Heart Is] – Billy Smiley, Chris McHugh, Gordon Kennedy, Mark Gersmehl, Rikk Florian, Tommy Sims
Design – Larry Vigon Studio
Engineer [Additional Engineer] – Byron House
Engineer [Assistant Engineers] – Carry Summers, Kevin Twit, Mark Nevers, Paula Montondo, Shawn McLean, Steve Bishir, Todd Moore
Executive-Producer – Peter York
Lead Vocals – Rikk Florian (tracks: 1, 2, 5, 6, 9 to 11)
Mastered By – Bob Ludwig
Photography By – Mark Tucker
Producer [Produced By] – Brown Bannister
Recorded By, Mixed By – Jeff Balding

Companies, etc.
Phonographic Copyright ℗ – The Sparrow Corporation
Copyright © – The Sparrow Corporation
Recorded At – The Bennett House
Recorded At – The Castle Recording Studios
Recorded At – Digital Recorders
Recorded At – OmniSound Studios
Mastered At – Masterdisk
Manufactured By – EMI Jax
Published By – Songs Of PolyGram International, Inc.
Published By – Yellow Jacket Music, Inc.
Published By – Word Music
Published By – Birdwing Music
Published By – Kid And The Squid Music

Ben Okafor – Nkiru – 1989

Occasionally I just take a day and root through a record company library to see what I find. This is one I found while rooting through the Refuge library. I’d never heard of the artist though actually he’s relatively well known for the period. Ben claims to have grown up as a child soldier in Nigeria. These stories don’t usually end well but his does as he was able to immigrate to the U.K. He was actually a well known artist in the anti apartheid movement and shared the stage with several prominent artists at that time. He has continued on with his somewhat unique style today. As for that style I would best describe it as pop oriented folk reggae. The industry refers to it as Afrikanese reggae but I don’t care for that description so I’ll go with mine.

Tracklist
1 – Wake Up – 4:38
2 – Got Me Running – 4:56
3 – Oke Na Ngwele – 2:55
4 – Man Of Sorrow – 4:28
5 – I Need Love – 5:17
6 – Raise Your Conscience – 5:10
7 – Filippino – 3:33
8 – World Gone Crazy – 3:57
9 – No Matter What It Is – 4:27
10 – Look Out – 2:34

Ordained Fate – Ordained Fate – 1992

Ordained Fate is odd in that 3 or the 4 members are female. The three girls started out the band in the mid 80’s under the name Cryptic Axe in Zion, IL. They started out as a secular metal band and even recorded a demo. The band became Christians in the late 80’s and went into the studio in 1989 to record a demo as Ordained Fate. The demo did fairly well and they recorded a second one in 1990. They were subsequently signed to a one album contract with Wonderland which was a sub label of Word. The album was well received but not widely available unfortunately. Wonderland/Word didn’t bring the band back in for a second album. They did however do a self produced effort in 1995 but of course with no distribution it was not widely available. This album is refreshing as it’s nice to hear some fairly hard metal from a female band. While not my style I was really surprised at the high quality of this release and I’m a little surprised it didn’t do better. I am guessing that it may not have been well promoted as Word really shouldn’t have been meddling in the Metal market as they knew nothing about it.

Tracklist
1 – Let’s Make A Deal – 4:33
2 – Gethsemane – 6:13
3 – Holy Wars – 4:45
4 – Wonderful Love – 4:15
5 – Gold Cross – 4:33
6 – Tame The Tongue – 5:23
7 – The Election – 3:53
8 – One Of The Insane – 5:19
9 – No Death – 4:26

Credits
Bass, Vocals – Marge Curtner
Design [Sleeve Design], Photography By – Lark
Drums, Vocals – Terry Cvengros
Engineer [2nd Engineer], Keyboards – Christopher Mosher
Executive-Producer – Caesar Kalinowski, Peter Gavin Morkel
Lead Guitar, Vocals – Anette Cvengros
Lead Vocals, Guitar – Pam Scott
Producer, Engineer – Caesar Kalinowski

Companies, etc.
Distributed By – Word, Inc.
Distributed By – Word Communications Ltd.
Distributed By – Word Ltd.
Manufactured By – Word Ltd.
Manufactured By – JVC
Copyright © – Big Rage! Productions
Phonographic Copyright ℗ – Big Rage! Productions
Recorded At – The Sonic Temple

John Fischer – Johnny’s Cafe – 1978

This was John’s last album with Light though Light did release a Greatest hits album in the mid 80’s. Light threw a lot of money at this album including hiring an entire horn section. Though recorded in 1978 it wasn’t released until Mar of 1979. I suspect this was partly due to ongoing production as at times it’s over produced. To be clear let me say right away that I enjoyed this album but I have some criticism. First of all the horn section adds nothing to the album and really should have been left off and money saved. My other complaint is the varying styles. At time it’s disco, at time 70’s Jesus Music, and at times classic rock. Not a good flow. That said all the tracks are well done and I like each of them individually but I just don’t feel they should be stuffed onto the same album. I do love the title track and it will be going in my regular rotation.

Tracklist
1 – Johnny’s Cafe – 4:10
2 – One Lane Road – 4:02
3 – Nothin’ In This World – 3:32
4 – Circle Of Blessing – 3:50
5 – Talking Faces – 4:15
6 – Pawn In The Game – 3:36
7 – Right On Time – 3:05
8 – Hard Line – 3:55
9 – Blessed – 3:12
10 – Midnight On Main Street – 3:30

Credits
John Fischer – Songwriter, Vocals
Dan Collins – Producer, Background Vocals
Dan Ferguson – Guitars
Steve Forman – Percussion
Leon Gaer – Bass
Clark Gassman – Arrangements, Keyboards
David Kemper – Drums
Paul Leim – Drums
Tim May – Guitars
Don Menza – Saxophone
Jack Joseph Puig – Engineer
Tom Rotella – Guitars
Rick Vito – Guitars

Steve Camp – Start Believin’ – 1980

This is one of the early albums that set the stage for Steve Camp’s 1980’s popularity. His recording career spanned from 1978 through 2002. The track “Under His Love” was co-written by Steve Camp and Larry Norman. The two would cross paths many times over their respective careers and there are a few examples of them appearing on stage together and recording each other’s songs. In addition to working with Larry Norman, it seems to me that Steve has an uncanny vocal similarity. Not only the tone of his voice, but the way he expresses it has a strong similarity to the way Larry sounded. No wonder they were able to work together easily.

Tracklist
1 – The Feeling Is Happening – 6:02
2 – You Are The Rainbow – 3:12
3 – Under His Love – 3:35
4 – Easy Livin’ (Under The Sun) – 3:05
5 – Ambassador In Chains – 3:51
6 – Start Believin’ – 4:46
7 – Do They Have To Grow Up? – 3:56
8 – I’ll Always Need You Lord – 5:47
9 – Bobby – 5:19
10 – Psalm 131 – 2:10

Credits
Steve Camp – Songwriter, Vocals, Production Assistant
Jack I. Baron – Tenor Saxophone
Big Foot – Feet Stomps
Phillip Blum – Cello
Sol A. Bobrov – Violin
Phil Bonono – Additional Engineering
Leonard Chausow – Cello
Dale Clevenger – French Horn
Gary Elghammer – Additional Engineering
Richard Royce Ferrin – Viola
Ronald Friedman – Trumpet
Joseph Golan – Violin
Tommy Hanson – Additional Engineering
John W. Haynor – Trombone
Tom Howell – French Horn
Arthur Hoyle – Trumpet, Fluegel Horn
Russell Iverson – Trumpet
Harold D. Klatz – Viola
Robert Lewis – Trumpet, Fluegel Horn
Paul Libman – Production Assistant, Songwriter
Arthur F. Linser – Trombone
Samuel Magad – Violin
Glenn Meadows – Mastered
Rodger Moulton – Viola
Hank Neuberger – Recorded and Mixed
Larry Norman – Songwriter
David Isaiah Radford – Songwriter
Arnold Roth – Violin
Kenneth G. Soderblom – Alto Saxophone, Tenor Saxophone
Fred Spector – Violin
Morris Butch Stewart – Producer, Songwriter
The Chicago Hands – Hand claps and Finger Snaps
Cyrill J. Touff – Trombone

Companies, etc.
Phonographic Copyright ℗ – Word, Inc.
Copyright © – Word, Inc.
Mastered At – Masterfonics
Recorded At – Chicago Recording Company

Leslie Phillips – The Turning – 1987

“The Turning” is a fitting title for this album for several reasons. This 1987 release was Leslie Phillips’ last CCM recording. After this she signed with Virgin Records and released a few albums with then husband T Bone Burnett, whom she married after recording this album with him as producer. The Turning was the only one of her four CCM releases produced by T Bone and it has a very distinctively different sound. The acoustic sound familiar to T Bone’s work replaces all the the 80s glitz that Leslie had been doing an excellent job of until now. Leslie’s deep songwriting continued under the folk influence of the music on The Turning. However, she managed to squeeze out some pop sounding folk on a few songs, particularly “Libera Me”. In “Down”, Leslie addresses some of her “Turning” directly: “Shattered convictions I thought were offending you” suggests she has experienced a shift in her relationship with God, in a way that probably gives her more room as an individual. Bookended with two cheerfully haunting sounds at the lead track “River of Love” and the closer “God Is Watching You” this album brings a deep echoing sound that matches Her lyrics perfectly. It was an unexpected turn from the upstart who was hailed a few albums ago as the CCM version of Cyndi Lauper, but under T Bone’s influence, any artist seems to turn ahead of the curve.

Tracklist
1 – River Of Love – 2:43
2 – Love Is Not Lost – 3:57
3 – The Turning – 3:36
4 – Libera Me – 3:09
5 – Carry You – 4:18
6 – Beating Heart – 2:56
7 – Expectations – 3:15
8 – Down – 3:25
9 – Answers Don’t Come Easy – 4:10
10 – God Is Watching You – 3:50

Credits
Bass – Jerry Scheff
Drum Programming – Ralph Forbes, Ralph Forbes, Leslie Phillips, T-Bone Burnett
Drums – Mickey Curry
Executive-Producer – Tom Willett
Guitar, Producer – T-Bone Burnett
Harmony Vocals – Dawn O’Hanlon, Peter Case, Leslie Phillips, T-Bone Burnett, Tonio K.
Mixed By – Tchad Blake
Percussion – Alex Acuña
Recorded By – Bill Jackson, Bobby Hickey, Judy Klapp, Larry Hirsch, Stephen Shelton, Steve Ford, Tchad Blake
Recorded By [Assisted By] – David Knight, Mike Kloster
Remastered By – Steve Hoffman
Synthesizer – John Schreiner, Leslie Phillips
Written-By – Leslie Phillips, T-Bone Burnett

Companies, etc.
Phonographic Copyright ℗ – Myrrh Records
Copyright © – Myrrh Records
Phonographic Copyright ℗ – Word Music
Copyright © – Word Music
Phonographic Copyright ℗ – Black Tent Music
Copyright © – Black Tent Music
Manufactured By – DCC Compact Classics Inc.
Marketed By – DCC Compact Classics Inc.
Recorded At – The Sound Factory
Recorded At – Sunset Sound
Recorded At – Mad Hatter Studios
Recorded At – Mama Jo’s
Recorded At – Eagle Audio Recording
Recorded At – Capitol Studios

Dead Artist Syndrome – Prints of Darkness – 1990

Dead Artist Syndrome is actually simply Brian Healy and a host of friends that over the year, records and concerts rotated in and out in support of their friend who is easily Christian Music most unheralded alternative artists. Too often pigeon holed as exclusively a “goth” artists, DAS was an alternative that presented a darker, gloomier and deeper perspective to the world than most in CCM. The label most obviously comes from Healy’s baritone and at time monotone vocals associated with goth rock. It is not a whole lot different from many Mike Knott (who makes in appearance here) created projects. On “Prints” Healy is joined by Undercover’s Ojo Taylor and Gym Nicholson and it shows. There is an atmospheric sound to the record that is reminiscent of Undercover as well the Psychedelic Furs, Echo and the Bunnymen and The Sisters of Mercy. Healy willfully uses satire, sarcasm and symbolism throughout and, as a result, often misunderstood. Healy is an ordained minister and infuses much of his lyrics with doctrinal ideologies. I was working for Frontline Records when the second album was released and met Brian on a few occasions as result. I always found him to be incredibly nice, very, very funny and quite intelligent and interesting. These virtues would appear within the content of all of DAS’s music and is most evident on this debut. The opening track, “Christmas” is a sly indictment on the commercialization of the “Winter Break” and the rejection of the truth of the season. “Red” appears to be inspired by the story of Hosea and the harlotry of God’s people over the generations. I love the album’s finale, “Reach,” which is a very simply expression of worship in a somber and powerful way. It reminds the listener of the need to reach out to God in glory and honor.

Contributor David Lowman – https://ccms500bestalbums.wordpress.com/

Tracklist
1 – Christmas – 3:35
2 – Amy – 3:41
3 – Dancing Without Touching – 3:25
4 – Vision – 3:35
5 – Hope – 4:35
6 – Dance With Me – 4:04
7 – Think Of Me – 3:16
8 – Red – 3:40
9 – Reach – 3:30

Credits
Backing Vocals – Annica Svensson, Brian Miller, Camille Miller
Bass, Guitar [Acoustic] – Mike Knott
Bass, Keyboards – Michael Saurerbrey
Executive Producer – Thom Roy
Guitar – Gym Nicholson
Guitar [Rhythm & Acoustic] – Chris Harvey
Keyboards – Jeff Sheets, Ojo Taylor
Mixed By – Brian Healy, Ojo Taylor, Thom Roy
Producer – Brian Healy
Recorded By – Brad Jeffers, Dave Hackbarth, Ojo Taylor, Scott Macklin
Synthesizer [Synclavier] – Whitney Quinn
Vocals – Brian Healy

Companies, etc.
Phonographic Copyright ℗ – Dead Artist Syndrome
Copyright © – Dead Artist Syndrome
Produced For – The Points
Recorded At – Whitefield Studios
Recorded At – Neverland
Mixed At – Neverland
Published By – Blatant Christian Music
Published By – B-1 Music
Made By – Disctronics Group, United States – 112970

Philadelphia – Tell The Truth – 1984

This was the first album from Philadelphia who were out of Shreveport, Louisiana. Apparently the band had been together for quite some time at this point (1984) and actually started in the late 70’s as a secular band. When I was researching this album I was surprised at the reviews. It seems like some people loved the album and some just liked it and a few definitely did not like it. I usually don’t see such a variety of opinions on an album. Well I fall in the like it to love it category. I know I would have loved this album in 1984 but I doubt it ever made it anywhere near Canada so I would never have heard it. Yes I agree with others that the production is thin but I can forgive that because I think the writing is excellent. There is an 8:43 song which I feel is a little over the top but it’s an OK listen. My favourite track is actually the one most people seem to hate. “No Time For Honey” definitely will make my regular rotation playlist, probably once a week.

Tracklist
1 – Tell The Truth – 4:53
2 – Livin’ In Love – 5:26
3 – No Time For Honey – 3:26
4 – No Compromise – 4:01
5 – Razor’s Edge – 5:01
6 – The Life Inside – 3:07
7 – New Jerusalem – 8:43

Credits
Bass, Vocals – Brian Clark
Drums – Brian Martini
Executive Producer – Bill Bafford
Guitar – Phil Scholling, Ronn Flowers
Layout, Design – Scott Waters

Companies, etc.
Record Company – Patmos Records
Manufactured By – Patmos Records
Distributed By – Patmos Records
Phonographic Copyright ℗ – Patmos Records
Copyright © – Moona Music Company

Mike Warnke – Alive! – 1976

This was Mike’s first album. Strangely I missed this one in the 80’s and just now listened to it. It was quite funny as I always think Mike is.

It should be noted that Warnke was revealed as a liar and fraudster in 1991 by Cornerstone magazine. This recording is offered as a historic record of what was being listened to in the Christian community in the late 70’s and early 80’s.

Tracklist
1 – Preacher Lessons And Cookie Cutters – 3:49
2 – Tennessee Home And Blankety-Blank – 3:00
3 – Catholics And Hell – 1:13
4 – Bible Stories And Jonah – 2:59
5 – Do’s And Don’ts – 2:37
6 – The Occult – 1:39
7 – The Jesus Freaks – 6:33
8 – Scuzball – 3:27
9 – Catholics And Heaven – 2:20
10 – Suicide And The Gospel Trio – 1:57
11 – The Navy’s Number One Grade A Fruitcake – Wow! – 6:18
12 – Three To A Cubicle – 7:01
13 – The Gideon Bible And The Mop Closet – 2:29
14 – Like Yourself – 2:23

Credits
Engineer – Fred Cameron, John Mir
Liner Notes – Honeytree
Other [Introduction] – John Lloyd
Photography By [Photographer] – 20-20 Photographics, Inc., Ron Pinter
Producer – Paul Craig

Companies, etc.
Record Company – Word, Inc.
Phonographic Copyright ℗ – Word, Inc.
Recorded At – Superior Sound Studios
Mastered At – EMI